After Coquelin's death Guitry, that sterling French player, created the character. Notwithstanding even his tremendous abilities, Rostand and the critics discovered that he was not the man for the part. The underlying meaning of the part was sacrificed. Bombastic display usurped the subtle humor intended by the author. Cynical humor was stifled by the declamatory Guitry. But waiving all criticism of Guitry, by what power of monstrous reasoning could any manager select Maude Adams to play a rôle acted by Guitry and written for Coquelin? When London put "Chantecler" in the discard our own astute Charles Frohman--of whom I am very fond (and I assure my readers that I am not censuring him for he is quite right from his point of view) and who had an option on the play--realized he must produce it or incur the enmity of the entire French family of authors. He was bound to produce that play, submit to the exorbitant terms demanded by the author and make a production equal to the one in Paris or the Parisian theatre doors would be closed against him. He agreed to their demands, knowing that he was up against it and sure to come out a big loser. He doubtless ruminated, "I must produce it; but how?" He was thoroughly assured that no man in America could play the part! [Illustration: COQUELIN _Would he have gone in vaudeville? I wonder_] Then it was that this manager, after being drugged with the artistic incense of the Parisian stage, became suddenly inspired to Grape-Nut his property before the American public, Pear's Soap his Chantecler upon the cleanly critics, Mellin's Food the baby managers and put his one best bet down on Maude Adams, whose name is as familiar as any of these articles! Was this fair to her? Was this fair to the public, to the author, to anyone? Of course not? Why be fair with anything or anybody? If you do, you're sure to be found out and the world will write you down an ass! No! Go on with the good work; don't stop, nor even hesitate! Everybody's rich! The dramatic merchants own all the moving picture shows, musical comedies, burlesques. They are spending their profits in automobiles! They are bedecked in sables! Commercialism is running amuck while the artistic foreigner cynically observes and stands amazed! But fear not, gentle censors, the worst is yet to come! Maggie Cline is contemplating an appearance in "Hamlet" and Elsie Janis may yet be permitted to show us the humor of Dogberry! Why not? If the commercial gentlemen who wield the sceptre do but command submission what does it signify who pays the price of admission? _Chapter XXIII_ TYRONE POWER Gee! What a bully actor Tyrone Power is! _Chapter XXIV_ AN ARTISTIC SUCCESS!