"Well," he would reply, "if we must return there, I shall not complain. What matters if the wine be not so good, so that it is always your hand which pours it out." Fortunately, that year was one of successive triumphs for Crebillon. The "Electre" carried off all suffrages, and astonished even criticism itself. In this piece the poet had softened down the harshness of his tints, and while still maintaining his "majestic" character, had kept closer to nature and humanity. "Electre" was followed by "Rhadamiste," which was at the time extolled as a perfect _chef-d'oeuvre_ of style and vigor. There is in this play, if we may be allowed the term, a certain rude nobility of expression, which is the true characteristic of Crebillon's genius. It was this tragedy which inspired Voltaire with the idea, that on the stage it is better to strike hard than true. The enthusiastic auditory admitted, that if Racine could paint love, Crebillon could depict hatred. Boileau, who was then dying, and who, could he have had his wish, would have desired that French literature might stop at his name, exclaimed, that this success was scandalous. "I have lived too long!" cried the old poet, in a violent rage. "To what a pack of Visigoths have I left the French stage a prey! The Pradons, whom we so often ridiculed, were eagles compared to these fellows." Boileau resembled in some respect old "Nestor" of the _Iliad_, when he said to the Greek kings--"I would advise you to listen to me, for I have formerly mixed with men who were your betters." The public, however, amply avenged Crebillon for the bitter judgment of Boileau; in eight days two editions of the "Rhadamiste" were exhausted. And this was not all: the piece having been played by command of the Regent before the court at Versailles, was applauded to the echo. Despite these successes, Crebillon was not long in getting to the bottom of his purse. In the hope of deferring as long as he possibly could the evil hour when he should be obliged to return to his former humble style of living, he used every possible means to replenish his almost exhausted exchequer. He borrowed three thousand crowns from Baron Hoguer, who was the resource of literary men in the days of the Regency; and sold to a Jew usurer his author's rights upon a tragedy which was yet to be written. He had counted upon the success of "Xerxes;" but this tragedy proved an utter failure. Crebillon, however, was a man of strong mind. He returned home that evening with a calm, and even smiling countenance: "Well," eagerly exclaimed Madame Crebillon, who had been awaiting in anxiety the return of her husband. "Well," replied he, "they have damned my play; to-morrow we will return to our old habits again."