troupes of actors already established in the Paris theaters shall be requisitioned in turn to act in these popular productions, which are to take place three times in every decade.
A few weeks later there appeared another decree, inviting the poets "to celebrate the principal events of the French Revolution, to compose Republican plays, and picture for posterity the great epochs of the regeneration of the French, and give to history that solid character which is fitting for the annals of a great people who have fought victoriously for their liberty, in spite of the opposition of all the tyrants of Europe."
"All these projects for Republican art," says M. Rolland, "fell, on the 9th of Thermidor, together with the chiefs of the Republic."
When, early in 1903, Romain Rolland and a few associates began writing for the Revue d'Art Dramatique a series of articles on the people's theater, they were merely "following the tradition interrupted by the events of the Revolution; and it was but natural that one of them was led to select the Revolution itself as the natural subject for popular productions. The three plays were to have been part of a dramatic cycle on the Revolution—a sort of epic comprising ten plays. Le 14 Juillet was the first page, and Danton, the center, the decisive crisis, wherein the reason of the chiefs of the Revolution seemed to waver, and their common faith be sacrificed to personal hatred. In Les Loups, where the Revolution is depicted on the field of battle, and in Le Triomphe de la Raison, where
