been done. He intends to improve on it; to add from his own stores
something which the originator could not give; to lend it the lustre of
a richer mind; to make this situation more impressive, and that
character more natural. He is vividly impressed with the imperfections
of the original. And it is a perpetual puzzle to him why the public,
which applauds his imperfect predecessor, stupidly fails to recognise
his own obvious improvements.

It is from such men that the cry goes forth about neglected genius and
public caprice. In secret they despise many a distinguished writer, and
privately, if not publicly, assert themselves as immeasurably superior.
The success of a Dumas is to them a puzzle and an irritation. They do
not understand that a man becomes distinguished in virtue of some
special talent properly directed; and that their obscurity is due
either to the absence of a special talent, or to its misdirection. They
may probably be superior to Dumas in general culture, or various
ability; it is in particular ability that they are his inferiors. They
may be conscious of wider knowledge, a more exquisite sensibility, and
a finer taste more finely cultivated; yet they have failed to produce
any impression on the public in a direction where the despised
favourite has produced a strong impression. They are thus thrown upon
the alternative of supposing that he has had "the luck" denied to them,
or that the public taste is degraded and prefers trash. Both opinions
are serious mistakes. Both injure the mind that harbours them.

In how far is success a test of merit? Rigorously considered it is an
absolute test. Nor is such a conclusion shaken by the undeniable fact
that temporary applause is often secured by works which have no lasting
value. For we must always ask, What is the nature of the applause, and
from what circles does it rise? A work which appears at a particular