Bernhardt grew apprehensive. She proposed a gala performance in aid of the fund for a memorial to Dumas. She announced that she would give the last two acts of _La Dame aux Camélias_, and that Duse had been asked to give the second and third acts of the same play. Now the third act was the point where Duse had most signally failed to please Paris on that memorable first night. She was by now wary of Bernhardt’s “friendship,” and said that while she was eager to appear in honor of Dumas, she would substitute the second act of _La Femme de Claude_. And on this substitution she insisted in spite of all Mme. Sarah could say. The audience had anticipated a rare feast of acting and was not disappointed. It applauded both actresses to the echo. But notice how Sarah worked into this occasion an element that had reference not so much to the glorification of Dumas as to the glorification of herself: “The curtain rises to disclose the celebrated bust of Dumas, by Carpeaux, which occupies the center of the stage. Grouped about, at a respectful distance, are all the artists who have taken part in the performance, while in advance of all, face to face with the bust itself, stands Sarah Bernhardt. She still wears the costume of Marguérite Gauthier, and is there as the accepted symbol, the unrivaled personification of Dumas’ immortal creation. Duse is in the background along with the others. “A poem has been composed especially for the occasion by Edmond Rostand, in which Bernhardt is allowed to address Dumas in a tone of familiar grandeur, as befits one genius in the presence of another. After one expressive pause, therefore, she changes her attitude and begins. “‘She recites these exquisite verses [the account in the _Gaulois_ said] with a charm of tenderness, an intensity of feeling, that arouse new transports of enthusiasm. The whole audience is on its feet, quivering, with arms outstretched toward the prodigious _artiste_, who makes an effort to bow, but is overcome by the force of her emotion. The curtain rises and falls an incalculable number of times, disclosing the great _tragédienne_ in her gracious attitude of homage to the great dramatist. And then, with a movement of touching spontaneity, Sarah goes to La Duse, seizes her hand, and both incline before the bust of the master. The spectacle is one that will never be forgotten.’”[121] How very Gallic! And how extremely effective as an apotheosis of Bernhardt! With Duse triumphantly subordinated by means of Bernhardt’s apparently magnanimous demonstrations of friendship, and with the Paris season practically at an end, Mme. Sarah left town and repaired to England. In spite of all, Duse went on. In rapid succession she played _La Locandiera_, _Sogno di un Mattino di Primavera_ (a new play by d’Annunzio), _La Femme de Claude_, and _Cavalleria Rusticana_.