What charmed me and decided me to write this work was Le Loraine's stroke of genius in substituting for the coarse wench at the inn, Cervantes's Dulcinée, the original and picturesque La Belle Dulcinée. The most renowned French authors had not had that idea. It brought to our piece an element of deep beauty in the woman's rôle and a potent poetical touch to our Don Quixote dying of love--real love this time--for a Belle Dulcinée who justified the passion. So it was with infinite delight that I waited for the day of the performance which came in February, 1910. Oh beautiful, magnificent première! They welcomed our marvellous artists with great enthusiasm. Lucy Arbell was dazzling and extraordinary as La Belle Dulcinée and Gresse was an extremely comical Sancho. In thinking over this work which they gave five times in the same season at Monte Carlo--a unique record in the annals of that house--I feel my whole being thrill with happiness at the thought of seeing again that dreamland, the Palace of Monaco, and his Serene Highness on the approaching occasion of _Roma_. New joys were realized at the rehearsals of _Don Quichotte_ at the Théâtre Lyrique de la Gaîté, where I knew I should receive the frankest, most open and affectionate welcome from the directors, the Isola brothers. The cast we had at Monte Carlo was changed and at Paris we had for Don Quixote that superb artist Vanni Narcoux and for Sancho that masterly comedian Lucien Fugère. Lucy Arbell owed to her triumph at Monte Carlo her engagement as La Belle Dulcinée at the Théâtre Lyrique de la Gaîté. But was there ever unalloyed bliss? I certainly do not make that bitter reflection in regard to the brilliant success of our artists or about the staging of the Isola brothers which was so well seconded by the stage manager Labis. But judge for yourselves. The rehearsals had to be postponed for three weeks on account of the severe and successive illnesses of our three artists. A curious thing, however, and worthy of remark was that our three interpreters all got well at almost the same time, and left their rooms on the very morning of the general rehearsal. The frantic applause of the audience must have been a sweet and altogether exquisite recompense for them when it broke out at the dress rehearsal, December 28, 1910, which lasted from one till five in the afternoon. My New Year's Day was very festive. I was ill and was on my bed of pain when they brought me the visiting cards of my faithful pupils, happy at my success, beautiful flowers for my wife, and a delightful bronze statuette, a gift from Raoul Gunsbourg, which recalled to me all that I owed him for _Don Quichotte_ at Monte Carlo, for the first performances and the revivals of the same house. The first year of _Don Quichotte_ at the Théâtre Lyrique de la Gaîté there were eighty consecutive performances of the work.