The last of the "romances of exile," the "Pasteur d'Ashbourn," is said to have been drawn from an English source. On the other hand, Parran, who made considerable researches into the dates and origins of Dumas's works, believed both in its genuineness and its merit. "It reveals a new side to his talent," he declares. To this we are regretfully unable to subscribe. Apart from the story of "la Dame Grise" which it contains, and which may have been suggested by Marie Dorval's passionate and unconquerable grief for her dead child, the novel would seem to have originally been a German attempt to copy Goldsmith or Richardson. Probably something in this story attracted Dumas and caused him to translate and transform it. The novel is obviously incomplete as it stands, but we can find no trace of a sequel, which perhaps its lack of success did not encourage the author to supply. "La Boule de Neige" (or "Moullah-Nour") is also a translation or adaptation of a story by Marlinsky, but the humour with which it is told makes it our author's own, if not by right of ownership, then by right of "conquest."
The year 1854 saw Dumas back in Paris and installed in the editorial chair of the Mousquetaire. "Saltéador" (or "The Brigand"), which appeared in the great man's journal, was announced in the master's introductory note as by another hand; but,
