Although the two writers have little else in common, both are intensely conscious of the tremendous, if imponderable, impact of elemental and universal forces upon personality, of the profound modifications which natural and social environment unconsciously impress upon the individual life, and of the continual interaction of forces by which the course of life is changed more fundamentally than by less imperceptible influences.

Both M.Romains and M.Barbusse perceive, as the fundamental factor influencing human life, the contraction and expansion of physical and spiritual relationship, the inevitable ebb and flow perceived by the poet who pointed out that we cannot touch a flower without troubling of a star.
M.Romains has found his literary medium in what he calls unanimism.
While M.Barbusse would not claim to belong to the same school, and in fact would appear on the surface to be at the opposite pole of life in his philosophy, we shall find that his detachment, founded, though it is, upon solitude, takes essentially the same account of outside forces as the philosophy of M.Romains.
He perceives that each man is an island of illimitable forces apart from his fellows, passionately eager to live his own life to the last degree of self-fulfilment, but continually thwarted by nature and by other men and women, until death interposes and sets the seal of oblivion upon all that he has dreamed and sought.
And he has set himself the task of disengaging, as far as possible, the purpose and hope of human life, of endeavouring to discover what promise exists for the future and how this promise can be related to the present, of marking the relationship between eternity and time, and discovering, through the tragedies of birth, love, marriage, illness and death, the ultimate possibility of human development and fulfilment.
"The Inferno" is therefore a tragic book.

But I think that the attentive reader will find that the destructive criticism of M.
Barbusse, in so far as it is possible for him to agree with it, only clears away the dead undergrowth which obscures the author's passionate hope and belief in the future.
Although the action of this story is spiritual as well as physical, and occupies less than a month of time, it is focussed intensely upon reality.

Everything that the author permits us to see and understand is seen through a single point of life--a hole pierced in the wall between two rooms of a grey Paris boarding house.

The time is most often twilight, with its romantic penumbra, darkening into the obscurity of night by imperceptible degrees.
M.Barbusse has conceived the idea of making a man perceive the whole spiritual tragedy of life through a cranny in the wall, and there is a fine symbolism in this, as if he were vouchsafing us the opportunity to perceive eternal things through the tiny crack which is all that is revealed to us of infinity, so that the gates of Horn, darkened by our human blindness, scarcely swing open before they close again.
The hero of this story has been dazzled by the flaming ramparts of the world, so that eternity is only revealed to him in fiery glimpses that shrivel him, and he is left in the dark void of time, clinging to a dream which already begins to fail him.
And the significant thing about this book is that the final revelation comes to him through the human voices of those who have suffered much, because they have loved much, after his own daring intellectual flights have failed him.
So this man who has confronted the greatest realities of life, enabled to view them with the same objective detachment with which God sees them, though without the divine knowledge which transmutes their darkness, comes to learn that we carry all heaven and hell within ourselves, and with a relentless insight, almost Lucretian in its desperate intensity, he cries: "We are divinely alone, the heavens have fallen on our heads." And he adds: "Here they will pass again, day after day, year after year, all the prisoners of rooms will pass in their kind of eternity.