As the symphony was modified by Liszt into the symphonic poem and later emerged in the shape of the tone-poem by Richard Strauss, so the novel of manners evolved from Flaubert's Sentimental Education, which, despite its "heavenly length," contains in solution all that the newer men have accomplished. Zola patterned after it in the prodigious Rougon-Macquart series; Daudet found therein the impressionism of his Sapho anticipated; Maupassant and Huysmans delved patiently and practised characteristic variations. Flaubert is the father of realism as he is part parent of symbolism. His excessive preoccupation with style and his attaching esoteric significance to words sound the note of symbolism. Now Henry James disliked Sentimental Education--like other great critics he had his blind side--yet he did not fail to benefit by the radical formal changes introduced by Flaubert, changes as revolutionary as those of Wagner in the music-drama. I call the later James novel a simplification. All the conventional chapter endings are dispensed with; many are suspended cadences. The accustomed and thrice-barren modulations from event to event are swept away; unprepared dissonances are of continual occurrence. There is no descriptive padding--that bane of second-class writers; nor are we informed at every speech of the name of a character. This elliptical method James absorbed from Flaubert, while his sometime oblique psychology is partly derived from Stendhal; indeed, without Stendhal both Meredith and James would have been sadly shorn of their psychological splendour. Nor is the shadow of Turgenev missing, not to mention that of Jane Austen.