the table delighted; but that he himself reverses the process, leaving the guests to go out on the house-tops and revile the stupid chef's bill of fare.
But it was another thing entirely, when Dumas thought of Scott as a possible pattern for himself, in the self-imposed task of writing the history of France in romance. In two important respects the genius of the younger man broke away from his teacher's style.
"The qualities of Walter Scott are not dramatic qualities," he declared. "Admirable in the portrayal of manners, costumes and characters, he was completely unable to paint passions. The only 'romance of passion' amongst his novels is 'Kenilworth.'... My analysis of Scott's books taught me to see the romance from another point of view to that familiar to us in those days. The same fidelity to manners, costumes, and characters, with a brighter, more natural dialogue, and with passions that were more life-like—these appeared to me to be what we needed."
In course of time Dumas applied these beliefs of his, enormously aided by the experience and discipline of fifteen years of play-writing. The result we know.
One of Sir Walter's most fervent admirers, Mr Lang, has underlined much that we have already implied, and though he probably ranks Scott higher
