The last original production that Charles Frohman made with Maude Adams was "The Legend of Leonora," in which she returned once more to Barrie's exquisite and fanciful satire, devoted this time to the woman question. In England it had been produced under the title of "The Adored One." It was in the part of _Leonora_ that James M. Barrie saw Maude Adams act for the first time in one of his plays. He had come to America for a brief visit to Frohman, and during this period Miss Adams was having her annual engagement at the Empire Theater. Of course, Barrie had Miss Adams in mind for the American production, and it is a very interesting commentary on his admiration for the American star that about the only instructions he attached to the manuscript of the play was this: _Leonora is an unspeakable darling, and this is all the guidance that can be given to the lady playing her._ On her last starring tour under the personal direction of Charles Frohman, Miss Adams combined with a revival of "Quality Street" a clever skit by Barrie called "The Ladies' Shakespeare," the subtitle being, "One Woman's Reading of 'The Taming of the Shrew.'" With an occasional appearance in Barrie's "Rosalind," it rounded out her stellar career under him. Charles Frohman lived to see Maude Adams realize his highest desire for her success. She justified his confidence and it gave him infinite satisfaction. Miss Adams's career as a star unfolds a panorama of artistic and practical achievement unequaled in the life of any American star. It likewise reveals a paradox all its own. While millions of people have seen and admired her, only a handful of people know her. The aloofness of the woman in her personal attitude toward the public represents Charles Frohman's own ideal of what stage artistry and conduct should be. It is illustrated in what was perhaps the keenest epigram he ever made. He was talking about people of the stage who constantly air themselves and their views to secure personal publicity. It moved him to this remark: "Some people prefer mediocrity in the lime-light to greatness in the dark." Herein he summed up the reason why Miss Adams has been an elusive and almost mysterious figure. By tremendous reading, solitary thinking, and extraordinary personal application she rose to her great eminence. With her it has always been a creed of career first. Like Charles Frohman, she has hidden behind her activities, and they form a worthy rampart. The history of the stage records no more interesting parallel than the one afforded by these two people--each a recluse, yet each known to the multitudes. IX THE BIRTH OF THE SYNDICATE Charles Frohman's talents and energies were very much like those of E. H. Harriman in that they found their largest and best expression when dedicated to a multitude of enterprises. Like Harriman, too, he did things in a wholesale way, for he had a contempt for small sums and small ventures.