_Nana Sahib_ was withdrawn after thirty performances, and on January 26, 1884, Sarah Bernhardt appeared in _La Dame aux Camélias_, which thus became, as it still is, her chief resource. This revival lasted for more than a hundred nights. On May 21 it was replaced by an adaptation of _Macbeth_, by M. Jean Richepin. This ran for only a month. At the end of June Mme. Sarah Bernhardt left for a short foreign tour. Next season, in consequence of sundry stories which found their way into the papers, and particularly of an attempt to poison her, which Paris did not take seriously, she handed over the Porte St. Martin theatre to M. Duquesnel, and joined his company at that theatre. _Macbeth_ was tried again on September 11, but was withdrawn five weeks afterwards. On December 26 she played _Théodora_, one of the most undoubted successes of her career. On this point there can be no mistaking the testimony of figures. _Théodora_ ran for two hundred consecutive nights, and, when the hundredth performance was given, the piece had already earned nearly a million francs. After Paris had had enough of _Théodora_, the piece was taken to Brussels and London, where it met with renewed success. It was brought back to the Porte St. Martin on the 28th October, 1885, and was given fifty-four times before its chief exponent broke down, and was compelled, on the 21st December, to leave the stage before the performance was over. On the following day she was obliged to take to her bed, but on the 31st she was able to appear in _Marion de Lorme_, though she was still visibly suffering from overwork. On the 27th February she gave another trial to a Shakespearean adaptation--a somewhat indifferent version of _Hamlet_, by MM. Cressonnois and Samson, in which she played Ophelia. _Hamlet_ failed to attract the public any more than _Marion de Lorme_, and on the 5th April Sarah brought out _Fédora_ again. After sixteen performances she left on her annual visit to London, and thence to Liverpool, where she took the steamer for Rio de Janeiro. This was the beginning of her great American tour under the management of Messrs. Abbey and Grau. It was one prodigious triumphal progress from one end of America to the other. It lasted thirteen months, and took her through Mexico, Brazil, Chili, the United States, and Canada; The _répertoire_, an extensive one, comprised _Fédora_, _La Dame aux Camélias_, _Froufrou_, _Phèdre_, _Adrienne Lecouvreur_, _Théodora_, _Hernani_, _Le Maître de Forges_, and _Le Sphinx_, M. Philippe Garnier taking the principal male parts. In Brazil the average receipts were £720 a night. “Absurdly rich men,” says M. Jules Lemaître, “wearing black whiskers and covered with jewels, like idols, used to wait outside the stage door, and lay their handkerchiefs on the ground so that dust should not soil the feet of Phèdre or Théodora.” After her appearance as Phèdre at Rio de Janeiro she was recalled two hundred