must, however, bear the authentic press-mark. "Un bel autograph de moi," as she says herself, "avec ou sans orthographe." In spite of her want of orthography, however, Rachel occupies a foremost place in the ranks of distinguished French letter-writers; but it is a place widely distinguished from literary women like Madame de Sevigné, George Sand, or Madame de Girardin. She was, as we have said, perfectly uneducated, knowing nothing of history, grammar, or literature; but in this, as in everything else, she showed that quick intelligence and discernment that characterised her in all she did, socially or artistically.
Her letters, written to various correspondents upon miscellaneous subjects, are delightfully sprightly and amusing, illumined every here and there by proofs of good sense, quick judgment, and nice feeling, that go far to disprove the wholesale abuse that has been heaped on the actress's private character by her contemporaries. That saving clause, love of kindred and obedient reverence for her parents, is apparent in every letter written to the different members of her family, while the delicately-veiled satire with which she makes fun of those who endeavour to utilise her genius for their own ends, and the warm gratitude with which she refers to those who have really been kind and helpful during her artistic career, speak equally well for her head and heart. The following is a good specimen of her lighter and more playful style. She had accepted a play of M. Ponsard—Charlotte Corday—and then, as was too often the case, refused to act it. This behaviour had brought down the wrath of five or six of the "ogres" of the Parisian press upon her. They must be cajoled and talked over before she dare appear again.
