homme littéraire, du persévérant dans ses convictions, et du contempteur de l'argent. The praise is deserved. It is a distinction of which greater men might well be proud.
James Fitzmaurice-Kelly.
BIOGRAPHICAL NOTE
The Goncourts were the sons of a cavalry officer, commander of a squadron in the Imperial army. Edmond was born at Nancy, on the 26th of May, 1822, and his brother Jules in Paris, on the 17th of December, 1830. They were the grandsons of the deputy of the National Assembly of 1789, Huot de Goncourt. A very close friendship united the brothers from their earliest youth, but it appears to have been in the younger that the irresistible tendency to literature first displayed itself. They were originally drawn almost exclusively to the study of the history of art. They devoted themselves particularly to the close of the eighteenth century, and in their earliest important volumes, "La Révolution dans les Mœurs" (1854), "Histoire de la Société Française pendant la Révolution" (1854), and "Pendant le Directoire" (1855), they invented a new thing, the evolution of the history of an age from the objects and articles of its social existence. They were encouraged to continue these studies further, more definitely concentrating their observations around individuals, and some very curious monographs—made up, as some one said, of the detritus of history—were the result, "Une Voiture de Masques," 1856; "Les Actrices (Armande)," 1856; "Sophie Arnauld," 1857. The most ingenious efforts of the brothers in this direction were, however, concentrated upon "Portraits Intimes du XVIIIe Siècle," 1857-'58, and upon the "Histoire de Marie Antoinette," 1858.
Towards 1860 the Goncourts closed their exclusively historical work, and transferred their minute observation and excessively meticulous treatment of small aspects of life to realistic romance. Their first novel, "Les Hommes de Lettres," 1860 (now known as "Charles Demailly"), showed some lack of ease in using the new medium, but it was followed by "Sœur Philomène," 1861, one of the most finished of their fictions, and this by "Renée Mauperin," 1864; "Germinie Lacerteux," 1864; "Manette Salomon," 1867; and "Madame Gervaisais," 1869. Meanwhile, numerous studies of the art of the bibelot appeared under the name of the two Goncourts, and in particular their great work on "L'Art du XVIIIe Siècle," which began to be published in 1859, although not completed until 1882. All this while, moreover, they were secretly composing their splenetic "Journal." On the 20th of June, 1870, the fair companionship was broken by the death of Jules de Goncourt, and for some years Edmond did no more than complete and publish certain artistic works which had been left unfinished. Of these, the most remarkable were, a monograph on the life and work of Gavarni, 1873; a compilation called "L'Amour au XVIIIe Siècle," 1875; studies of the Du Barry, the Pompadour, and the Duchess of Châteauroux, 1878-'79 (these three afterward united in one volume as "Les Maîtresses de Louis XV"); and notes of a tour in Italy, 1894.
Edmond de Goncourt, however, after several years of silence, returned alone to the composition of prose romance. He published in 1877 "La Fille Élisa," an ultra-realistic tragedy of low life. In 1878, in the very curious story of two mountebanks, "Les Frères Zemganno," he betrayed the secret of his own perennial sorrow. Two more novels, "La Faustin," 1882, and "Chérie," the pathetic portrait of a spoiled child, close the series of his works in fiction. He returned to a close examination of the history of art, and published catalogues raisonnés of the entire work of Watteau (1875) and of Prud'hon (1876). His latest interests were centred around the classical Japanese designers, and he published elaborate monographs on Outamaro (1891) and Hokousaï (1896). In 1885 he collected the Letters of his brother Jules, and issued from 1887 to 1896, in nine volumes, as much as has hitherto been published of the celebrated "Journal des Goncourts."
Edmond de Goncourt died while on a visit to Alphonse Daudet, at Champrosay, the country-house of the latter, on the 16th of July, 1896. He left his considerable fortune, which included valuable collections of bibelots, mainly for the purpose of endowing an Academy of Prose Literature, in opposition to the French Academy. In spite of extreme hostility from the members of his family, and innumerable legal difficulties, this "Académie des Goncourts" was formed, on what seems to be a secure basis, in 1901, and M. Joris Karl Huysmans was elected its first president.
RENÉE MAUPERIN
I
"You don't care about society, then, mademoiselle?"
"You won't tell any one, will you?—but I always feel as though I've swallowed my tongue when I go out. That's the effect society has on me. Perhaps it is that I've had no luck. The young men I have met are all very serious, they are my brother's friends—quotation young men, I call them. As to the girls, one can only talk to them about the last sermon they have heard, the last piece of music they have learned, or their last new dress. Conversation with my contemporaries is somewhat restricted."
"And you live in the country all the year round, do you not?"
"Yes, but we are so near to Paris. Is the piece good they have just been playing at the Opéra Comique? Have you seen it?"
"Yes, it's charming—the music is very fine. All Paris was at the first night—I never go to the theatre except on first nights."
"Just fancy, they never take me to any theatre except the Opéra Comique and the Français, and only to the Français when there is a classical piece on. I think they are terribly dull, classical pieces. Only to think that they won't let me go to the Palais Royal! I read the pieces though. I spent a long time learning 'The Mountebanks' by heart. You are very lucky, for you can go anywhere. The other evening my sister and my brother-in-law had a great discussion about the Opera Ball. Is it true that it is quite impossible to go to it?"
"Impossible? Well——"
"I mean—for instance, if you were married, would you take your wife, just once, to see it?"
"If I were married I would not even take——"
"Your mother-in-law. Is that what you were going to say? Is it so dreadful—really?"
"Well, in the first place, the company is——"
"Variegated? I know what that's like. But then it's the same everywhere. Every one goes to the Marche and the company is mixed enough there. One sees ladies, who are rather queer, drinking champagne in their carriages. Then, too, the Bois de Boulogne! How dull it is to be a young person, don't you think so?"
"What an idea! Why should it be? On the contrary, it seems to me——"
"I should like to see you in my place. You would soon find out what a bore it is to be always proper. We are allowed to dance, but do you imagine that we can talk to our partner? We may say 'Yes,' 'No,' 'No,' 'Yes,' and that's all! We must always keep to monosyllables, as that is considered proper. You see how delightful our existence is. And for everything it is just the same. If we want to be very proper we have to act like simpletons; and for my part I cannot do it. Then we are supposed to stop and prattle to persons of our own sex. And if we go off and leave them and are seen talking to men instead—oh, well, I've had lectures enough from mamma about that! Reading is another thing that is not at all proper. Until two years ago I was not allowed to read the serials in the newspaper,
