Here Thackeray revealed his insularity, his inability to “penetrate French literature by an interior line.” Red-heeled, patched and be-periwigged as French tragedy may be, and as it undoubtedly is in some of its aspects, it is not dead even now, more than three-quarters of a century since Thackeray preached this funeral sermon, nor is it dying. After the fiery fervor of the Romanticist revolt it may have needed the genius of Rachel to bring it back to favor; but to-day it is kept alive by the more modest talent of her successors. II Before he was of age Dickens had thought seriously of becoming an actor; and he even went so far as to apply to a manager for an engagement. Not long after he wrote a farce or two; and he was responsible for the book of a little ballad-opera. Late in his career he collaborated with Wilkie Collins in writing ‘No Thoroughfare,’ an effective melodrama, compounded specifically for Charles Fechter, who acted it successfully, first in London in English and then in Paris in French (under the title of ‘L’Abîme’). In Dickens’ letters we are told of the trouble he took in getting all the details of stage-management arranged to his satisfaction. It is evident that he found these labors congenial and that he did not doubt his possession of the intuitive qualities of the play-producer, so distinct from those of the artist in pure narrative. Thackeray also made one or two juvenile attempts at the dramatic form. Perhaps it is safer to say that these early efforts were dramatic only in form, in their being wholly in dialog; and there is little reason to suppose that he endeavored to have them acted. In 1840, the year in which the ‘Paris Sketch-Book’ was published, there was produced in Paris a melodrama, called the ‘Abbaye de Penmarque’ and founded upon Southey’s ‘Mary, the Maid of the Inn.’ Its authors were announced as MM. Tournemine and Thackeray; and an American translator fearlessly ascribed it to the author of the ‘Paris Sketch Book,’ finding possible justification in the catalog of the British Museum and in the early edition of Shepard’s bibliography. The ascription was erroneous; and the “nautical melodrama” (as the translator termed it) seems to have been written by a distant kinsman of the novelist otherwise unknown to fame. The explanation recalls that given by an Irish critic, who solved his doubts as to another case of disputed authorship by the opinion that “Shakspere’s plays were not written by Shakspere himself, but by another man of the same name.”