ZENITH.
Rachel's great reputation was made in five or six rôles of the ancient classic drama of France. She created thirteen modern rôles in the course of her theatrical career, and undertook six modern rôles that had already been acted by others: Fredegonde, Jeanne d'Arc, Lucrèce, Mademoiselle de Belle Isle, Angelo, Louise de Lignerolles. Of the thirteen written expressly for her, Adrienne Lecouvreur alone has kept the stage.
From the pen of Madame de Girardin Rachel made the great mistake of accepting three plays: Judith, Cléorâtre, and Lady Tartuffe. While the young actress ruled the dramatic world of Paris, Madame Émile de Girardin, daughter of Sophie Gay, ruled the social and literary one. Napoleon I., who detested clever women, once met Sophie Gay in the drawing-room of the Princess Borghese. "Has my sister told you I detest les femmes d'esprit!" "Yes, Sire," was the ready answer; "but I did not believe her." The Emperor, annoyed at her aplomb, determined to disconcert her, and added insolently, "Vous écrivez vous? Qu'est ce que vous avez fait depuis que vous êtes dans ce pays ce?" "Trois enfants, Sire." The Em-
