their styles are so opposite. To those who love the Scot Dumas is frivolous and outré; to those who are in sympathy with the French spirit, Scott is dull and sluggish. But there can surely be no reasonable doubt as to which is the master and pioneer of the story of adventure as we know it to-day.
The changes which have come over the historical novel within the last twenty or thirty years are striking indeed. The old school was perhaps founded by Scott, and certainly imitated by Lytton, G. P. R. James, Ainsworth, and a host of others. This style possessed several very marked features. Its pages abounded in description; it was not enough to be with our hero in his adventures; we were obliged to listen to the story of his birth, parentage and upbringing, with many other dreary details by way of introduction. We were regaled with lengthy accounts of scenery and buildings, costumes and customs. We found the heroine a very sensitive and sedate young lady, with supreme sensibility and a wonderful capacity for tears. We followed the course of the hero's thoughts, page after page, as he raved at fortune, or rhapsodised upon his love. As a consequence we cultivated a habit of "skipping," and no one to-day would blame us for so doing; for in truth there was a laborious heaviness about the old-fashioned, historical romance.
