Another member of "the profession," not so eminent a one as Mademoiselle Mars, but still a competent judge, Joanny, wrote in his journal on the 16th June 1838: "I took the part of Augustus last night; I acted well and was recalled. That little . . . has something in her, however." That little three-stars was Mademoiselle Rachel, and the something she had in her was more than even Joanny dreamt of in his philosophy! Then comes Védel the manager's hard business-like account. "She was well received, but with no more than the usual favour shown to beginners. The theatre was empty; it was not the fashionable time of year. Her appearance had not been heralded with the usual amount of newspaper paragraphs. No one knew Mademoiselle Rachel's name: no particular interest, therefore, was felt in this representation. She appeared, like so many others, without leaving an unfavourable impression, but, we must confess, without making anything like a success." After Camille she acted as Émilie in Cinna, Hermione in Andromaque, and Aménaïde in Tancrède. It was in the latter, represented on the 9th August, that Rachel first attracted public attention. The papers and placards had announced this réprise long before. There was a full house, a great many tickets must have been given away, since the total receipts only reached the sum of 623 francs. But she was able to appear before a larger number of spectators, of whom the majority did not even know her name. She was very much applauded in the second act, still louder at the fourth, and at the end of the piece she was enthusiastically recalled, and a bouquet and a crown were thrown to her.
"Was the impulse given?" asks Védel. "Alas! no; the amount of the receipts proves that conclusively.
