It is a well-known fact that, on the day of the first representation, Mademoiselle Mars said, "Vous êtes, monseigneur!" instead of "Vous êtes, mon lion!"
The line was neither applauded nor hissed: it was not worth either notice.
A little farther on, Ruy Gomez, after having surprised Hernani and Doña Sol in one another's arms, at the announcement of the king's coming hides Hernani in a room, the door of which is hidden by a picture. Then begins the famous scene known by the title of the scène des portraits, which is composed of seventy-six lines and takes place between Don Carlos and Ruy Gomez, the scene in which Doña Sol listens as mute and motionless as a statue, in which she only takes part when the king wishes to have the duke arrested; when she tears off her veil and flings herself between the duke and the guards, exclaiming—
"Roi don Carlos, vous êtes
Un mauvais roi!..."
This long silence and absence of movement had always been an offence to Mademoiselle Mars. The Théâtre-Français was used to the traditions of Molière's comedies or the tragedies of Corneille and was up in arms against the mise en scène of the modern drama, neither understanding, as a whole, the passion of action nor the poetry of stillness. The consequence was that poor Doña Sol did not know what to do with herself during these seventy-six lines. One day she decided to have the matter out with the author. You know her way of interrupting the rehearsals and of advancing to the footlights. The author was in front of the orchestra and Mademoiselle Mars was behind the footlights.
"Are you there, M. Hugo?"
"Yes, madame."
"Ah, good!... Do me a service."
"With the greatest pleasure.... What is it?"