His contemporary Dumas, and his
predecessor Walter Scott--the latter in a less degree than Dumas--did
not weave a romance on to a warp of history, but romanced the history
itself. What he tried to do was to keep the historical action exact
and accurate, and to throw its romantic elements into relief without
dislocating them. His opinion was that history might so be written as
to be a sort of novel, which, perhaps, will account for his answer to
Lamartine, who, in 1847, asked him if he could explain how it was that
the _History of the Girondins_ had obtained a greater success than the
most popular novels of the same date. "Gad!" he replied, "the reason
is that you wrote this fine book as a novelist, not as an historian."
The _Shady Affair_ recreates for us the Napoleonic atmosphere, silent
and heavy, yet electrically charged with grudge, hatred, and ambition,
all ready to burst out at one or another point. Underhand plotting was
the order of the day; there was a language of the eye rather than of
the tongue, since no one was sure that in his own family there might
not be eavesdroppers listening to betray him.
_Ursule Mirouet_ is a very different kind of story.
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