her pieces had been hissed. In those old days
plays that did not find favour were hissed. At
present they are not hissed, either because there
are no more poor plays, or because the public has
seen so many bad ones that it has become philo-
sophical, and does not take the trouble to show
its displeasure. George Sand's first piece, Cosima,
was a noted failure. About the year 1850, she
turned to the theatre once more, hoping to find
a new form of expression for her energy and talent.
François le Champi was a great success. In
January, 1851, she wrote as follows, after the
performance of Claudie: "A tearful success and a
financial one. The house is full every day; not
a ticket given away, and not even a seat for
Maurice. The piece is played admirably; Bocage
is magnificent. The public weeps and blows its
nose, as though it were in church. I am told
that never in the memory of man has there been
such a first night. I was not present myself."

There may be a slight exaggeration in the
words "never in the memory of man," but the
success was really great. Claudie is still given,
and I remember seeing Paul Mounet interpret
the part of Rémy admirably at the Odéon Theatre.
As to the Mariage de Victorine, it figures every
year on the programme of the Conservatoire com-

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