without unnecessary haste; every scene is to be enjoyed as it passes; and one is impressed throughout by the power that the author keeps in reserve for each of his climaxes."
In short, although Dumas found his inspiration in Scott, the style of the Frenchman's romances was essentially different. He wrote with a lighter, bolder touch. He got rid of all the impedimenta which baulked the Scotsman's speed. His books contain little or no background; he is not concerned with scenery; still-life has no attraction for him. Nor do his heroes indulge in the torments of mind which assail the old-fashioned English hero: they simply speak and act.
Nothing, however, can be so instructive as a test-comparison of novels by the two romancers—say "Waverley" and "Les Trois Mousquetaires." Take it as granted that it is a story's first duty to be readable, and that one's attention should be seized as quickly as possible; and with this common-sense fact in mind, dip first into the Scottish and then into the French romance.
"Waverley's" first nine chapters are devoted successively to an introduction, the hero's birth, his education, his day-dreams, his appointment to the army, and his departure from home, with a description of a Scottish "horse-quarter," a manor-house, and again, the manor-house. You have
