relate to the theatre, of which he was such an habitué, and the drama, of which he was such a master. "Before telling one of the best of these," (says Mr W. H. Pollock), "it is necessary to remember that Pierre Corneille, the great dramatist, had a younger brother named Thomas, who had a considerable talent which was completely overshadowed by the greater genius of his brother. There was also in the height of Dumas's success another playwright—no relation of his—who bore the name of Dumas. This writer produced a play which is forgotten now, but which on the night of its production had enough success to intoxicate the author with joy. After the curtain had fallen, the obscure Dumas came into the box of the great Dumas and said:
"'Ah! after to-night people will talk of the two Dumas as they talk of the two Corneilles!'
"'H'm!' said the great man, looking at him from head to foot—'adieu, Thomas!'"
The phrase "the French Sheridan occurs irresistibly to the mind, when one remembers the Master's wit and improvidence. There is something very like the author of the "School for Scandal" about the hero of the following story.
One evening at the Théâtre Français Dumas saw one of the audience asleep in his stall during the representation of a play by Soumet.
