She accordingly talked the matter over with the author and Dezède, the result being that the piece, which was entitled _Auguste et Théodore, ou les Deux Pages_--it is known to fame by its sub-title--was transferred from the “Italians” to the Comédie-Française, where it was produced on March 6, 1789, Fleury playing the principal part, with Mlle. Contat as the hostess of the tavern. The anticipations of the actress were fully verified. _Les Deux Pages_ was received with the most unbounded enthusiasm; Fleury made of the warrior king a masterpiece which placed him in the very front rank of his profession;[157] while she herself, we are assured, was “irresistible, her beauty and frank gaiety carrying all before them.” But we are anticipating. Between the _Mariage de Figaro_ and the production of _Les Deux Pages_ four years had elapsed--years in which Louise Contat had confirmed the great reputation which her creation of Suzanne had secured for her by a series of masterly impersonations. In high comedy, indeed, she was supreme and without a rival. “In her hands the fan became a sceptre. No one comprehended Molière better; no one knew how to interpret more naturally the spirit of Marivaux. She was reproached with a certain amount of affectation; but she knew how to combine the haughty disposition of Célimène with the intelligent vivacity of Dorine. Seductive voice, eloquent eye, charming smile, infinite tact, amiable dignity, perfect knowledge of situations--everything in her combined to enchant an audience. None of the characteristics which distinguished the society of the old régime had escaped her, and ‘from head to foot she was _grande dame_.’”[158] Her triumphs were not confined to the capital. She made provincial tours--tours which were one long series of ovations, in which crowns of laurels were showered upon her, and thousands of complimentary verses composed in her honour. Once, when playing with Molé, at Marseilles, the following madrigal was addressed to them: “Hier un enfant d’Hélicon D’un secret important m’a donné connaissance. Ami, les neuf sœurs d’Apollon N’ont pas toujours été si chastes que l’on pense; Thalie (ah! qui l’eût cru), sans bruit et sans éclat, À deux enfants donna naissance, L’un est Molé, l’autre est Contat.”