"Excuse me, Monsieur the Marquis-it is a pity-yes." The fountain was a little removed; for the street opened, where it was, into a space some ten or twelve yards square. As the tall man suddenly got up from the ground, and came running at the carriage, Monsieur the Marquis clapped his hand for an instant on his swordhilt.

"Killed!" shrieked the man, in wild desperation, extending both arms at their length above his head, and staring at him. "Dead!"

The people closed round, and looked at Monsieur the Marquis. There was nothing revealed by the many eyes that looked at him but watchfulness and eagerness; there was no visible menacing or anger. Neither did the people say anything; after the first cry, they had been silent, and they remained so. The voice of the submissive man who had spoken, was flat and tame in its extreme submission. Monsieur the Marquis ran his eyes over them all, as if they had been mere rats come out of their holes.

He took out his purse.

"It is extraordinary to me," said he, "that you people cannot take care of yourselves and your children. One or the other of you is for ever in the way. How do I know what injury you have done my horses. See! Give him that."

He threw out a gold coin for the valet to pick up, and all the heads craned forward that all the eyes might look down at it as it fell. The tall man called out again with a most unearthly cry, "Dead!"

Paris

BY ÉMILE ZOLA

(French novelist, 1840–1902, founder of the school of "Naturalism." The present is one of his later works, in which he indicates his hope of the regeneration of French society. The hero is a Catholic priest who first attempts to reform the Church, and then leaves it)

PIERRE remembered that frightful house in the Rue

des Saules, where so much want and suffering were heaped up. He saw again the yard filthy like a quagmire, the evil-smelling staircases, the sordid, bare, icy rooms, the families fighting for messes which even stray dogs would not have eaten; the mothers, with exhausted breasts, carrying screaming children to and fro; the old men who fell in corners like brute beasts, and died of hunger amidst filth. And then came his other hours with the magnificence or the quietude or the gaiety of the salons through which he had passed, the whole insolent display of financial Paris, and political Paris, and society Paris. And at last he came to the dusk, and to that Paris-Sodom and Paris-Gomorrah before him, which was lighting itself up for the night, for the abominations of that accomplice night which, like fine dust, was little by little submerging the expanse of roofs. And the hateful monstrosity of it all howled aloud under the pale sky where the first pure, twinkling stars were gleaming.

A great shudder came upon Pierre as he thought of all that mass of iniquity and suffering, of all that went on below amid wealth and vice. The bourgeoisie, wielding power, would relinquish naught of the sovereignty which it had conquered, wholly stolen; while the people, the eternal dupe, silent so long, clenched its fists and growled, claiming its legitimate share. And it was that frightful injus

tice which filled the growing gloom with anger. From what dark-breasted cloud would the thunderbolt fall? For years he had been waiting for that thunderbolt, which low rumbles announced on all points of the horizon. And if he had written a book full of candour and hope, if he had gone in all innocence to Rome, it was to avert that thunderbolt and its frightful consequences. But all hope of the kind was dead within him; he felt that the thunderbolt was inevitable, that nothing henceforth could stay the catastrophe. And never before had he felt it to be so near, amidst the happy impudence of some, and the exasperated distress of others. It was gathering, and it would surely fall over that Paris, all lust and bravado, which, when evening came, thus stirred up its furnace.

King Hunger

BY LEONID ANDREYEV

(Russian novelist and dramatist of social protest; born 1871. In this grim symbolical drama is voiced the despair of Russia's intellectuals after the tragic failure of the Revolution. In the first scene King Hunger is shown inciting the starving factoryslaves to revolt; in the second, he presides over a gathering of the outcasts of society, who meet in a cellar to discuss projects of ferocious vengeance upon the idlers in the ball-room over their heads, but break up in a drunken brawl instead. In the present scene, King Hunger turns traitor to his victims, and presides as a judge passing sentence upon them. The leisure class attend as spectators in the court-room, the women in evening gowns and jewels, "the men in dress coats and surtouts, carefully shaven and dressed at the wig-makers")

ING HUNGER:-Show in the first starveling.

ΚΙΝ

(The first starveling, a ragged old man with lacerA wire muz

ated feet, is conducted into the court-room.

zle encases his face.)