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 the disapproval of the Academy of his Vieux Marcheur, played only after his election. These nervous elderly gentlemen, unacquainted with the literature of their new colleague, were desperately alarmed when they were made aware of the nature of this popular and shocking play. The sensations of the hen affrighted on the edge of a pool where her duckling is disporting were nothing to theirs; and so the author, at bay, took his revenge by endeavouring, with more talent than taste, to prove to them that, if they did not relish the Vieux Marcheur (something in the style of "sad old rake") out of their doors, they could be extremely indulgent to the same type of gentleman within those sacred precincts. At a more recent election, that of M. Paul Hervieu, M. Brunetière, reversing the order of contumely, was nothing loath to poke blame at the newly received Immortal because of his social cynicism and the unkind pictures M. Hervieu has drawn of the world of men and women M. Brunetière delights to honour. But we need not penetrate beneath the surface to explain such an inhospitable fashion of receiving a candidate into this classical club. M. Brunetière, the discoverer of Bossuet, is a fervent reactionary. The Church, the Army, Society,—behold his gods!—with the result that, in the deadly conflict waged for two years round an unfortunate Jew, M. Brunetière went with the unjust major-