Excerpt from Belle Rose: A Romance of the Cloak and Sword The brilliant success of the romance of the cloak and sword, in the latter part of the reign of Louis Philippe, seems to have influenced many of the writers of that epoch to imitate the example of the elder Dumas. Auguste Maquet, Dumas' collaborator, attempted to fill the blanks in the great master's series of historical romances covering the period between the massacre of St. Bartholomew and the Revolution; Theophile Gautier wrote a tour de force t altogether successful, entitled, Le Capitaine Fracasse ; Ponson du Terrail built up audacious inventions which had thing historic about them except the date; Albert Blanquet introduced the most ultra-sensationalism into his pictures of the court of Henry II. and the episode of La Belle Feronniere; Paul Feval, at a somewhat later period, echoed the traditions of this period, in a historic romance of real merit describing the Regency and the famous Mississippi scheme of Law. But chief among all these imitators was a native of Marseilles, Amedee Achard, who had many of the qualities of the great Dumas himself. Louis Amedee Eugene Achard is the full name of the author in question, and he was born at the above-named city on April 19, 1814. Leon Gozlan and Joseph Mery, two of Achard's most brilliant contemporaries, were also born at Marseilles about the same period. It would be interesting to compare these two w almost forgotten writers with the versatile author of Belle-Rose. They all had their hour of vogue, but only Achard is read to any great extent to-day. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art techlogy to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.