Pradier, then, considered Juliette well equipped by nature in respect of sentiment, intelligence, and voice production; but he criticised in her a certain timidity and lack of assurance, sufficient to mar her entrances and cover her exits with ridicule. He also thought fit to observe to her that, once she was on the scene, and had overcome her initial fright, she overacted her parts, and was not sufficiently natural; she forgot to address herself to the audience, and would speak into the wings, and neglect to vary her gestures, intonations, and pauses.
To sum up, fire, intelligence, and an adequate vocal organ, but shyness, awkwardness, monotonous delivery, and hesitation in gesture and gait: such seem to have been the dramatic qualities and shortcomings of "la belle Juliette." The testimony of Pradier has been confirmed by that of _L'Artiste_. If there is any need to say more, we can judge by an analysis of her engagements with Harel.
On February 7th, 1832, Harel signs a contract with her for thirteen months, to begin from the March 1st following. He brings her back from the Odéon to the Porte St. Martin, and promises her the modest salary of four thousand francs per annum, payable monthly. But he does not treat her as a "general utility" actress--on the contrary, he insists that she keep principally to the part of _jeune première_ in comedy, tragedy, and drama; that she learn daily at least forty lines or verses of the parts which shall be allotted to her; that she furnish at her own expense all the dresses necessary for her parts; that she be present at all rehearsals called by the administration of the theatre. On January 13th, 1833, the two agree that the engagement shall be prolonged on the same conditions until April 1st, 1834. Between whiles, Juliette continued to create parts.
It must be confessed that she led the customary life of a theatrical star. From the Boulevard St. Denis, where she lived, to the Boulevard du Temple, which was then the hub of the social world and the centre of amusement, the distance was negligible. She was therefore present at every scene of this ceaseless round of entertainment. Her wardrobe enjoyed a certain renown. Her journeys, one of which was to Italy towards the end of 1832, helped to keep her before the public. Beautiful as a goddess, merrier than ever, her bearing unconcerned, her arm lightly placed within that of the chance companion of the moment, her eyes flashing fire, though her heart might be full to bursting, she sailed towards Cytheræa without apparent regret, without thought of return. It was at this moment that Victor Hugo succeeded in bringing her back into port, and keeping her there for ever, the slave of one master, the woman of one love.