I do not think I ever felt so much moved at any of my own representations as I was at this representation of Soulié; I never suffered more than during these first four acts, when I felt that the piece dragged along lifeless and dull, realising that this dulness and lack of life arose from the _excessive good taste_ of the poet, who had thought it necessary to improve on Shakespeare. However, it was quite original enough to satisfy the public, and the public was content; but I am very sure that Soulié himself was not. Meanwhile, the influence of Picard's criticism on _Christine_ was making itself felt at the Comédie-Française. Mademoiselle Mars, who was at first fired with enthusiasm over the part of Christine, cooled in her study of it; for, incomplete as it then was, she felt it beneath her powers; Firmin, inspired comedian though he was, lacked a sense of composition and was beginning to feel uneasy over the part of Monaldeschi; finally, Ligier, who was to have acted the part of Sentinelli, left the Comédie-Française and went to the Odéon. Something still more serious had happened. The Committee of the Théâtre-Français had received a second play entitled _Christine._ This second _Christine_ had been written by a M. Brault, formerly a prefect and a friend of M. Decazes, who supported him with all his might. The principal rôle in this new tragedy, namely, that of Christine, had been deputed to Madame Valmonzey. In case you do not know anything about Madame Valmonzey, I will tell you who she was. Madame Valmonzey was not a good actress, but she was a very good-looking woman, the mistress of M. Évariste Dumoulin, editor of the _Constitutionnel._ It may, perhaps, be asked why I mention this fact. I reply that it is because I must. Heaven forbid I should rake up a scandal needlessly and needlessly speak ill of the dead; but I am writing the history of art and the history of literature and the history of the theatre, and in order that this history may be history the truth must be told.