Schopenhauer has perhaps become more at home, and more indigenous than he has ever been in Germany; not to speak of Heinrich Heine, who has long ago been re-incarnated in the more refined and fastidious lyrists of Paris; or of Hegel, who at present, in the form of Taine — the FIRST of living historians — exercises an almost tyrannical influence. As regards Richard Wagner, however, the more French music learns to adapt itself to the actual needs of the AME MODERNE, the more will it “Wagnerite”; one can safely predict that beforehand, — it is already taking place sufficiently!

There are, however, three things which the French can still boast of with pride as their heritage and possession, and as indelible tokens of their ancient intellectual superiority in Europe, in spite of all voluntary or