any respects revealed
Miss Adams as she had never been revealed before. She was recalled
twenty-two times.

_Chantecler_ literally crowed and conquered!

Just how much "Chantecler" meant to Charles Frohman is attested by a
remark he made soon after its inaugural. A friend was discussing
epitaphs with him.

"What would you like to have written about you, C. F.?" asked the man.

The brilliant smile left Frohman's face for a moment, and then he said,
solemnly:

"All that I would ask is this: 'He gave "Peter Pan" to the world and
"Chantecler" to America.' It is enough for any man."

The last original production that Charles Frohman made with Maude Adams
was "The Legend of Leonora," in which she returned once more to Barrie's
exquisite and fanciful satire, devoted this time to the woman question.
In England it had been produced under the title of "The Adored One."

It was in the part of _Leonora_ that James M. Barrie saw Maude Adams act
for the first time in one of his plays. He had come to America for a
brief visit to Frohman, and during this period Miss Adams was having her
annual engagement at the Empire Theater.

Of course, Barrie had Miss Adams in mind for the American production,
and it is a very interesting commentary on his admiration for the
American star that about the only instructions he attached to the
manuscript of the play was this:

_Leonora is an unspeakable darling, and this is all the guidance
that can be given to the lady playing her._

On her last starring tour under the personal direction of Charles
Frohman, Miss Adams combined with a revival of "Quality Street" a clever
skit by Barrie called "The Ladies' Shakespeare," the subtitle being,
"One Woman's Reading of 'The Taming of the Shrew.'" With an occasional
appearance in Barrie's "Rosalind," it rounded out her stellar career
under him.

Charles Frohman lived to see Maude Adams realize his highest desire for
her success. She justified his confidence and it gave him infinite
satisfaction.

Miss Adams's career as a star unfolds a panorama of artistic and
practical achievement unequaled in the life of any American star. It
likewise reveals a paradox all its own. While millions of people have
seen and admired her, only a handful of people know her. The aloofness
of the woman in her personal attitude toward the public represents
Charles Frohman's own ideal of what stage artistry and conduct should
be.

It is illustrated in what wa