beginning—and loses itself in the sands." There is a good deal of truth in this: some of us believe that Dumas's reputation suffers rather than gains by being so prominently associated with a romance, parts of which are undeniably dull. Mr Saintsbury declares the second part to be too "Balzac-like." But even admitting this, admitting also that the omnipresent count is not altogether the perfect gentleman his creator seems to have thought him; and that his appearances and disappearances are ultra-theatrical at times; yet, there is a grandeur of conception about "Monte Cristo" which more than redeems it from these drawbacks. It is Dumas's "Misérables," and the lesson it teaches—"Vengeance is mine, saith the Lord"—is taught so effectively, so honestly, and on so great a scale, that the book has a moral value which should preserve it from oblivion for generations to come.
"Ascanio" is variously said to date from this year or the previous one. It was suggested by Benvenuto Cellini's autobiography, wherein one or two of the most improbable incidents of the story are to be found, notably the employment of the head of the sculptor's gigantic statue as a hiding-place. The reader is introduced to François I., the monarch of Pavia, and the intrigues of his court, which as usual with Dumas are cleverly manipulated to attract and absorb the
