fickle, now constant to her first love, she alternated between the Variétés and the Vaudeville; took an engagement at the Odéon; assisted at the birth and death of the Grand-Théatre; and just lately the Vaudeville has won her back once more.
Amidst these perambulations, Réjane played the diva in Clara Soleil. The following year she had to take two different parts in the same play, those of Gabrielle and Clicquette in Les Demoiselles Clochart. Gabrielle is a cold and positive character; Clicquette a gay and mischievous one. Réjane kept them perfectly distinct, and without the smallest apparent effort. In 1887, she telephoned in "Allô-Allô" and represented so clearly, by means of clever mimicry, the absurd answers of the apparatus, that from the gallery to the stalls the theatre was one roar of laughter and applause; I fancy the salvoes and broadsides must still sometimes echo in her delicate ears.
Réjane's part in M. de Morat should not be forgotten; nor above all, the inimitable perfection of her play in Décoré (1888). Sarcey's exultation knew no bounds when, in 1890, she again appeared in this rôle. Time, that had metamorphosed the lissom critic of 1875 into a round and inert mass of solid flesh, cruel Father Time, gave back to Sarcey, for this occasion only, a flash of youthful fire, which stirred his wits to warmth and animation. He shouted out hardly articulate praise; he literally rolled in his stall with pleasure; his bald head blushed like an aurora borealis. "Look at her!" he cried, "see her malicious smiles, her feline graces, listen to her reserved and biting diction; she is the very essence of the Parisienne! What an ovation she received! How they applauded her! and how she played!" From M. Sarcey the laugh spreads; it thaws the scepticism of M. Jules Lemaitre, engulfs the timidity of the public, becomes unanimous and universal, and is no longer to be silenced.
In 1888, M. Edmond de Goncourt entrusted Rejane with the
