my own composition; I enter into their characters, I utilise their originality. If the interval lasts only ten minutes, it is more than I require to build for them the house of cards in which I instal them, and my own particular paste-board house is scarcely ever the same as the author's. With historical pieces it is much worse. I bring my play, of course, built upon the title, and as it is written with all my natural defects—that is to say, with abundance of details, absolute rigidity of characters, and double, triple, quadruple intrigue —it is very seldom that my play resembles in the least the one which is being played. This is a real trouble to me, although to other people it is a source of amusement."
The great romancer's frank confession as to his lack of education as a youth has prompted his detractors to pronounce him ignorant. They pretend that the author of "Antony" wished to destroy the fame of Corneille and Racine; because Dumas's sentiments towards the two national poets was a discriminating admiration rather than blind worship. In reality he admired the highest in literature; and as a rule instinctively recognised it, and judiciously proclaimed it. We know him as yielding to no Frenchman, not even Hugo, in his veneration for Shakespeare; Andrew Lang, no mean authority, testifies to Dumas's sound appreciation of the greatness of Homer; and this
