existence. Ziska explains how Gilbert’s sword is to be blessed by a priest with a certain occult formula and if the weapon thus consecrated be driven through the Vampire’s heart it will once and for all rid the world of this infernal pest. Yet as she speaks she seems to vanish in flames and they hear her last sad sigh; “Adieu pour ce monde! Adieu pour l’autre! Adieu pour l’éternité”!
The final scene is a deserted cemetery. “Tombes, cyprès. Fond sombre et fantastique; neige sur la terre; lune rouge an ciel.” The Vampire lies half in and half out of his grave, grinning hideously. Gilbert is standing near. “Pour la dernière fois, adore Dieu!” he adjures. “Non,” yells the monster. “Alors, desespère et meurs”! cries Gilbert and plunges the hallowed sword into the monster’s heart. The Vampire falls back into the grave, howling fearfully, and a heavy stone closing him in fast seals him there in the womb of the earth for ever and ever. “Au nom du Seigneur, Ruthwen, je te seelie dans cette tombe pour l’éternité”, et Gilbert trace sur la pierre une croix que devient lumineuse. A great aureola fills the sky and multitudes of rejoicing angels are seen. Among them are Hélène and Juana, smiling in happiest benison, whilst there rises from the earth the body of Ziska, radiant and beautiful, to join the glorious throng among whose immortal ranks she is enrolled by the merits of her great act of renunciation and unselfish love.
This drama of Dumas is infinitely more elaborate than the play of Nodier, but I am not altogether certain whether it is in some respects so good a work. The first two acts attain a high level; the scene in the tapestry chamber would be most picturesque upon the stage; there are several other telling situations and effective speeches, but as a whole it is too prolix, and we feel that the episode of Antonia in particular is an anti-climax. Nor, as I have remarked before, although material use is made of the character, can one consider the figure of the ghoul entirely in keeping with the rest. Had the level of the opening scenes been maintained we should possess an excellent piece of work. But without concentration and compression that was hardly possible, and here we have the secret of Nodier’s success. Although he has an occasional crudity, it may be, which Dumas might not have tolerated, so swift is his action, as is essential to
