instead of two, our puppy-dogs, drunk with moonshine, would manage to look at them all and not see any of them!"
It was the fashion to treat our author as the chief of a school of second-rate writers of popular stories, which were "turned out" hastily, and which therefore possessed no claim to criticism. "Dumas," adds Dr Garnett, "exceptionally passed for long as an example of this inferior grade of authorship. At one time it would have been thought absurd to parallel him with deep thinkers like Balzac, or exquisite artists like George Sand. 'Monte Cristo' and the 'Three Musketeers' were ranged along with 'The Mysteries of Paris' and 'The Wandering Jew,' and the circumstances of their reproduction in England showed that they were expected to appeal to readers of the same class. Yet as time passed, and mere clever melodrama gave place to other clever melodrama but Dumas retained his power and popularity, it became clear that his work really belonged to the domain of literature. In adjusting the relations between Dumas and his critics, it must be remembered that he did not, like some of the literary heroes of his age, take the world by storm with his earliest writings.... But Dumas had acquired a good sound reputation as a second-rate romancer before writing 'Monte Cristo,' and criticism was naturally slow to accept him as a genius."
