La Comtesse Sarah (1882); Lise Fleuyon (1884); La Grande Maynieye
(1886); Les Dames de Croix-Mort (1886); Volonte (1888); Le Docteur
Rameau (1889); Deynier Amour (1889); Le Cure de Favieyes (1890); Dette
de Haine (1891); Nemsod et Cie. (1892); Le Lendemain des Amours (1893);
Le Droit de l'Enfant (1894.); Les Vielles Rancunes (1894); La Dame en
Gris (1895); La Fille du Depute (1896); Le Roi de Paris (1898); Au Fond
du Gouffre (1899); Gens de la Noce (1900); La Tenibreuse (1900); Le
Cyasseur d'Affaires (1901); Le Crepuscule (1901); Le Marche a l'Amour
(1902).

Ohnet's novels are collected under the titles, 'Noir et Rose (1887) and
L'Ame de Pierre (1890).

The dramatic writings of Georges Ohnet, mostly taken from his novels,
have greatly contributed to his reputation. Le Maitre des Forges was
played for a full year (Gymnase, 1883); it was followed by Serge Panine
(1884); La Comtesse Sarah (1887). La Grande Mayniere (1888), met also
with a decided and prolonged success; Dernier Amour (Gymnase, 1890);
Colonel Roquebrune (Porte St. Martin, 1897). Before that he had already
written the plays Regina Sarpi (1875) and Marthe (1877), which yet hold a
prominent place upon the French stage.

I have shown in this rapid sketch that a man of the stamp of Georges
Ohnet must have immortal qualities in himself, even though flayed and
roasted alive by the critics. He is most assuredly an artist in form,
is endowed with a brilliant style, and has been named "L'Historiographe
de la bourgeoise contemporaine." Indeed, antagonism to plutocracy and
hatred of aristocracy are the fundamental theses in almost every one of
his books.