surely those who recognise the existence of such a study as the Art of Narrative will admit that Scott the poetic novelist was often terribly hampered by Scott the antiquarian and archaeologist. In searching out details, in verifying references, and the other work of preparation the imagination is naturally restrained, the fancy is deadened, the mental energies turn in the direction of the trivial, the precise, the formal. Charles Reade, a master of narrative, too frequently gives us a glimpse of Reade the compiler of cuttings-books. Dumas himself offers a still more glaring example; for when preparing "La San Felice" he made his own researches into the original documents, and, seeing the historical and picturesque importance of each, he wrote a story full of detail and long parentheses, which only his great skill saved from being dull and drawn-out. If the facts had been brought to him already ferreted out, he would have seen and seized on the salient points, and have written a romance half the length, but with ten times the brilliance and engrossing charm.
It frequently proclaimed, by people imperfectly acquainted with Dumas's novels, that they are immoral in nature and tendency. It must be confessed that this is true—if books dealing with pitch must of necessity be themselves defiled. He attempted to teach his fellow-Frenchmen the history
