apes him. He realizes, with keener appreciation, the
most delicate of human moods, and the novelist is not compelled to
introduce the characters to him, one by one, distinguishing them only by
the most general characteristics, but can describe each of those little
individual idiosyncrasies that contribute to the sum total of a living
personality.

When I add that the dramatic author is always to a certain extent a slave
to the public, and must ever seek to please the passing taste of his
time, it will be recognized that he is often, alas! compelled to
sacrifice his artistic leanings to popular caprice-that is, if he has the
natural desire that his generation should applaud him.

As a rule, with the theatre-going masses, one person follows the fads or
fancies of others, and individual judgments are too apt to be
irresistibly swayed by current opinion. But the novelist, entirely
independent of his reader, is not compelled to conform himself to the
opinion of any person, or to submit to his caprices. He is absolutely
free to picture society as he sees it, and we therefore can have more
confidence in his descriptions of the customs and characters of the day.

It is precisely this view of the case that the editor of the series has
taken, and herein is the raison d'etre of this collection of great French
romances. The choice was not easy to make. That form of literature called
the romance abounds with us. France has always loved it, for French
writers exhibit a curiosity--and I may say an indiscretion--that is
almost charming in the study of customs and morals at large; a quality
that induces them to talk freely of themselves and of their neighbors,
and to set forth fearlessly both the good and the bad in human nature. In
this fascinating phase of literature, France never has produced greater
examples than of late years.

In the collection here presented to American readers will be found those
works especially which reveal the intimate side of French social
life-works in which are discussed the moral problems that affect most
potently the life of the world at large. If inquiring spirits seek to
learn the customs and manners of the France of any age, they must look
for it among her crowned romances. They need go back no farther than
Ludovic Halevy, who may be said to open the modern epoch. In the romantic
school, on its historic side, Alfred de Vigny must be looked upon as
supreme. De Musset and Anatole France may be taken