“A brougham stops at a door; a woman, enveloped in furs, jumps out, threads her way with a smile through the crowd attracted by the jingling of the bell on the harness, and mounts a winding stair; plunges into a room crowded with flowers and heated like a hothouse, throws her little beribboned handbag with its apparently inexhaustible contents into one corner, and her bewinged hat into another, takes off her furs and instantaneously dwindles into a mere scabbard of white silk; rushes on to a dimly lighted stage and immediately puts life into a whole crowd of listless, yawning, loitering folk; dashes forward and back, inspiring every one with her own feverish energy; goes into the prompter’s box, arranges her scenes, points out the proper gesture and intonation, rises up in wrath and insists on everything being done over again; shouts with fury; sits down, smiles, drinks tea and begins to rehearse her own part; draws tears from case-hardened actors who thrust their enraptured heads out of the wings to watch her; returns to her room, where the decorators are waiting, demolishes their plans and reconstructs them; collapses, wipes her brow with a lace handkerchief and thinks of fainting; suddenly rushes up to the fifth floor, invades the premises of the astonished _costumier_, rummages in the wardrobes, makes up a costume, pleats and adjusts it; returns to her room and teaches the _figurantes_ how to dress their hair; has a piece read to her while she makes bouquets; listens to hundreds of letters, weeps over some tale of misfortune, and opens the inexhaustible little chinking handbag; confers with an English _perruquier_; returns to the stage to superintend the lighting of a scene, objurgates the lamps and reduces the electrician to a state of temporary insanity; sees a super who has blundered the day before, remembers it, and overwhelms him with her indignation; returns to her room for dinner; sits down to table, splendidly pale with fatigue; ruminates her plans; eats with peals of Bohemian laughter; has no time to finish; dresses for the evening performance while the manager reports from the other side of a curtain; acts with all her heart and soul; discusses business between the acts; remains at the theatre after the performance, and makes arrangements until three o’clock in the morning; does not make up her mind to go until she sees her staff respectfully endeavoring to keep awake; gets into her carriage; huddles herself into her furs and anticipates the delights of lying down and resting at last; bursts into laughing on remembering that some one is waiting to read her a five-act play; returns home, listens to the piece, becomes excited, weeps, accepts it, finds she cannot sleep, and takes advantage of the opportunity to study a part! This is the Sarah I have always known. I never made the acquaintance of the Sarah with the coffin and the alligators. The only Sarah I know is the one who works. She is the greater.”--Edmond