he feeling. It is
ready to burst forth, the smallest provocation or fancied one will set
it ablaze. During the forties there were a good many real or imaginary
provocations on the part of England, and, as a consequence, the hostile
feeling against her broke forth where it is almost always sure to break
forth first in France--on the stage and in song. After "La Main Droite
et la Main Gauche," came Halevy's opera of "Charles VI." It is but fair
to say that the Government did all it could to stem the tide, but,
notwithstanding its positive orders to modify the chorus of the famous
war song in the first act, the song was henceforth regarded as a
patriotic hymn. Nor did the visit of the Queen to Louis-Philippe at Eu,
in 1843, effect much improvement in this state of things; and, as a
matter of course, we on the English side of the Channel retaliated the
skits, etc., though I do not think we took them au grand serieux. When,
in January, '44, I went to London for a few days, I found the Christmas
pantomime of "King Pippin" in full swing at Drury Lane. I well remember
a scene of it, laid in the shop of a dealer in plaster figures. Two of
these represented respectively the King of France and the Queen of
Great Britain and Ireland. At a given moment, the two statues became
animated, drew close to one another, and exchanged the most profuse
salutations. But meanwhile, at the back of the stage, the Gallic cock
and the British lion (or leopard) assumed a threatening attitude, and at
each mark of affection between the two royal personages, shook their
heads violently and seemed to want desperately to come to close
quarters. The audience applauded vociferously, and it was very evident
to me that neither in Paris nor in London the two nations shared the
entente cordiale of their rulers.

CHAPTER VI.

Rachel and some of her fellow-actors -- Rachel's true character
-- Her greediness and spitefulness -- Her vanity and her wit --
Her powers of fascination -- The cost of being fascinated by her
-- Her manner of levying toll -- Some of her victims, Comte
Duchatel and Dr. Veron -- The story of her guitar -- A little
transaction between her and M. Fould -- Her supposed charity and
generosity -- Ten tickets for a charity concert -- How she made
them into twenty -- How she could have made them into a hundred
-- Baron Taylor puzzled -- Her manner of giving presents --
Beauvallet's precauti