his two great novels with delight. Mérimée, a born conteur, subdued his chagrin to an agreeable tartness in his stories, and let it consume his own life instead. Flaubert controlled the mood by his faith that there was an ideal beauty in the real. Maupassant, great artist though he was, could not control it. Towards the end of the 19th century it is no longer one or two minds, but a whole generation, which seems stricken with disenchantment. When France was still benumbed by a great national disaster, and the Naturalist school were reducing life and action to physiological terms, there was some excuse for depression. For that generation there seemed to be no refuge except the indulgence of fine perceptions, or the easy superiority of dilettantism. Many currents of disillusion meet in the exquisite impressionism and incurable sadness with which M. Pierre Loti has seen the fair regions of the earth. There is an obvious strain of dilettantism in the earlier work of M. Anatole France; but he could shake off this to do battle for a cause, and he has risen beyond it to be the sage and ironist of his time, humane and yet malicious, as bitter on occasions as Voltaire, but with rather more humour and compassion than Voltaire possessed.

But this is not the last word of the French novel, for the attitude of the new generation is not the attitude of Anatole France. Indeed, it was by express reaction from him that the most original of the young novelists, the late Charles-Louis Philippe, defined his position. The age of urbane and cultured art, he thought, was over. 'Maintenant il faut des barbares.' This is more than an outcry against intellectual elegance, though Philippe wrote with deliberate naïveté as a man of the people. It means that the freshness of experience is preferred to a cool comment on it; the new writers would exchange the analysis of motives for a sounding of consciousness from within. Dostoevsky's name has been invoked in the quest, and with reason, for its object is to reach a deeper intuition through sympathy. M. Maurice Barrès foreshadowed the change by passing from brilliant studies in egoistic psychology to the discovery of those primal ties of fellowship which are bound up for him with la terre et les morts. Outside the novel, the work of Péguy and M. Claudel appeals

directly to the life of the spirit; and a similar movement among French thinkers has been equally clear.

The novel can scarcely lose by this impulse, which seems too general to be shut up in mystical formulas or sterilised by political nationalism. The special gifts which have marked French novelists show no signs of disappearing. Nothing is likely to rob them of their instinct for a story, or of the art of easy communication, the care for method in which they are so plainly our superiors, and the brilliance of style which has distinguished author after author from George Sand to M. Barrès. Their general outlook can change only as the French mind changes. On the whole it has been more psychological than philosophic. French novelists have preferred to paint and analyse people as social beings rather than as individuals face to face with destiny; they seldom raise those final questions which English and Russian novelists, even when they do not expressly ask them, constantly suggest. But the new tendency we have mentioned seems to open a fresh range of feeling here; and fiction offers endless chances of testing it to the successors of Marivaux and Stendhal.

ARTHUR MCDOWALL.

Art. 5.-A SERBIAN ANGLOPHIL, DOSITHEUS OBRADOVIĆ.

1. Serbia of the Serbians. By C. Mijatovich. London, 1915.

2. Dosithej Obradovic i ego literaturnaja dejatelnost. By K. Th. Radchenko. Kieff, 1897.

3. Dositheus Obradovic's Klosterjahre. By T. Ostojić. Archiv für slav. Philologie, XXX, 1908.

4. Srpska Knjizevnost u XVIII veku. By J. Skerlić. Belgrade, 1909.

5. La renaissance intellectuelle de la nation serbe. Vol. II. Dosithée Obradovich. By Louis Léger. Journal des Savants, No. 10 (October 1911).

6. Prilozi K. bavljenju Dositeja Obradovića u Engleskoj. By V. Milićević. Sarajevo, 1911.

7. Dela Dositeja Obradovića. Belgrade, 1911.

LITERARY links between England and Serbia are not rare. Many English poets, novelists and other writers have been translated into Serbian; and some of these have exercised a notable influence upon the literature of Serbia, and on that of the Jugoslavs in general. As I have no intention of giving an exhaustive bibliography of Anglo-Serbian literature, I will merely mention a few examples. Twenty-two of Shakespeare's plays have been translated into Serbian; and many a Serbian dramatist has modelled his plays on those of the great English poet.* Milton's 'Paradise Lost' was translated long ago, and, moreover, furnished our greatest poet, Niegos, with the inspiration for one of his finest poems. Butler's 'Hudibras' was a favourite book of J. S. Popović, one of our best humorous writers, just as Pope's Essay on Man' was dear to our lyric poet Mušicki. The Pilgrim's Progress,' 'Robinson Crusoe,' Gulliver's Travels,' The Sentimental Journey' and 'The Vicar of Wakefield,' have all been translated into Serbian. Tristram Shandy' and The Vicar of Wakefield,' Tom Jones' and 'Clarissa Harlowe,' were held up as models to our authors by a Serbian critic in 1818, and 'Pamela' even earlier, in

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See I. Gollancz, A Book of Homage to Shakespeare,' Oxford, 1916, pp. 524-527; P. Popović, 'Shakespeare in Serbia.'

