The climax of the campaign against Adrienne had, it seems, been reached some time before this incident. In September 1723, Philippe Poisson, a retired member of the Comédie-Française, submitted to the company, under a _nom de guerre_, a comedy in one act, entitled _l'Actrice nouvelle_, which was nothing less than a personal satire on Adrienne, her art, and her private life. The play, in Adrienne's absence, was read to the assembled troupe by the elder Quinault, who, in the speeches assigned to the heroine, imitated the voice and gestures of the _tragédienne_ so cleverly as to send the lady's enemies into convulsions of merriment. It was at once resolved to accept the play, and Mlle. Duclos and her friends doubtless indulged in much gleeful anticipation as to what their rival's feelings would be when she found herself publicly caricatured before her admirers in the boxes and pit. Unfortunately for the success of this malicious scheme, the secret, though well kept, leaked out, and Adrienne lost no time in bringing the matter to the notice of the authorities, who issued an order forbidding the production of _l'Actrice nouvelle_. That Adrienne should have triumphed so completely as she did over tradition and jealousy was due to two causes. In the first place, she succeeded in securing the immediate, and almost unanimous, approbation of the playgoing public, who, when afforded an opportunity of comparing the rival methods of elocution, pronounced without hesitation, and in no uncertain way, in favour of the innovation. The second was the unexpected intervention of Baron, who, in April 1720, at the age of sixty-seven, suddenly resolved to return to the scene of his many triumphs, and, delighted to find that an actress had arisen who shared his own views on the subject of elocution, lent her all the encouragement and support in his power. Aided by this invaluable ally, Adrienne succeeded in effecting a veritable revolution; the "bawlings" which had so disgusted the Italian actor Riccoboni were heard no more, the monotonous chant was banished, and in its place reigned "a declamation simple, noble, and natural."[72]