and
exquisite scenes of social life (1868); Les Muscadins (1874, 2 vols.);
Le Train No. 17 (1877); La Maison Vide (1878); Le Troisieme dessous
(1879); La Maitresse (1880); Monsieur le Ministre (1882); Moeurs du Jour
(1883); Le Prince Zilah (1884), crowned by the Academy four years before
he was elected; Candidat!(1887); Puyjoli (1890); L'Americaine (1892);
La Frontiere (1894); Mariage Manque (1894); Divette (1896); L'Accusateur
(1897), and others.

It is, perhaps, interesting to know that after the flight of the
Imperial family from the Tuileries, Jules Claretie was appointed to put
into order the various papers, documents, and letters left behind in
great chaos, and to publish them, if advisable.

Very numerous and brilliant have also been the incursions of Jules
Claretie into the theatrical domain, though he is a better novelist than
playwright. He was appointed director of the Comedie Francaise in
1885. His best known dramas and comedies are: 'La Famille de Gueux, in
collaboration with Della Gattina (Ambigu, 1869); Raymond Lindey (Menus
Plaisirs, 1869, forbidden for some time by French censorship); Les
Muscadins (Theatre Historique, 1874); Un Pyre (with Adrien Decourcelle,
Gymnase, 1874); Le Regiment de Champagne (Theatre Historique, 1877);
Monsieur le Ministre, together with Dumas fils and Busnach (Gymnase,
1883); and Prince Zilah (Gymnase, 1885).

Some of them, as will be noticed, are adapted to the stage from his
novels. In Le Regiment de Champagne, at least, he has written a little
melodramatically. But thanks to the battles, fumes of powder, muskets,
and cannons upon the stage the descendants of Jean Chauvin accept it
with frenetic applause. In most of the plays, however, he exhibits a
rather nervous talent, rich imagination, and uses very scintillating and
picturesque language, if he is inclined to do so--and he is very often
inclined. He received the "Prix Vitet" in 1879 from the Academy for Le
Drapeau. Despite our unlimited admiration for Claretie the journalist,
Claretie the historian, Claretie the dramatist, and Claretie the
art-critic, we think his novels conserve a precious and inexhaustible
mine for the Faguets and Lansons of the twentieth century, who, while
frequently utilizing him for the exemplification of the art of fiction,
will salute him as "Le Roi de la Romance."

COMPTE D'HAUSSONVILLE
de L'Academie Francaise.

PRINCE ZILAH

BOOK 1.

CHAP