to a "Chauvinist"; 'Ruines et Fantomes (1873). Les Femmes de la
Revolution (1898)' contains a great number of portraits, studies, and
criticisms, partly belonging to political, partly to literary, history.
To the same category belong: Moliere, sa Vie et ses OEuvres (1873);
Peintres et Sculpteurs Contemporains, and T. B. Carpeaux (1875); L'Art et
les Artistes Contemporains (1876)', and others. Quite different from the
above, and in another phase of thought, are: 'Voyages d'un Parisien
(1865); Journees de Voyage en Espagne et France (1870); Journees de
Vacances (1887)'; and others.

It is, however, as a novelist that the fame of Claretie will endure. He
has followed the footsteps of George Sand and of Balzac. He belongs to
the school of "Impressionists," and, although he has a liking for
exceptional situations, wherefrom humanity does not always issue without
serious blotches, he yet is free from pessimism. He has no nervous
disorder, no "brain fag," he is no pagan, not even a nonbeliever, and has
happily preserved his wholesomeness of thought; he is averse to exotic
ideas, extravagant depiction, and inflammatory language. His novels and
tales contain the essential qualities which attract and retain the
reader. Some of his works in chronological order, omitting two or three
novels, written when only twenty or twenty-one years old, are:
'Pierrille, Histoire de Village (1863); Mademoiselle Cachemire (1867);
Un Assassin, also known under the title Robert Burat (1867); Madeleine
Bertin, replete with moderated sentiment, tender passion, 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