the great D'Artagnan, yet I march under the flag of the Sieur Bussy
d'Amboise, a proud Clermont, of blood royal in the reign of Henry III.,
who shed luster upon a court that was edified by the wisdom of M.
Chicot, the "King's Brother," the incomparable jester and philosopher,
who would have himself exceeded all heroes except that he despised the
actors and the audience of the world's theater and performed valiant
feats only that he might hang his cap and bells upon the achievements in
ridicule.

Can it be improper to compare D'Artagnan and Bussy--when the intention
is wholly respectful and the motive pure? If a single protest is
heard, there will be an end to this paper now--at once. There are some
comparisons that strengthen both candidates. For, we must consider the
extent of the theater and the stage, the space of time covering the
achievements, the varying conditions, lights and complexities. As, for
instance, the very atmosphere in which these two heroes moved, the
accompaniment of manner which we call the "air" of the histories, and
which are markedly different. The contrast of breeding, quality and
refinement between Bussy and D'Artagnan is as great as that which
distinguishes Mercutio from the keen M. Chicot. Yet each was his own
ideal type. Birth and the superior privileges of the haute noblesse
conferred upon the Sieur Bussy the splendid air of its own sufficient
prestige; the lack of these require of D'Artagnan that his intelligence,
courage and loyal devotion should yet seem to yield something of their
greatness in the submission that the man was compelled to pay to
the master. True, this attitude was atoned for on occasion by blunt
boldness, but the abased position and the lack of subtle distinction of
air and mind of the noble, forbade to the Fourth Mousquetaire the last
gracious touch of a Bayard of heroism. But the vulgarity was itself
heroic.