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 two hundred thousand francs? Why not a civil list? What meanness! Are we really guilty of chaffering with an artist like Mademoiselle Rachel?

It is said, in reply, that the managers of the theatre cannot give more without incurring a loss; that they admit the superior talent of their young associate; but that, in fixing her salary, they have been compelled to take the account of the company’s receipts and expenses into consideration also.

That is just, but it only confirms what I have said; namely, that an artist’s talent may be infinite, but that its mercenary claims are necessarily limited,—on the one hand, by its usefulness to the society which rewards it; on the other, by the resources of this society: in other words, that the demand of the seller is balanced by the right of the buyer.

Mademoiselle Rachel, they say, brings to the treasury of the Théâtre-Français more than sixty thousand francs. I admit it; but then I blame the theatre. From whom does the Théâtre-Français take this money? From some curious people who are perfectly free. Yes; but the workingmen, the lessees, the tenants, those who borrow by pawning their possessions, from whom these curious people recover all that they pay to the theatre,—are they free? And when the better part of their products are consumed by others at the play, do you assure me that their families are not in want? Until the French people, reflecting on the salaries paid to all artists, savants, and public functionaries, have plainly expressed their wish and judgment as to the matter, the salaries of Mademoiselle Rachel and all her fellow-artists will be a compulsory tax extorted by violence, to reward pride, and support libertinism.

It is because we are neither free nor sufficiently enlightened, that we submit to be cheated in our bargains; that the