These examples, and as many others, are outdone by that of the famous
finance minister, a parvenu broker, who chose to be entitled the
Marquis Insignificant (l'Ensenada).

In producing a work, constructed with all the dramatic irregularity of
the early French and Spanish stage, the author has made an experiment
which had been called for by the suffrages of more than one "organ of
public opinion," as well as of all the "first-nighters" of Paris. He
wished to meet the genuine public and to have his piece represented in
a house filled with a paying audience. The unsatisfactory result of
this ordeal was so plainly pointed out by the whole press, that the
indispensability of _claqueurs_ has been now forever established.

The author had been confronted by the following dilemma, as stated by
those experienced in such matters. If he introduced into the theatre
twelve hundred "dead heads," the success secured by their applause
would undoubtedly be questioned. If twelve hundred paying spectators
were present, the success of the piece was almost out of the question.
The author chose to run the risk of the latter alternative. Such is
the history of this first representation, where so many people
appeared to be made so uncomfortable by their elevation to the dignity
of independent judges.

The author intends therefore to return to the beaten track, base and
ignoble though it be, which prejudice has laid out as the only avenue
to dramatic success; but it may not be unprofitable to state here,
that the first representation of _The Resources of Quinola_ actually
redounded to the advantage of the _claqueurs_, the only persons who
enjoyed any triumph in an evening entertainment from which their