The power that Mdlle. Clairon held over her admirers, the sympathy that existed between them, is matter of notoriety. She was once acting Ariane in Thomas Corneille’s tragedy, at Marseilles, to an impassioned southern audience. In the last scene of the third act, where she is eager to discover who her rival can be in the heart of Theseus, the audience took almost as eager a part; and when she had uttered the lines in which she mentions the names of various beauties, but does not name, because she does not suspect, her own sister, a young fellow who was near her murmured, with the tears in his eyes, ‘It is Phædra! it is Phædra!’--the name of the sister in question. Clairon was one of those artists who conceal their art by being terribly in earnest. In her days the pit stood, there were no seats; _parterre_ meant exactly what it says, ‘on the ground.’ The audience there gathered as near the stage as they could. Clairon, in some of her most tragic parts, put such intensity into her acting that as she descended the stage, clothed in terror or insane with rage, as if she saw no pit before her and would sweep through it, the audience there actually recoiled, and only as the great actress drew back did they slowly return to their old positions. The autobiographical memoirs of Mdlle. Clairon give her rank as author as well as actress. Her style was declamatory, rather heavy, and marked by dramatic catchings of the breath which were among the faults that weaker players imitated. It was the conventional style, not to be rashly broken through in Paris; she accordingly first tried to do so at Bordeaux in 1752. ‘I acted,’ she tells us, ‘the part of Agrippina, and from first to last I played according to my own ideas. This simple, natural, unconventional style excited much surprise in the beginning; but, in the very middle of my first scene, I distinctly heard the words from a person in the pit, “That is really fine!”’ It was an attempt to change the sing-song style, just as Mdlle. Clairon attempted to change the monotonous absurdity of the costume worn by actresses; but she was preceded by earlier reformers, Adrienne Lecouvreur, for instance. Her inclination for natural acting was doubtless confirmed on simply hearing Garrick recite passages from English plays in a crowded French drawing-room. She did not understand a word of English, but she understood Garrick’s expression, and, in her enthusiasm, Mdlle. Clairon kissed Roscius, and then gracefully asked pardon of Roscius’s wife for the liberty she had taken.