Lesbia in his arms, implored her to forgive his temporary infidelity. The play ended with a song:—
Vivons, Mignonne, vivons
Et suivons,
Les ébats qu'amour nous donne,
Sans que de vieux rechignés,
Refrognés,
Le sot babil nous étonne.
Rachel's first appearance in the Moineau de Lesbie was made after one of her innumerable quarrels with the Théâtre Français, in consequence of which she had retired from the stage for three months; the public, therefore, were not inclined to look with favourable eyes on the young actress who had dared to deprive them of one of their amusements. It was the night of Mademoiselle Anais' benefit also, and the Moineau was the last piece on the programme. Midnight had struck before it began. The audience was nearly asleep; but Rachel was determined to charm them out of their lethargy. Never had she played with such perfection. A murmur ran through the theatre after her first speech, which, before the end, broke out into raptures of delight. The spoiled child was received back into favour again, and all her sins forgotten and forgiven.
It is needless to go into the details of Rachel's acceptance and ultimate rejection of Medea, M. Legouvé's piece, which was destined to exercise a more potent influence on her future than she herself could at first have foreseen. Her capricious and inconsistent behaviour turned public opinion against her, and this, combined with Ristori's acceptance and great success in the part, determined the young actress to seek a less critical and more enthusiastic audience in the New World. After the undoubted success of Adrienne Le-
