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mark by Dr. Ipsen, France by M. Pravieux, Germany by Dr. Heilborn, Greece by Professor Lambros, Holland by Mr. C. K. Elout, Hungary by Mr. Katscher, Italy by Dr. Biagi, Norway by Herr Brinchmann, Poland by Dr. Belcikowski, and Spain by Don Rafael Albamvia. Sweden and Russia are the only two countries of literary importance which are not represented upon the present occasion.

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Professor Fredericq, writing of Belgium, deals first with the French writers, then with the Flemish. Among the former, M. Maeterlinck occupies the place of honor with "La Vie des Abeilles," which we have already had in an English translation. M. Georges Eckhoud, fresh from a prosecution for immorality, from which charge he has been acquitted, "is now beginning again ardently with his "Faneuse d'Amour." A few of the most important books are these. "Petites Légendes and Philippe II.," both by M. Verhaeren; "Poèmes Agrestes," by M. Joseph Liesse; "Trente Ans de Critique Littéraire," by the late Gustave Frédérix; "Sainte-Beuve Inconnu," by M. de Spoelberch de Louvenjoul; "Styles et Caractères," by M. Georges Legrand; "L'Industrie dans la Grèce Ancienne,' by M. Henri Francotte; "Clovis," by M. G. Kurth; "Les Boers et les Origines des Républiques Sud-Africaines," by M. Jules Leclercq; "La Grèce Contemporaine," by Baron Guillaume; "La Chine en 1899," by M. Jules Duckerts; "De Bruxelles à Karéma," by M. A. J. Wauters; "Deux Ans au Congo," by M. Constant de Deken; and a number of works on international law and comparative legislation. In Flemish literature, the following are noteworthy: A work on old Netherland songs, by M. F. van Duyse; a "History of the Literature of the Netherlands," by M. Emile Deneef; "Twenty Flemish Faces," by the Abbé Hugo Verriest; and a book on Henri Conscience, Jan van Beers, and Peter Benoit, by M. Pol de Mont. In Flemish belles-lettres we have "Summertide" and "Summerland," by M. Steyn Streuvels, a pastry cook by vocation; "A Lion of Flanders," by M. Cyriel Buysse; and, among theatrical pieces, the "Siddartha" of the MM. Minnaert, and two realistic pieces called "The Maker of Bricks"

and "The Poachers," both by M. L. Scheltjens. Dr. V. Tille begins his report from Bohemia with the following paragraph:

"Bohemian literature has been undergoing a crisis of transition for several years; this appears just now very palpably in belles-lettres, and this year's rather disappointing output does not point to any thorough change. The older generation has already passed its prime, and sums up its production by publishing various collected works' or 'final editions'; in the youngest there is a ferment of new tendencies and fresh ideas, which, however, appear more in plans and attempts at finding out new ways than in the production of mature literary work. Foreign influences, Western as well as Russian, both in fiction and criticism, operating extensively by means of an unusually large number of translations, are clearly visible in all our contemporary writing."

All this leads to criticism, and in this field the influence of the University is making itself felt.

"Mr. Jaroslav Vrchlicky, the foremost amongst our poets, expounds in his university lectures the prominent epochs of Western literatures, adding at the same time copious specimens in his many translations, to which he has lately added a new volume of Artistic and Popular Poetry.' Other professors and lecturers sedulously cultivate literary history, and our recent University Extension prospers well, especially in spreading the knowledge of Bohemian literature."

The death of the poet Julius Zeyer has been a "great loss to Bohemian letters," and has occasioned numerous critical estimates of his work. The novel of the day "has been influenced by foreign psychological and social romances.' Among its representatives are "Lights of the Past," by Mr. Simacék; "Rebellion," by Miss Bozena Kuneticka; and the "Angelic Sonata" of Mr. Merhaut. Mr. Vrchlicky is to the front in both lyrical and dramatic composition. "The Water Fairy," a new opera by Mr. A. Dvorak, is mentioned here, partly for the sake of Mr. J. Kvapil's libretto, which is distinctly a literary work.

