Are they any the less Realists for this? They are rather more so, in my opinion. In order to carry out the great precept of modern art, the novelist must copy life,--the life that we live and that unfolds about us every day. But life does not unfold as it is represented in many novels that are the product of French naturalism. The Zola school makes use of abstraction and accumulation in uniting in one scene and one character all the aberrations, abominations, and vices that only a collection of profligates could be capable of, with the result offered us in pictures such as the house in "Pot-Bouille," that should be handled with tongs for fear of soiling one's fingers. We turn to the reality, and we find that all these colors exist, that all these vices are actual,--yes, but one at a time, intermingled with a thousand good or commonplace things; then we are in a rage with the novelist, and ever after bear him a grudge for having a mania for ugliness. The impression which life makes upon us is quite different; the alternative of good is evil, of poetry is vulgarity; we demand a recognition of this from the novelist, and this the Russian novelists have given us, yet without leaving the firm ground of realist art. They present the material, the bestial, the trivial, the vile, the obscene, the passionate, as they appear in life, in due proportion and no more. We have also to thank them for having recognized the psychical life, and the spiritual, moral, and religious needs of mankind. And I would make a distinction between the moral spirit of the English novel and the Russian. The English judge of human actions according to preconceived notions derived from a general standard accepted by society and officially imposed by custom and the Protestant religion. The Russian moralist feels deeper and thinks higher; morality is not for him a system of narrow and inalterable rules, but the aspiration of a creature advancing toward a higher plane, and learning his lessons in the hard school of truth and the great theatre of art. The spiritual element in the Russian novel is to me one of its most singular merits. The novel should not teach the supernatural, nor be the instrument of any religious propaganda. But from this premise to a condition of mutilation and mere dry chronicle of physiological functions is a long way. There are countless facts of our existence that cannot be explained by the most determined materialist; it is not the duty of art to explain them, but art cannot justly ignore them. Émile Zola is both a thinker and an artist. As an artist he is admirable, and is hardly behind Tolstoï either in poetic or descriptive faculties; but with the artist he combines the philosopher--may I call it so?--the philosopher of the lowest and coarsest fibre, whose influence upon French naturalism has been most pernicious, and has greatly limited the scope of the novel in his country. * * * * *