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 RACHEL 365 merit with him. Indeed, he had been troubled with thinking how he could employ his new actress. She was not an ingenue of the ordinary type ; she could not be classed among soubrettes. There were no parts suited to her in the light comedies of Scribe and his compeers, which constituted the chief repertory of the Gymnase. It was on June 12, 1838, that Rachel, as Camille, in " Horace," made her first appearance upon the stage of the Thdatre Francais. The receipts were but seven hundred and fifty francs ; it was an unfashionable period of the year ; Paris was out of town ; the weather was most sultry. There were many Jews in the house, it was said, resolute to support the daughter of Israel, and her success was unequivocal ; nevertheless, a large share of the applause of the night was confessedly carried off by the veteran Joanny, who played Horace. On June 16th Rachel made her second appearance, personating Emilie in the " Cinna," of Corneille. The receipts fell to five hundred and fifty francs. She repeated her performance of Camille on the 23d ; the receipts were only three hundred francs! the poorest house, perhaps, she ever played to in Paris. She afterward appeared as Hermione in " Andromaque," Amenaide in " Tancrede," Eriphile in " I phi- genie," Monime in " Mithridate," and Roxane in " Bajazet," the receipts now gradually rising, until, in October, when she played Hermione for the tenth time, six thousand francs were taken at the doors, an equal amount being received in November, when, for the sixth time, she appeared as Camille. Paris was now at her feet. In 1839, called upon to play two or three times per week, she es- sayed but one new part, Esther, in Racine's tragedy of that name. The public was quite content that she should assume again and again the characters in which she had already triumphed. In 1840 she added to her list of impersonations Laodie and Pauline in Corneille's " Nicomede " and " Polyeucte," and Marie Stuart in Lebrun's tragedy. In 1841 she played no new parts. In 1842 she first appeared as Chimene in " Le Cid," as Ariane, and as Frdddgonde in a wretched tragedy by Le Mercier. Rachel had saved the Theatre Francais, had given back to the stage the mas- terpieces of the French classical drama. It was very well for Thackeray to write from Paris in 1839 that the actress had "only galvanized the corpse, not revivi- fied. . . . Racine will never Come to life again and cause audiences to weep as of yore." He predicted : " Ancient French tragedy, red-heeled, patched, and beperiwigged, lies in the grave, and it is only the ghost of it that the fair Jewess has raised." But it was something more than a galvanized animation that Rachel had imparted to the old drama of France. During her career of twenty years, her performances of Racine and Corneille filled the coffers of the Francais, and it may be traced to her influence and example that the classic plays still keep their place upon the stage and stir the ambition of the players. But now the committee of the Francais had to reckon with their leading actress, and pay the price of the prosperity she had brought them. They cancelled her engagement and offered her terms such as seemed to them liberal beyond all precedent. But the more they offered, so much the more was demanded. In the first instance, the actress being a minor, negotiations were carried on with her father, the com-