had snapt his weapon asunder before Louis XIV because that inhuman
monarch had taken for himself Mlle. de la Vallière, the young lady
beloved by the Vicomte de Bragelonne, the son of Athos. And the same
effect is to be found also in the opera of 'La Favorite.' The book of
Donizetti's opera bears the names of Alphonse Royer and Gustave Vaëz;
but it is said to have been revised by Scribe. It was derived from a
forgotten play called the 'Comte de Comminges,' written by one
Baculard-D'Arnaud, and this in turn had been taken from a novel written
by the notorious Mme. de Tencin, the callous mother of D'Alembert. The
scene of the sword-breaking is not in the novel or the play; and quite
possibly it may have been introduced into the book of the opera by the
fertile and ingenious Scribe. 'La Favorite' was produced in 1840, when
Thackeray was in Paris preparing the 'Paris Sketch Book.' It was in 1850
that Dumas published the 'Vicomte de Bragelonne'; and it was in 1852
that Thackeray put forth 'Henry Esmond.' But it was back in 1829 that
the commandant Hulot in Balzac's 'Chouans' had broken his sword across
his knee rather than carry out an order that seemed to him unworthy.
This is not quite the same effect that we find in 'La Favorite'; but
none the less Scribe may have been indebted to Balzac for the
suggestion.

There is no denying that the striking situation which Thackeray used
with so much skill in his novel had already been utilized in the
stirring romance of Durras and in the pathetic libretto of Royer, Vaëz,
and Scribe. Did Thackeray borrow it from the romance or from the
libretto? Or did he reinvent it for himself, forgetting that it had
already served? He was in Paris when Donizetti's tuneful music was
first heard; and he was going to the opera as often as he could. He was
fond of Dumas's interminable tales of adventure; and he had a special
liking for Athos. It is in one of the 'Roundabout Papers'--'On a Peal of