tion which Guise forces his wife to make—all this was so novel, so congenial, so startling, that for the moment Paris talked of nothing else.
Our author, with characteristic tact, determined to follow up this success with another as soon as he possibly could. He withdrew "Christine" from the Comédie Française, where it was receiving lukewarm treatment, and took it to the Odéon. He had reconstructed the play, "to make it more modern and more dramatic"; and for this purpose had taken coach to Havre and back, working out the remodelled play in his brain, to the jolting of coach!
But this time the "classicists" were not to be taken by surprise. The play was forbidden: then, when the mandate was withdrawn and the rehearsals went forward, an opposition was organised. Fortunately the young "romantics" rallied round Dumas; his friendly rival Soulié brought in a number of his workmen to form a claque, and the forces were about equal. On March 30th, 1830, the battle of the Odéon was fought. The theatre resounded alternately with applause and "hissing"; roars of delight and of disgust succeeded each other. This terrible battle lasted seven hours. "Ten times overthrown, the play sprang to its feet after each reverse, and at two in the morning it finished, having thrown the public, panting, thrilled and terrified, on its knees!"
