brated, nor their merit, for they have it still, and in plenty. For the rest, they have never pitied themselves: on the contrary, the proudest of them have congratulated themselves on having been to such a good school, and it is with a true veneration that the greatest of them, M. Maquet, speaks of his old friend."
The great romancer frequently protested against the word "collaborators," and he was right, for it implies an equality in quantity and quality of the work done which was not justified. "Dumas's method," says Mr Lang, "apparently was first to talk the subject over with his aide-de-camp. This is an excellent practice, as ideas are knocked out, like sparks (an elderly illustration), by the contact of minds. Then the young man probably made researches, put a rough sketch on paper, and supplied Dumas, as it were, with his 'brief.' Then Dumas took the 'brief' and wrote the novel. He gave it life—he gave it the spark (l'étincelle), and the story lived and moved."
The testimony of one of the great man's best collaborators is valuable evidence on this point. Fiorentino, in his "Comédies et Comédiens," writes: "How many believed themselves his collaborators who were only his confidants!... In his books, but above all, in his plays, his collaborators had only the smallest share. He remodelled the scenarios,
