upon Dumas simply as a writer of fiction, and are ignorant of his plays, the French regard him almost exclusively as a dramatist. "This," says Blaze de Bury shrewdly, "is because the imperturbable entomological public loves classification, and will only judge a man from one point of view."
Unable as we are to prove Dumas's merits as a playwright by instance and reminder, to readers unacquainted with his stage triumphs, we must again have recourse to "expert opinion," and show indirectly, and as concisely as possible, the high position which Dumas occupies in the ranks of the world's dramatists.
He possessed the "dramatic instinct" to the full. "He is not a dramatic author; he is the drama incarnate!" cried Fiorentino. Dumas has told us, with a pride which is justifiable, that all he needed was the bare apparatus of a stage, "two actors, and a passion." In this he is held to have been superior—as a craftsman—to his friend and rival, Victor Hugo. Whatever Heine was as a dramatic critic, he was a man of piercing insight where his prejudices did not obscure his view, and further, a keen student of the literature of his time; and this is what he says of the two authors, in his letters on the French stage:
"The best tragic poets in France are still Alexandre Dumas and Victor Hugo. I put the
