Now we will pass on to the opposition which came from the side of the associates. Talma had spent his life asking authors to write him something fresh.
Mademoiselle Mars said: "Do so if you like."
Other members said: "Do nothing of the kind."
Talma, born in Paris, but brought up in England, spoke English as easily as French; Talma, acting, with equal indifference Auguste and Néron in Paris and Hamlet and Richard, III. in London; compelled to play Ducis instead of Shakespeare, could comprehend all that would be gained by the introduction of a fresh element into the national art.
Mademoiselle Mars, intelligent, delicate, a comedienne both innately and from study, who made up for want of genius by wit, of strength by gracefulness, greatness by cleverness, she could say, "Do something fresh if you want to." Armed with her qualifications, even though they were slightly inferior, whilst still eminently sympathetic, she was always safe to succeed in everything. You can see she was not mistaken, since, after she had played Sylvia, Elmire, Célimène, she took the part of the Duchesse de Guise, Dona Sol and of Desdemona.
The rest said, "Do not create anything fresh for us," because, for the most part, they were just ordinary stereotyped artists with no desire to begin their education over again, feeling, at the same time too, that if they attempted it they were powerless to transform themselves.
Let us indeed examine into the education given to our artists, and see if it is as complete and intelligent as it might be.