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The disreputable line is Zolaesque bestiality, and forced, unreal, unlovely, and hysterical sensationalism. It cannot be more than a paradox to pretend that fin de siècle has anything to do with it. But it is a curious coincidence how the last decade of modern centuries seems to die down in creative fertility.
Monsieur de Camors is not of our monde, nor is the Enfant du Siecle; indeed, perhaps good Monsieur Sylvestre Bonnard is as sympathetic as anyone in that populous country of modern French romance. Or do you know Fifi Vollard? Something must be allowed for strange manners, for exotic ideas, and ways not our own.
'Pierre et Camille' is a pretty but slight tale of a deaf-mute's love. His greatest work, 'Confession d'un Enfant du Siecle', crowned with acclaim by the French Academy, and classic for all time, was written in 1836, when the poet, somewhat recovered from the shock, relates his unhappy Italian experience.
Indeed, I think there cannot be a more beautiful and charming woman in America. She is now twenty. "It was my privilege to view closely the bursting of this bud into bloom." The fin de siecle versewright became silent and lighted a fresh cigarette. "Will you permit me to ask," said I, "what were the especial facilities that you had for observing this evolution?"
The inspiration of Jazz is the same as that of the art of the grand siècle. Everyone knows how in the age of Louis XIV artists found in la bonne compagnie their standards, their critics, and many of their ideas.
Personality has faded out of politics. Everything is business, now, concessions, vested interests, dividends and bond-holders. These diplomats are not real people at all. They are shadowy survivals of the grand siècle, wraiths of Talleyrand; or else just restless bagmen. I don't call that a career." Geoffrey had listened to these tirades before. It was Reggie's froth.
The Belgian historian, Van der Straeten, has illuminated the crowded shelves of his big work, "La Musique aux Pays-Bas avant Le XIXe Siècle," with various little instances of romance that occurred to the numberless minstrels and weavers of tangled counterpoint in the Netherlands of the old time.
The interpretation which he chooses to put on them is an interpretation of no consequence, and can never have misled any one who is in any sense worth misleading. The most obvious line of criticism in connection with the memoirs entitled Le Diable au XIX^e Siècle would be the preposterous and impossible nature of its supernatural narratives.
Hamilton and the constitutional liberals asserted that the state should interfere exclusively on behalf of individual liberty; but Hamilton was no democrat and was not outlining the policy of a democratic state. In point of fact democracies have never been satisfied with a definition of democratic policy in terms of liberty. Not only have the particular friends of liberty usually been hostile to democracy, but democracies both in idea and behavior have frequently been hostile to liberty; and they have been justified in distrusting a political régime organized wholly or even chiefly for its benefit. "La Liberté," says Mr. Emile Faguet, in the preface to his "Politiques et Moralistes du Dix-Neuvième Siècle" "La Liberté s'oppose
Au neuvième siècle, nous eûmes une autre sorte de Voyage par Hetton, moine et abbé de Richenou, puis évéque B
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