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, in western Europe, with a decided set-back for those who lived on dreams, and a corresponding complacency among those who throve on facts. The political and social revolution which swept the continent in 1848 and 1849, and found ominous echoes here, was everywhere, for the time, defeated. The discoveries of science in the third and fourth decades, resting on calculation and experiment, were investing it with the formidable prestige which it has never since lost; and both metaphysics and theology reeled perceptibly under the blows delivered in its name. The world exhibition of 1851 seemed to announce an age of settled prosperity, peace, and progress. In literature the counterpart of these phenomena was the revolt from _Romanticism_, a movement, in its origins, of poetic liberation and discovery, which had rejuvenated poetry in Germany and Italy, and yet more signally in England and in France, but was now petering out in emotional incoherence, deified impulse, and irresponsible caprice. The revolt accordingly everywhere sought to bring literature into closer conformity with reality; with reality as interpreted by science; and to make art severe and precise. In the novel, Flaubert founded modern naturalism with his enthralling picture of dull provincials, _Mme Bovary_ (1857); two years later George Eliot tilted openly in _Adam Bede_ against the romancers who put you off with marvellous pictures of dragons, but could not draw the real horses and cattle before their eyes.[3] Realism, at once more unflinching and more profoundly poetic, and yet penetrated, especially in Tolstoy and Dostoievsky, with an intensity of moral conviction beside which the ethical fervour of George Eliot seems an ineffectual fire, was one of the roots of the Russian Novel; which also reached its climax in the third quarter of the century. But though it concurred with analogous movements in the West, it drew little of moment from them; even Turgenjev, a greater Maupassant in artistry, drew his inner inspiration from wholly alien springs of Slavonic passion and thought. And it was chiefly through them that the Russian novel later helped to nourish the radically alien movement of Symbolism in France. In drama, Ibsen broke away from the Romantic tradition of his country with the iconoclastic energy of one who had spent his own unripe youth in offering it a half-reluctant homage. The man of actuality in him denounced the drama built upon the leg
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