of another man. The greater part of the world is content to
strut, like the jackdaw, in peacock's feathers.

The result did not blight his hopes. If M. Patrigent was not
altogether convinced, he at least admired the ingenuity of the
proceeding.

"This is what I will do," he said in dismissing Fanferlot: "I will
present a favorable report to the council chamber, and to-morrow,
most likely, the cashier will be released."

Immediately he began to write one of those terrible decisions of "Not
Proven," which restores liberty to the accused man, but not honor;
which says that he is not guilty, but which does not declare him
innocent:--

"Whereas, against the prisoner Prosper Bertomy sufficient charges do
not exist, in accordance with Article 128 of the Criminal Code, we
declare there are no grounds at present for prosecution against the
aforesaid prisoner: we therefore order that he be released from the
prison where he is now detained, and set at liberty by the jailer,"
etc.

When this was finished, M. Patrigent remarked to his registrar
Sigault:--"Here is one of those mysterious crimes which baffle
justice! This is another file to be added to the archives of the
record office." And with his own hand he wrote upon the outside the
official number, "_File No. 113_."

Translated for 'A Library of the World's Best Literature.'

BENITO PEREZ GALDOS

(1845-)

BY WILLIAM HENRY BISHOP

I

The contemporary school of Spanish fiction dates from about the
revolution of 1868, which drove out Isabel II. and brought in a more
liberal form of government. Without this revolution, it would scarcely
have found opportunity for the free expression of opinion and the bold
critical tone towards ancient institutions which are among its leading
characteristics. It is a fresh stirring of the human intellect, a
distinctly new product, and a valuable contribution to the world's
literature. It has affiliation with the Russian, the English, and
other vital modern movements in fiction, and yet it can by no means be
confused with that of any other country. Its method is realistic; but
one of its leading figures, De Pereda, a strong delineator of rural
life, protests, as to him and his works, against the use of the
word,--"if," he says vigorously, "it means to rank me under the
triumphal French banner of foul-smelling realism." That is to say,
they consider the best material for fiction to be the better and
sweeter part of