Clairon, being great, had many enemies. They shot lies at her as venomous as poisoned arrows. They identified her as the original of the shameless heroine in the ‘Histoire de Frétillon.’ With her, however, love was not sporadic. It was a settled sentiment, and she loved but one at a time; among others, Marmontel (see his Memoirs), the Margrave of Anspach, and the comedian Larive. After all, Clairon had a divided sway. The rival queen was Marie Françoise Dumesnil. The latter was much longer before the public. The life of Mademoiselle Dumesnil was also longer, namely, from 1711 to 1803. Her professional career in Paris reached from 1737, when she appeared as Clytemnestra, to 1776, when she retired. For eleven years after Clairon’s withdrawal Dumesnil reigned alone. She was of gentle blood, but poor; she was plain, but her face had the beauty of intelligence and expression. When Garrick was asked what he thought of the two great _tragédiennes_, Clairon and Dumesnil, he replied, ‘Mdlle. Clairon is the most perfect actress I have seen in France.’ ‘And Mdlle. Dumesnil?’ ‘Oh!’ rejoined Garrick, ‘when I see Mdlle. Dumesnil I see no actress at all. I behold only Semiramis and Athalie!’--in which characters, however, she for many years wore the _paniers_ that were in vogue. She is remembered as the first tragic actress who actually ran on the stage. It was in ‘Mérope,’ when she rushed to save Ægisthe, exclaiming, ‘Hold! he is my son!’ She reserved herself for the ‘points,’ whether of pathos or passion. The effect she produced was the result of nature; there was no art, no study. She exercised great power over her audiences. One night having delivered her famous fine in Clytemnestra, Je maudirais les dieux, s’ils me rendaient le jour, an old captain standing near her clapped her on the back, with the rather rough compliment of ‘Va-t-en chienne, à tous les diables!’ Rough as it was, Dumesnil was delighted with it. On another occasion, Joseph Chénier, the dramatist, expressed a desire, at her own house, to hear her recite. It is said that she struck a fearful awe into him, as she replied, ‘Asséyez-vous, Néron, et prenez votre place!’--for, as she spoke, she seemed to adopt the popular accusation that Joseph had been accessory to the guillotining of his brother, the young poet, André Chénier. Her enemies asserted that Dumesnil was never ‘up to the mark’ unless she had taken wine, and a great deal of it. Marmontel insists that she caused his ‘Héraclides’ to fail through her having indulged in excess of wine; but Fleury states that she kept up her strength during a tragedy by taking chicken broth with a little wine poured into it.