time when that young lady of unpronounceable and unrememberable name
told the One Thousand and One Tales, telling a fragment every morning to
keep her head upon her shoulders, there has been devised many a strange
expedient for this purpose. Now, M. Dumas has contrived, by uniting the
two characters of tourist and novelist, to make them act as reliefs to
each other. Whilst he shares with other travellers the daily adventures
of the road--the journey, the sight, and the dinner--he is not compelled
to be always moving; he can pause when he pleases, and, like the
_fableur_ of olden times, sitting down in the market-place, in the
public square, at the corner of some column or statue, he narrates his
history or his romance. Then, the story told, up starts the busy and
provident tourist; lo! the _voiture_ is waiting for him at the hotel; in
he leaps, and we with him, and off we rattle through other scenes, and
to other cities. He has a track _in space_ to which he is bound; we
recognize the necessity that he should proceed thereon; but he can
diverge at pleasure through all _time_, bear us off into what age he
pleases, make us utterly oblivious of the present, and lap us in the
Elysium of a good story.

With a book written palpably for the sole and most amiable purpose of
amusement, and succeeding in this purpose, how should we deal? How but
receive it with a passive acquiescence equally amiable, content solely
to be amused, and giving all severer criticism--to him who to his other
merits may add, if he pleases, that of being the first critic. Most
especially let us not be carping and questioning as to the how far, or
what precisely, we are to set down for _true_. It is all true--it is all
fiction; the artist cannot choose but see things in an artistical form;
what ought not to be there drops from his field of vision. We are not
poring through a microscope, or through a telescope, to discover new
truths; we are looking at the old landscape through coloured glasses,