LETTERS TO AN UNKNOWN 99
standing between a piano and a tea-table, with a door at her back, assuming her theatrical ex- pression. This visible transformation scene was highly amusing and very pretty; it lasted about two minutes, then she began:
" Is it thou, dear Ehse? "... The con- fidante, in the midst of her reply, dropped her I glasses and her book; ten minutes passed before ' she had recovered her place in the book, and her eyes. It is evident to the audience that Esther is losing her temper. She continues. The door
- behind her opens; a servant enters. Some one
makes a sign for him to retire. He hastens out, and can not succeed in closing the door. The said door, unlatched, swings back and forth, accompanying Rachel with a melodious creaking which is extremely diverting. As this noise did not cease. Mademoiselle Rachel laid her hand upon her heart as if she were ill, but in the man- ner of one accustomed to expiring in pubhc. This created an opportunity for several persons to come to her assistance.
During the intermission Hugo and M. Thiers began to dispute on the subject of Ra- cine, Hugo contending that Racine had a small mind and Corneille a great one. " You say this," replied Thiers, " because you yourself have a great mind. You are the Corneille of