Dr. Ipsen, speaking of Danish literature, reports a tendency of fiction to become historical, or otherwise objective. The veteran novelist, Professor H. F. Ewald, has added “Lisbeth Torbensdatter" to the list of his "big historical novels.' Works by younger writers include "Ale Langskjægs Saga," by Herr P. V. Hammer; "Adelbrand and Malfred," by Herr Jacob Knudsen; "Crumlin " (a Cromwell story), by Herr Carl Ewald; and "Enevold Brandt," by Herr Svend Leopold. These are works of historical fiction. The novelists who have chosen to write of modern life have given us "Daily Bread," by Herr E. Söderberg; "The Springs," by Herr

Z. Nielsen; "The Unpardonable Sin," by Herr E. Egeberg; "Lille Rödhætte" (Little Red Ridinghood), by Herr Henrik Pontoppidan ; "Seksten Aar," by Herr Karl Larsen ; and "Deeds of the Heart," by Herr Sven Lange.

"Herr Mylius Erichsen has undertaken the task of describing in a large work the heath districts of Jutland, which are now disappearing fast under the ploughshare and the tooth of the harrow."

Poetry has done better than fiction in Denmark during the past year. Herr Valdemar Rördam's "Den Danske Tunge" is a volume of noteworthy verse, "pervaded by a remarkable sensitiveness, yet fortified by a manly spirit." Herr Drachmann has produced an Icelandic drama called "Halfred Vanroiadeskjald." "Violin," a narrative in verse by Mrs. Blicher-Clausen, is the work of "the first female poet of any importance we have had." Two new translations of Shakespeare are now in course of publication. In literary history, three important works are noticed: Dr. V. Andersen's great biography of Oehlenschläger, Dr. Schwanenflügel's life of Bishop Mynster, and Professor Bögh's biography of Christian Winther.

M. Jules Pravieux's account of the year in French literature is long and interesting. He begins with the theatre, and the recent revival of M. Sardou's "Patrie," following by an account of a play based upon Daudet's "La Petite Paroisse." M. F. Vanderem's "La Pente Douce" is "charming in its unerring analysis, the veracity of the characters, the sincerity of their actions, the grace of their talk." Of "Les Remplaçantes," by M. Brieux,

we read

heart, like the mind, always looks towards the future; that we are attached by a stronger bond to our children than to our parents; and that, if a crisis in family life obliges us to choose between the two, we prefer to side with our children, as the law of nature has decided."

Other conspicuous plays are "La Veine," by M. Alfred Capus; "Les Medicis," by M. Henri Lavedan; and "Pour l'Amour," by M. Auguste Dorchain. In fiction, we have works by MM. Bourget, Zola, Theuriet, Rosny, France, Pouvillon, and others. No work by M. Bourget shows more clearly the influence of Taine than his novel "Un Homme d'Affaires." "Le Fantôme" is a second novel by the same author. Of M. Zola's "Travail" we read that it

"Is a vast poem celebrating human labour. Work is for the individual what fertility is for the species. the means of existence. The thesis is developed on a large scale; the volume is stuffed full of life, as usual with M. Zola; it exhibits his great talents for description, his art of evolving and moving masses of men; but it is composed on too ample a scale, it shows symbolism grown gross, and carelessness in style."

M. Theuriet's novels are " Illusions Fauchées " and "La Petite Dernière." The MM. Rosny have published "Le Chemin d'Amour," a story of modern observation which has not, however, essentially altered their romanticism and pantheism."

"The book of M. France, Monsieur Bergeret à❘ Paris,' is simply a masterpiece, like its predecessors. Our language has never been so perfectly written, with such artistic avoidance of exaggeration, such sure ex

pression of thought in every detail. M. Bergeret judges with clear-sightedness and moderation the troubles which Paris exposes to his view, and finds in the history of olden time the explanation of almost every human circumstance. In Voeu d'être Chaste,' M. Pouvillon attacks a decidedly delicate and difficult question. His work is beautiful, penetrating, sad, and movingly truthful, and his characters are vigorously conceived. Problems of conscience, painful and serious, are here well put before one, not as abstract theories, but as imperious realities."

