gerous milk of French naturalism." He sees nature through his soul rather than his eyes, and has been much influenced by the mystics of Russia, Germany and Scandinavia. His style is derived chiefly from the Portuguese group of which Eça de Queiroz is the outstanding figure, and his language has been much affected by this attachment to the mother country. His chief stylistic quality is an epic note, tempered by a sentimental lyricism.
In his book Le Roman au Brésil (The Novel in Brazil, which I believe the author himself translated from the original Portuguese into French) Benedicto Costa, after considering Aluizio Azevedo as the exponent of Brazilian naturalism and the epicist of the race's sexual instincts, turns to Coelho Netto's neo-romanticism, as the "eternal praise of nature, the incessant, exaggerated exaltation of the landscape . . ." In Netto he perceives the most Brazilian, the least European of the republic's authors. "One may say of him what Taine said of Balzac: 'A sort of literary elephant, capable of bearing prodigious burdens, but heavy-footed.' And in fact . . . he reveals a great resemblance to Balzac,—a relative Balzac, for the