This chapter discusses Sorel's chef doeuvre to prove that Sorel is more than merely interested in the myth of the general strike and is more than primarily a theorist of "violence". Sorel's moral severity is amplified by an extremely didactic style which leaves the superficial reader with the impression that he is reading political tracts rather than elevated theory. Many writers view Sorel as an irrelevant voice of the past or as a reactionary of the worst order. If one were to use political allegiances as a means of evaluating a person's social theory, the best argument to sustain Sorel's "Fascism" would be his brief flirtation with the rightist Action Francaise just prior to World War I. The more people read Sorel, the less relevant his biography or even his political allegiance of the moment becomes, for Sorel is best regarded not as a propagandist and proponent of "engagement" but as a highly suggestive social theorist, in the grand manner.