At this time I had serious opposition to encounter. Mademoiselle Rachel had acted in six different parts (16th August), many more than it is the custom of the Théâtre Français to allow when an actor or actress has not had a decided success, or even a succès de vogue. Now she could not be said to have had this since the receipts were so low. The actress above Rachel, who had been an associate for some years, demanded that she should be allowed to take the rôles usually assigned to her. I must congratulate myself for having at this moment rendered a great service to the theatre and dramatic art, by refusing to listen to these pretensions, and by persevering in the appearances of the great tragedian still unknown to the public."
The appreciative manager at last reaped his reward. The press, so decisive in all theatrical and literary matters in Paris, had as yet held aloof, hardly mentioning the young artist. M. Rolle, in the National, certainly devoted a feuilleton to the appearance of three young girls, Mademoiselles Hélène Gaussin, Rabut, and Rachel. He awarded, without hesitation, the palm of beauty to Gaussin, but allowed that, in spite of many disadvantages and an unattractive exterior, Rachel was the one who impressed the public with the most idea of talent. Frederic Souliè, who, in Janin's absence, was writing the weekly article in the Débats, dismissed contemptuously the doings for the months of July and August at the Comédie Française with the following words: "If you wish to know what the prospects of the Français are, I can tell you that the young recruits are wretched; none seem likely to arise who will adequately replace those that are leaving." Rachel had already, when this was written, acted Camille, Émilie,
