the rare literary and historical merits of the story of "Perrinet Leclerc," and comparing it, greatly to its advantage, with "Le Fils Emigré," for which Dumas was only partly responsible! But the best was yet to come; for when Dumas re-issued "Isabel de Bavière" in book-form the critics fell foul of him for stealing from MM. Bourgeois and Lockroy!
It is best to recognise that the charge of "plagiarism" has been brought against almost every dramatist of weight since plays first were written; and one of Dumas's defenders has made a full and instructive list of the "thefts" attributed to Shakespeare, Molière, Sheridan, and even the classical writers themselves. It is in our view simply a question whether the "borrower" does or does not add to the value of the material he uses; whether he imprints the personality of his own talent upon it. Surely Dumas did that. "All his plagiarisms, and they were not a few," says Brander Matthews, "are the veriest trifles when compared with his indisputable and extraordinary powers ... It irks one to see Dumas pilloried as a mere vulgar appropriator of the works of other men."
The cry "plagiarist!" was not raised so loudly or generally against Dumas's romances, and such charges as were brought we have already dealt with. It was now that the cry of "collaborators!"