Other novels are "La Carriêre d'André Tourette," by M. Lucien Muhlfeld; "Une Flambée d'Amour," by M. Masson-Forestier; and "La Fleur de Joie," by Mme. Daniel Lesueur. The greatest of living French poets, M. Sully Prudhomme,

"In his Testament Poétique' of this year shows strong irritation against the innovators who are attempting to transform traditional metres; and, although he is at pains not to be too rough with them, they have made him feel rather more than out of temper. He endeavours to set up against their pretensions a scientific theory demonstrating the excellence of the Parnassian metre."

Other poetical productions are the "Voix Humaines" of M. Louis Sauty, the "Vers

"With old poems and ancient legends in his 'Poèmes et Légendes du Moyen Age,' works which derive an agreeable flavour from their antiquity alone; tales almost infantine, but revealing ingenious meanings and far-off thoughts to those who can decipher and understand them. These bygone tales M. Paris tells with a delightful charm, a delicate sense of their intimate poetry, a reverential feeling which is contagious." Other important works in this department are "Le Théâtre Français avant la Période Classique," by M. Rigal; "Le Théâtre Français et Anglais," by M. Charles Hastings; a volume of essays by M. René Doumic; "Les Ecrivains et les Mœurs," by M. Henry Bordeaux ; "Les Romanciers Anglais Contemporains,' by M. Blaze de Bury; and two books on Ruskin, by MM. Jacques Bardoux and H. J. Brunhes. Among books of historical scholarship, the following are important: "Fouché," by M. Louis Madelin; "La Noblesse Française sous Richelieu," by M. le Vicomte G. d'Avenel; and "Les Tronçons du Glaive," by the MM. Paul et Victor Margueritte. The last-named book has almost the interest of a novel. It is concerned with the war of 1870, and "revives with an intimate sense of tragedy events which did not seem capable of being represented except by large exterior masses. A few other works of scholarship may be mentioned. They are M. Emile Faguet's "Problèmes Politiques du Temps Présent," M. Emile Boutmy's "Essai d'une Psychologie Politique du Peuple Anglais au XIXème Siècle," M. Théodore Ruyssen's "Kant," M. Jean Finot's "Le Philosophie de la Longévité," M. G. Dumas's "La Tristesse et la Joie," and Mlle. Lucie Faure's "Newman and the Oxford Movement." M. Pravieux concludes his paper with the following remarks:

"I can, at all events, attempt without undue temerity to discover the common tendency of writers of to-day. You meet, I think, almost everywhere an aversion to the conventional, the artificial, and a patient and per

sistent search for nature, reality, and truth. Three writers, whose works in different degrees express this tendency, have left their mark on the living generation - Flaubert, Taine, Renan. Perhaps these three men will continue to influence the opening century. Perhaps their glory will be eclipsed by the arrival of some great genius who will open unexplored ways to the French spirit and will produce masterpieces. We must wait; it is for the future to speak."

The report of German literature made by Dr. Heilborn is concerned almost wholly with the drama, the novel, and the poem. The various departments of scholarship are not represented at all, and the only books discussed outside of belles-lettres are the "Jugenderinnerungen" of Herr Heyse and Bismarck's "Briefe au Seine Braut und Gattin." Dr. Heilborn opens with such general reflections as these:

"The literary revolution which Germany experienced in the nineties directed the author only too vehemently to a diligent study of the external world. The contrary opinion is now gaining ground; it is only in self

