At this time, however, he was still tasting the joys of ownership, and was, as usual, hopeful about the future. His dreams of theatrical success seemed at last destined to come true.[*] Hostein, who had rushed to the Rue Fortunee as soon as he heard of the arrival of the great man, to ask for the play promised him in place of "Pierre et Catherine," found Balzac as usual at his desk, and was presented with a copy-book on which was written in large characters, "Gertrude, tragedie bourgeoise." The play was read next day in Balzac's drawing-room to Hostein, Madame Dorval, and Melingue; and Hostein accepted it under the name of "La Maratre," Madame Dorval expressing much objection to its first title. Eventually, to Madame Dorval's and Balzac's disappointment, Madame Lacressoniere, who had much influence with Hostein, was entrusted with the heroine's part; and the tragedy was produced at the Theatre-Historique on May 25th, 1848. In spite of the disturbed state of the political atmosphere, which was ruinous to the theatres, the play met with considerable success; and the critics began to realise that when once Balzac had mastered the _metier_ of the theatre, he might become a great dramatist. About this time, Cogniard, the director of the Porte-Saint-Martin, received a letter with fifty signatures, asking for a second performance of "Vautrin." He communicated this request to Balzac, who stipulated that if "Vautrin" were again put on the stage, all caricature of Louis Philippe should be avoided by the actor who played the principal part. He added that when he wrote the play he had never intended any political allusion. However, "Vautrin" was not acted till April, 1850, when, without Balzac's knowledge, it was produced at the Gaite. Balzac, who heard of this at Dresden, on his journey to Paris from Russia, wrote to complain of the violation of his dramatic rights, and in consequence the play was withdrawn from the boards of the Gaite. [*] "Honore de Balzac," by Edmond Bire. During his stay in Paris in 1848, Balzac sketched out the plots of many dramas. The director of the Odeon, in despair at the emptiness of his theatre after the political crisis of June, offered Victor Hugo, Dumas, and Balzac[*] a premium of 6,000 francs, and a royalty on all receipts exceeding 4,000 francs, if they would produce a play for his theatre; and in response to this offer Balzac promised "Richard Sauvage," which he never wrote. The manager of the Theatre Francais, M. Lockroy, also made overtures to the hitherto despised dramatist; and Balzac thought of providing him with a comedy entitled "Les Petits Bourgeois," but abandoned the idea. "Is it," he wrote to Hippolyte Rolle, "the day after a battle when the _bourgeoisie_ have so generously shed their blood for menaced civilisation; is it at the time when they are in mourning, that they should be represented on the stage?"[+] [*] "Honore de Balzac," by Edmond Bire. [+] "Correspondance," vol. ii. p. 332.