of the “Hydropathies” and the “Hirsutes” from the Latin Quarter—The Grand’ Pinte—Rodolphe Salis—The origin, career, and influence of the Chat Noir—Its successors and imitators—Closest existing counterparts of the Chat Noir—Le Conservatoire, Le Cabaret des Quat’z’ Arts, Le Cabaret des Arts, La Veine, La Boîte à Fursy, and Le Tréteau de Tabarin—Bohemian conclaves which have superseded the cabarets—The chanson as a moulder of public opinion—Revolutionary chansons in Montmartre cabarets—Jules Jouy, Maxime Lisbonne, Marcel Legay, Gaston Couté, Xavier Privas—Cabarets brutaux—Bruant’s Mirliton, Alexandre’s Cabaret Bruyant—Three poets of talent imbued with a revolutionary spirit, Bruant, Jehan Rictus, Maurice Boukay—The revolutionary traditions of Montmartre—Bourgeois fear of Montmartre—“Montmartre va descendre”—The relations between the workingmen, the littérateurs, and the artists at Montmartre—Their revolutionary spirit.

  XVII. The Revolutionary Spirit in Prose Literature and the Drama 313   The revolutionary attitude of Tolstoy, Ibsen, and Zola—Revolutionary influence of Anatole France and Octave Mirbeau—Lucien Descaves—Victor Barrucand and his campaign for free bread—Other novelists whose works have a revolutionary trend—Revolutionary psychology—Rosny’s Le Bilatéral—Other fiction writers who understand the gravity of the issue—The influence of “les auteurs gais”—Essayists, critics, and philosophers who are more or less militant iconoclasts or révoltés—The origin and influence of L’Endehors—The subsequent activity of the Endehors group—The group of L’Idée Nouvelle—Revues des jeunes—Other revues hospitable to revolutionary writings—Octave Mirbeau, Lucien Descaves, Maurice Donnay—Other playwrights whose pieces are frankly revolutionary—Playwrights whose works are revolutionary by implication—The Théâtre Libre and its successors—Variety theatres and concert halls—The trend of literature from socialism to anarchism—The testimony of Clovis Hugues and Fierens-Gevaert—The relation of the French libertaire literary movement to that in other European countries.   XVIII. The Revolutionary Spirit in Poetry, Music, and Art 361   The anarchistic spirit more or less natural to the poet—Revolutionary singers in France at the beginning of the nineteenth century—Hégésippe Moreau, Victor Hugo, Eugène Vermesch—Living poets of revolt—Laurent Tailhade, Jean Richepin—Tailhade’s imprisonment—The socialist poets Clovis Hugues and Maurice Bouchor—The relations between freedom of expression and freedom of thought in poetry—More revolutionists among artists than in any other class engaged in liberal pursuits—Courbet, Cazin, Carrière—Impressionism and the revolutionary spirit—Luce and Signac—The Salon des Indépendants as a refuge for revolutionists—The import of the work of Rodin and Meunier—Jules Dalou—Painters who picture the Christ in a modern setting—The revolutionary leanings of the dessinateurs—Léandre, Forain, Hermann-Paul, Willette, Steinlen—L’Assiette au Beurre—The revolutionary attitude of the great body of contemporary French caricaturists towards the institutions of society—Bernard Shaw’s comment on the music of Wagner—Wagner as a revolutionist—The revolutionary spirit in the new school of French music—Alfred Bruneau and Gustave Charpentier—Louise—The evident connection between the anarchistic philosophy and polyphonic orchestration, vers libre, and impressionism in art.   XIX. To What End? 391   The advice of Gamaliel, the Pharisee, on innovators in religion and the words of Montaigne concerning the strange and the incredible—The proper province of philosophic doubt—“La folie d’hier est la sagesse de demain”—The difficulty with which human nature realises the truth of the maxim—The attitude of public opinion to Barrucand’s scheme for free bread—Pertinent questions regarding the alleged unreasonableness of revolutionary theories—The theories of anarchism and socialism in comparison with the history of social evolution—The natural result of education of the masses—A successful social revolution no guarantee of a millennium—The essentials of happiness found in the eternal realities of life.  

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Sellers of Chansons	Frontispiece
The Anarchist’s Dream	Vignette Title-page
Place Clichy (Vignette Section Title)	Page	1
Jean Grave in his Workshop	facing    ”	10
La France Libre (Tailpiece)	”	22
Mauled to Death for shouting “Vive l’Armée”	”	35
A Contrast in Dances:—
I. A Ball at the Maison du Peuple	facing    ”	38
II. Dancing at the Moulin Rouge	”	38
A Trimardeur disputing with Socialists	”