exile is whiling away his solitude reading 'Les Trois Mousquetaires,' under the shade of his parrot-feathered umbrella."
In his preface to the romance, Dumas has confessed the chief source of his inspiration—Courtils de Sandraz's "Mémoires de D'Artagnan," which in turn was probably more than half-fiction, although, of course, a soldier of that name lived, fought, sinned, and died in those times. "I think I like D'Artagnan in his own 'Mémoires' best," wrote Thackeray. Mr Lang does not agree with him, nor, we may add our testimony, do we. To read the "Mémoires" and then the romance is to undergo a revelation. Mingled with this sordid story of closet-intrigue and kitchen-amours, Dumas, with his keen scent for the picturesque, found excellent material for a splendid story; and his admirable taste is shown not only in what has been utilised, but in what has been omitted. Only one questionable incident has been employed, and that because it has an important bearing on the plot of the romance and its sequel. "It has passed through a medium, as Dumas himself declared, of natural delicacy and good taste." These chapters about Kitty and Miladi, Sir Herbert Maxwell reminds us, in his article on "The Real D'Artagnan," did not escape their author's criticism.
"It is told that Dumas in after-life expressed
