The French censor had not hitherto seen the significance of these words. Ellen Terry's performance served to enlighten him. "She seemed to say," he records, "'Poor girl, it is not your fault if your mistress has sorrows which deprive her of sleep. Unhappy princesses are not the only people in the world. You need rest; get thee to bed, and if you oversleep yourself you are already forgiven.' All this," continues the writer, "is suggested by Ellen Terry's delivery of this simple speech." In his interesting book on the English stage the same critic says: "Ellen Terry has not only been an incarnation, delicate, moving, impassioned, of Shakespeare's heroines, but has in her pure and sweet elocution set the poet's dream to music." Ellen Terry has, indeed, always found favour, not only with French critics, but with her sisters and brothers of the Parisian stage. Sarah Bernhardt has said of her: "She is perfectly delightful, and is one of my best friends. The greatest treat I can give myself, and a pleasure to which I can look forward for months, is to see her act. She is as near absolute perfection as any one can be. In her, English dramatic art has a splendid exponent." Again she declared: "Ellen Terry and Henry Irving are perfect! I adore them!--particularly the former. What grace, what ease! It is not acting at all, but the real character before one's eyes. In comedy she is unequalled, at any rate in English-speaking countries, while Henry Irving, in certain emotional parts, it would be hard to surpass." Coquelin aîné loves her acting--"Angélique, très sympathétique, très tendre!" he once cried, after a glance at her through an opera-glass. "Mais c'est charmant! Elle a des vraies larmes dans ses yeux!" By the way, the _Saturday Review_ once instituted an interesting comparison between Sarah Bernhardt and Ellen Terry. "The latter," the writer said, "is to the English stage what the other is to the French. The two actresses are superficially about as unlike as may be, and yet their method is radically the same; or, in other words, they are both true actresses. It must, of course, be admitted that Ellen Terry has not yet had such opportunities of displaying her powers as have fallen to the lot of Sarah Bernhardt; nor has she yet attained the perfection of art which Sarah Bernhardt can, when she chooses to take the trouble, display; but to her, as to Sarah Bernhardt, one may safely apply the much-misused term of genius. Like Sarah Bernhardt, Ellen Terry has the semblance of spontaneousness; and, like her, she is always identified with every thought and habit of every character that she represents. There is further likeness between the two, in that both are excellent both in tragedy and comedy. It is, however, as Ophelia that Ellen Terry has won for herself a place in the first rank of actresses."