The

communion that the artist can unlock his world. power of moving the souls of others is granted only to that which the soul has itself experienced. A dim conception of this new yet immemorial truth is now asserting itself high and low in our literature, and points the way to new aims. Already we speak of a New Romanticism; but for the present that is merely a meaningless title for a newly awakened longing to which an adequate fulfilment has not yet been vouchsafed." Herr Hauptmann's "Michael Kramer," which has proved a failure on the stage, is thus characterized:

"Father and son, both artists, stand opposed to each other in this drama; they divide the interest. The scanty action of the piece turns wholly on the son; he is ruined by his want of energy and by his paltry excesses. The physical deformity which has accompanied his entrance into the world has made him malicious and cowardly, reticent and mendacious. As far as the dramatic action is concerned, the father is a mere spectator, but psychologically he stands in the centre of the

play. The death of his son affects him as a psychical experience; the majesty of death confronts him, and awakes in his bosom tones which have slumbered there for many a day; with this grief his being ripens towards its consummation. One feels that the play was written for the sake of this inner revelation; personal experience is reflected in it and has taken shape perforce." Herr Rosmer's "Mutter Maria" is another subjective play, a "fairy poem" of striking originality.

"It is a Song of Songs on motherhood; in its pages the mother's joy exults, the mother's anguish mourns. An ice-maiden who dances with her sisters on the snowpeaks of a glacier, has been discovered by a huntsman, who has held her in his embrace and thereby kissed her heart to life; he has fallen a prey to death as the result. Now she feels drawn towards the earth, and the sight of the Mother of God, hewn out of the rocks by a hermit, gives her the first presentiment of a new

born human perception. Death joins her on her journey towards the valley. She has to fight with him for the possession of her child when, solitary and forsaken, she sinks down by the wayside in the hour of giving birth; she overcomes him. The consecration of motherhood comes upon her, but at the same time there awakes in her bosom the old, defiant, pagan sentiment of revolt against God; the power of Nature, which, according to all the tradition of fable, knows naught of God, is

strong within her.”

This is only a part of the story, the description is too long for full quotation. Of Herr Sudermann's "Johannisfeuer" we read:

"A young fellow who is betrothed to the squire's daughter feels himself passionately drawn towards a young girl whom this squire has out of pity taken into his own house and brought up as his own child. On the Eve of St. John the two, regardless of the vow they have taken, overstep the bounds of propriety, yield to their passion, and then — separate once more in a feeble resignation, she to fare abroad, he to return to his bride."

In spite, however, of the power of these subjective and symbolic productions, the writer is constrained to admit that an objective piece, Herr Erich Hartleben's "Rosenmontag," has scored the greatest stage success of the year. Other plays of note are "Der Sieger," by Herr Max Dreyer; "De Junge Goldner," by Herr Georg Hirschfeld; "Der Tag," by Herr Stephan Vacano; "Die Zwillingsschwester," by Herr Ludwig Fulda; "Hockenjos,' by Herr Jacob Wasserman; and "Der Retter," by Herr Carlot Gottfried Reuling. It appears certain from the summary here presented that dramatic writing is now more than ever the vital form of German literary art, and that even France may soon have to look to her laurels in this field. In fiction, Frau von Ebner-Eschenbach's "Aus Spätherbsttagen,' a volume of short stories, is called "perhaps the most important appearance of the year." Next in importance is Herr Spielhagen's novel "Freigeboren," which "is perhaps his best work which he has given us his most intimate book, at all events." Other works of fiction are "Die Geschichte der Jungen Renate Fuchs," by Herr Wassermann, (which makes one think of "Evelyn Innes "); "Der Tod Bertha Garlan," by Herr Arthur Schnitzler; Georg's," by Herr Beer-Hoffman; "Frau Herr von Ompteda's "Monte Carlo," Herr von Polenz's "Liebe ist Ewig," and Frau Viebig's "Das Tägliche Brot." Poetic energy in modern Germany is so absorbed by the stage that little is left for lyricism. The only volumes of verse that seem worth mentioning are the Reigen" of Herr Hugo Salus, and the "Neues Leben" of Herr Karl Henckell.