_Ruy Blas_ was reproduced on April 4. According to M. Claretie it would be impossible to have a more exquisite impersonation of any poetical creation, or a better rendering of all the emotions of the character. Emile Zola, who was then theatrical critic on the _Voltaire_, wrote--“_Ruy Blas_ was played to perfection at the Comédie Française. Mlle. Sarah Bernhardt is exquisite.” M. Auguste Vitu gave his opinion in these terms-- Mlle. Sarah Bernhardt did not play the Queen better last night than she did at the Odéon in 1872, for the simple reason that she was then perfection itself. Yesterday’s applause and calls before the curtain must have convinced her that she was quite as charming as she was six years ago. The _Figaro_ descriptive writer tells us-- Everybody was attacked by stage fright, and Sarah was far from being any better than her _confrères_. In the second act, she trembled to such an extent that when she tried to take her attendant Casilda by the chin she could only indicate the act by a gesture. “For goodness’ sake,” whispered Mlle. Baretta, “don’t tremble like that; you’ll frighten me horribly.” Back in her dressing-room, Sarah began to weep copiously, but this time with joy. Victor Hugo remained only a short time in the front of the house. Between the first and second acts he paid a visit to Sarah before her turn came. Before the fifth act Sarah came to the poet for a little of the encouragement he knows so well how to administer, and which always gives her so much ardour and confidence. [Illustration: As Léonora in _Dalila_.] Mlle. Sarah Bernhardt had now been nearly seven years at the Comédie Française, and those who knew her were beginning to feel surprise at the length of her stay. The same year, 1879, was to witness several events leading up to her final flight in search of independence and freedom of movement. Mr. Mayer engaged the Comédie Française troupe for a series of performances to be given at the Gaiety Theatre, London, in June. Sarah was to play in _L’Etrangère_, _Phèdre_, _Le Sphinx_, _Hernani_, _Andromaque_, and _Zaïre_. The company left for London on June 1. Next day _Phèdre_ was played, and _L’Etrangère_ on the 3rd. Sarah was somewhat coldly received at first, but British iciness soon melted beneath the tragedienne’s fire. On the 9th, M. Sarcey felt justified in writing--“The English can adore two idols at the same time, and they are now devoted to Mlle. Sarah Bernhardt.”