It is of good augury for our own letters that the best French fiction of to-day is getting itself translated in the United States, and that the liking for it is growing apace. Fiction is more consciously an art in France than anywhere else--perhaps partly because the French are now foremost in nearly all forms of artistic endeavor. In the short story especially, in the tale, in the _conte_, their supremacy is incontestable; and their skill is shown and their aesthetic instinct exemplified partly in the sense of form, in the constructive method, which underlies the best short stories, however trifling these may appear to be, and partly in the rigorous suppression of non-essentials, due in a measure, it may be, to the example of Merimee. That is an example we in America may study to advantage; and from the men who are writing fiction in France we may gain much. From the British fiction of this last quarter of the nineteenth century little can be learned by any one--less by us Americans in whom the English tradition is still dominant. When we look to France for an exemplar we may find a model of value, but when we copy an Englishman we are but echoing our own faults. "The truth is," said Mr. Lowell in his memorable essay _On a Certain Condescension in Foreigners_--"the truth is that we are worth nothing except so far as we have disinfected ourselves of Anglicism." BRANDER MATTHEWS. THE CAPTAIN'S VICES. [Illustration: THE CAPTAIN'S VICES] I. It is of no importance, the name of the little provincial city where Captain Mercadier--twenty-six years of service, twenty-two campaigns, and three wounds--installed himself when he was retired on a pension. It was quite like all those other little villages which solicit without obtaining it a branch of the railway; just as if it were not the sole dissipation of the natives to go every day, at the same hour, to the Place de la Fontaine to see the diligence come in at full gallop, with its gay cracking of the whips and clang of bells.