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1783. Gray's Elegy written in a Country Churchyard' was translated in 1843. Addison's 'Spectator' and Johnson's Rambler' were not unknown to our 18th-century writers. Sir Walter Scott exercised a decisive influence upon J. Jurčić, a Slovene, the author of several historical novels. In 1862 we find Southey quoted, in English, in a Slovene short story. Burns, Shelley and Moore are somewhat fragmentarily represented in our literature, but Lord Byron is very popular. Many of his poems have been translated, among them 'Childe Harold,' 'The Giaour,' The Bride of Abydos,' 'Parisina,' 'The Prisoner of Chillon,' 'Manfred,'' Mazeppa' and 'Don Juan.' He also inspired one of our best Serbian poets, Radićević, who modelled one of his poems, 'Stojan,' on 'Lara,' and another on 'Don Juan.' Lord Lytton's Last Days of Pompeii' has delighted many young generations of Serbians. Tennyson's Enoch Arden ' has been translated, as have some of the shorter poems of Swinburne and D. G. Rossetti. Other important translations are those of Dickens' 'David Copperfield,' 'Oliver Twist,' 'The Pickwick Papers,' 'A Christmas Carol,' etc. George Eliot's 'Mill on the Floss' and Brother Jacob' are also

translated.

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Carlyle's 'Heroes' and Macaulay's Essays' have not been overlooked. Buckle's 'History of Civilisation in England' was a great favourite with our scholars, and has been twice translated. Whewell's History of the Inductive Sciences was translated long ago. For many years Prof. Nedić based his course of University lectures upon John Stuart Mill's 'System of Logic,' just as Svetozar Marković based his work on Mill's 'Political Economy.' Mill's essays on 'Liberty' and the 'Subjection of Woman' have also been translated, the former by King Peter himself. Gladstone, as is only natural, is very popular with the Serbs. Slobodan Jovanović has given us an excellent essay on Lord Morley, and another on Mr Arthur Balfour. Charles Darwin attracted the attention of our translators so far back as 1869. His 'Origin of Species' was translated by Radovanović, a very gifted young student of natural science; and a translation of the 'Descent of Man' was ready just before the outbreak of the recent war. John Tyndall and Sir John Lubbock are held in great esteem by our authorities on

natural science. Some of their books and essays, 'Faraday as a Discoverer,' 'The Pleasures of Life,' etc., were translated long ago; the same applies to some of Huxley's essays. Macmillan's 'Series of Scientific Primers' was a great delight in my young days; and the names of Sir H. E. Roscoe, Balfour Stewart, Sir Archibald Geikie, Sir M. Foster, Sir Norman Lockyer and Sir J. D. Hooker, became quite familiar to Serbian boys.

But of all Anglo-Serbian literary links, one of the most interesting is that represented by the Serbian 18thcentury writer, Dositheus Obradović, who familiarised the Serbian reading public with the ideas and works of Addison and Dr Johnson, and whose name is known and held in honour by every Serbian. He is our foremost moral philosopher, and one of our greatest social reformers. He ranks among our best stylists; he created our modern literary language. His attachment to England, his visit to London in 1784-'5, and the influence of English literature upon his work, are special reasons, in addition to his importance as a man of letters and a leading figure in the Serbian renaissance, why we should give some account of him here.

Obradović was born in 1742 of poor parents, in a village near Temesvar in the Banat, that part of South Hungary which is inhabited by Serbs. His parents died soon after his birth; and he began life as an apprentice in his native village. But his passion for books was so strong that he spent all his spare time in reading as soon as the day's work in the shop was over. He was a great reader, and that by nature. But he was placed in somewhat exceptional circumstances. As his parents were dead, and there was no one to take their place, his future depended entirely upon his own ideas of life. In some of these ideas Obradović was right, in others wrong. He was right in his craving for books and learning. But, as his reading was in the main restricted to lives of the saints and accounts of the miracles they performed, he became so wrapped up in this kind of literature that he thought quite seriously of taking up his abode in a desert, of becoming a saint, and eventually working miracles himself. Once he actually tried to run away, with the intention of seeking a suitable desert in Turkey;