ence in the book: it is absorbingly interesting, but it is neither romance nor history. "La Comtesse de Salisbury," published four years later, in 1839, is less readable. An admirable opening chapter is succeeded by long tracts of history, and only at brief intervals do the characters take life. This is the more to be regretted, as the episode of Edward III's guilty passion for his vassal's wife was a subject of which, in after-years, our more experienced author, emancipated from history, would probably have made much. The preface, which treats of the influence of Scott on the author and his fellow-romancers in France, is by far the most valuable part of the book.
Absorbed in travel and the drama, once again our romancer neglected the historical métier. "Pauline," a powerful little novel, some first indications of which appeared in his "Impressions de Voyage en Suisse," was published in 1838, and was much praised; and "Pascal Bruno," an episode of the days of Murat, was also suggested by the author's travels in Italy, and was coupled with "Pauline" in a volume entitled "La Salle d'Armes."
When Dumas produced his drama of "Caligula," he said to himself, "to study the corpse it is best to visit the tomb." He therefore went to Italy, and also "read up" the epoch, and the result was a romance
