“That no success is cheaply bought I have long known; my profession above all others is calculated to teach one that truth. “If Rostand’s play is the best this century has produced, and our greatest critics are unanimous in pronouncing it equal, if not superior, to Victor Hugo’s masterpieces, the young author has not stolen his laurels, but gained them leaf by leaf during endless midnight hours of brain-wringing effort—a price that few in a generation would be willing to give or capable of giving for fame. The labor had been in proportion to the success; it always is! I doubt if there is one word in his ‘duel’ ballad that has not been changed again and again for a more fitting expression, as one might assort the shades of a mosaic until a harmonious whole is produced. I have there in my desk whole scenes that he discarded because they were not essential to the action of the piece. They will probably never be printed, yet are as brilliant and cost their author as much labor as any that the public applauded to-night. “As our rehearsals proceeded I saw another side of Rostand’s character; the energy and endurance hidden in his almost effeminate frame astonished us all. He almost lived at the theatre, drilling each actor, designing each costume, ordering the setting of each scene. There was not a dress that he did not copy from some old print, or a _passade_ that he did not indicate to the humblest member of the troop. The marvellous diction that I had noticed during the reading at Sarah’s served him now and gave the key to the entire performance. I have never seen him peevish or discouraged, but always courteous and cheerful through all those weary weeks of repetition, when even the most enthusiastic feel their courage oozing away under the awful grind of afternoon and evening rehearsal, the latter beginning at midnight after the regular performance was over.