already composed; it only required to be set on paper.
An anecdote told in connection with the dramatised version of the "Trois Mousquetaires" shows how thoroughly Dumas knew his public, and trusted his natural critics.
"Behind one of the scenes," says Dumas fils, "we had seen the helmet of a fireman, who listened to the play very attentively during the first six tableaux. In the middle of the seventh, however, the helmet disappeared."
"'Do you see that fireman's helmet?' asked my father.
"'No, it's not there now.' After the act the author went in search of the fireman (who did not know him) and said:
"'Why are you no longer listening to the piece?'
"'Because that act didn't interest me as much as the others.' This reply was enough for my father; he went straight to the office of Director Beraud; he took off his frockcoat, his tie, his waistcoat, his braces, opened the collar of his shirt, just as he did when he sat down to work at home, and asked for the copy of the seventh tableau. It was given to him, and he tore it up and threw it into the fire."
"'What on earth are you doing?' cried Beraud.
