Once set at liberty by the tyrannical Harel, Dumas hastened to the Comédie Française, where "Antony" had been accepted and placed in rehearsal. But Mars and Firmin, the leading actor and actress of the national theatre at that time, were accustomed to more orthodox rôles than those of the weak, fascinated Adèle, and Antony, the masterful Ishmael-of-society; and the Comédie Française itself, as our author confesses, was not the frame for such a picture. The two artists, losing faith in their parts, hinted as much to the author, Firmin with diffidence, Mars with a bold pretext. Dumas astonished them by demanding the manuscript from the prompter, and walking out of the theatre.
It so happened that M. Crosnier, of the Porte St Martin, had received Hugo's "Marion Delorme," when that poet had also abandoned the stifling atmosphere of the Française to breathe freer air elsewhere. The young dramatist, although profoundly discouraged concerning the merits of his latest born, went forthwith to Marie Dorval, the leading lady of the Porte St Martin, a clever actress, ready-witted, naïve, and full of nervous energy. He read the play to her, and her trained and receptive intelligence at once saw the possibilities of the piece. She shut the young author into a room, to spend the night in rewriting the last act, which
