[36] Mme. Bernhardt’s more important productions, since she became a manager in her own right, have been as follows: _Fédora_, 1882; _Nana Sahib_, 1883; _Macbeth_, _Théodora_, 1884; _Marion Delorme_, 1885; _Hamlet_ (Ophelia), _Le Maître des Forges_, 1886; _La Tosca_, 1887; _Francillon_, 1888; _Lena_, 1889; _Jeanne d’Arc_, _Cléopâtre_, 1890; _Pauline Blanchard_, _La Dame de Chalant_, 1891; _Les Rois_, 1893; _Izeïl_, _Gismonda_, 1894; _Magda_, _La Princesse Lointaine_, 1895; _Lorenzaccio_, 1896; _Spiritisme_, _La Samaritaine_, _Les Mauvais Bergers_, 1897; _La Ville Morte_, _Lysiane_, _Médée_, 1898; _Hamlet_, 1899; _L’Aiglon_, 1900; _Francesca da Rimini_, 1902; _Andromache_, 1903; _La Sorcière_, 1904; _Tisbe_, _Angelo_, 1905; _La Vierge d’Avila_, 1906; _Les Bouffons_, 1907; _La Belle au Bois Dormant_, _La Courtisane de Corinthe_, 1908; _Le Proces de Jeanne d’Arc_, 1909; _La Femme X_, _Judas_, _Le Coeur d’Homme_ (written by herself), _La Beffa_, 1910; _La Reine Élisabeth_, _Une Nuit de Noel_, 1912; _Jeanne Doré_, 1913. To the plays she had acted during the first American tour, 1880–81, (see page 28, note) she added, on her subsequent visits: 1887, _Fédora_, _Le Maître des Forges_, _Théodora_; 1891, _La Tosca_, _Cléopatra_; 1891–92, _Jeanne d’Arc_, _La Dame de Chalant_, _Pauline Blanchard Leah_; 1896, _Izeïl_, _Magda_, _Gismonda_, _La Femme de Claude_; 1900–01, (with Coquelin) _L’Aiglon_, _Hamlet_, _Cyrano de Bergerac_; 1905–06, _La Sorcière_, _Angelo_, _Sapho_, _Tisbé_. (During the tour of 1905–06, while acting in Texas she was forced on two or three occasions to appear in a circus tent in lieu of a theatre. The “theatrical trust” had for some reason denied her the privilege of acting in its theatres.) In 1910–11 she appeared, for the first time in America, in _La Femme X_, _La Samaritaine_, _Jean-Marie_, _Sœur Beatrice_, and _Judas_. [37] It was really written, gossip said, by M. Paul Bonnetain. Sarah replied with an equally abusive book about Mlle. Colombier, which was entitled _La Vie de Marie Pigeonnier_, and which was probably written by M. Richepin. [38] It carries her story down to her return from the first American tour, in 1881. A second volume was vaguely promised. [39] But to Mr. Winter her Hamlet was a “dreadful desecration”! When she produced the play in Paris, the late M. Catulle Mendes and another journalist fought a duel, having disputed as to whether Hamlet was fat or not.