There was expected of him, however, an idea which was not quite realized. Appearing upon the literary stage at a period when Naturalism was triumphant, it was for a moment believed that he would restore Idealism in the manner of George Sand.
In any case the hostile critics have lost. For years public opinion has exalted him, and the reaction is the more significant when compared with the tremendous criticism launched against his early romances and novels.
A list of his works follows:
Serge Panine (1881), crowned by the French Academy, has since gone through one hundred and fifty French editions; Le Maitre des Forges (1882), a prodigious success, two hundred and fifty editions being printed (1900); 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.
His exposition, I repeat, is startlingly neat, the development of his plots absolutely logical, and the world has acclaimed his ingenuity in dramatic construction. He is truly, and in all senses, of the Ages.
de l’Academie Francaise
THE HOUSE OF DESVARENNES
The firm of Desvarennes has been in an ancient mansion in the Rue Saint Dominique since 1875; it is one of the best known and most important in French industry. The counting-houses are in the wings of the building looking upon the courtyard, which were occupied by the servants when the family whose coat-of-arms has been effaced from above the gate-way were still owners of the estate.