About 1880 Zola, searching a literary pedigree for his newly-born Naturalism, pitched upon Stendhal to head the movement. The first Romantic--he employed the term Romanticism before the rest--the first literary Impressionist, the initiator of Individualism, Stendhal forged many formulas, was a matrix of _genres_, literary and psychologic. Paul Bourget's Essays in Contemporary Psychology definitely placed Beyle in the niche he now occupies. This was in 1883. Since then the swelling chorus headed by Tolstoy, Georg Brandes, and the amiable fanatics who exhumed at Grenoble his posthumous work, have given to the study of Stendhal fresh life. We see how much Nietzsche owed to Stendhal; see in Dostoïevsky's Raskolnikow-Crime and Punishment--a Russian Julien Sorel; note that Bourget, from Le Disciple to Sensations d'Italie, is compounded of his forerunner, the dilettante and cosmopolitan who wrote Promenades dans Rome and Lamiel. What would Maurice Barrès and his "culte du Moi" have been without Stendhal--who employed before him the famous phrase "deracination"? Amiel, sick-willed thinker, did not alone invent: "A landscape is a state of soul"; Stendhal had spoken of a landscape not alone sufficing; it needs a moral or historic interest. Before Schopenhauer he described Beauty as a promise of happiness; and he invented the romance of the petty European Principality. Meredith followed him, as Robert Louis Stevenson in his Prince Otto patterned after Meredith. The painter-novelist Fromentin mellowed Stendhal's procedure; and dare we conceive of Meredith or Henry James composing their work without having had a complete cognizance of Beyle-Stendhal? The Egoist is _beylisme_ of a superior artistry; while in America Henry B. Fuller shows sympathy for Beyle in his Chevalier Pensieri-Vani and its sequel. Surely the Prorege of Arcopia had read the Chartreuse. And with Edith Wharton the Stendhal touch is not absent. In England, after the dull essay by Hayward (prefixed to E. P. Robbin's excellent translation of Chartreuse), Maurice Hewlett contributed an eloquent introduction to a new edition of the Chartreuse and calls him "a man cloaked in ice and fire." Anna Hampton Brewster was possibly the first American essayist to introduce to us Stendhal in her St. Martin's Summer. Saintsbury, Dowden, Benjamin Wells, Count Lützow have since written of him; and in Germany the Stendhal cult is growing, thanks to Arthur Schurig, L. Spach, and Friedrick von Oppeln-Bronikowski.