Lynchburg daily Virginian. [volume] (Lynchburg [Va.]) 1852-1861, 1855-07-17
VOL. ,. NO. 29l.
DAILY VIRGINIAN.
Mile Rachel

We see by the papers that Rachel. the great
French actress, will not come to this country so
curly as has been stated. Probably she intends
Ia whit till the Exposition in Paris is over.
She is TO perform in the French language, which
will limit her audiences greatly. 1t is said how.
eyer that her acting il $50 express. and adnra-
bic" that il translates itself This may be. in
sufficient 10 attract audiences in this country suffi
elent to attract audiences in this country suffic-
emily large to cover the immense pay which, it is
reported, she is To- receive.
According to the best critics, too, Rachel is
not only pdsse, but has actually retrogrnded in
h,r profession. We have before us now an ex-
tract from the work just published of Mrs jaime
son. who Is ono Of tho best living critics ofart.-
She says;
Every one who remembers what Mile. Rarh
81 was seven eight years ago, and who seps
her now (ls53) will allow that she has made nt,
progress III any of the essential exoellences of
her nrt' \ certain proof that she is not great
artist III the true sense of the word. She Is
finished actress but she Is nothing more, and.
nothing better; not enough the artist ever to for
get or conceal her art, consequently there is n
wnnt somewhere, which mind highly toned and
ot quick perception, feels from beginning to end.
The parts in which she once excelled--the Phe-
dre and the llermione for instanoe--hhve become
tormaliaed and hard, like studies cast in bronze;
and when she plays part it has no fresh
moss.
Il am disposed to think TINT Rachel has not
genius, but tnlent, and that her talent, from what
see year 1iter year, has downward tendency.
there is not sufficient moral seasoning to save
IT from corruption. | remember that when first
snw her in llermione she reminded me of SER
pent, and the same impression continues. The
long meagre form, with its graceful unduu.ng
movements the long narrow face and features
tho contracted jaw, the high bfo|, tho brilliant
supernatural eyes. which seem "a. glance every
way Mt once the sinister smile; fle painted red
lips which looks us though they had Tapped or
could lap, blood all these bring before me tho
lden OF n Lama, the serpent nature in the
nuns form In Lydia and in Athae, she touch
es the extremes of vice and wiekedness with such
n masterly lightness and precision, that am full
of wondering admiration for the actress. There
- not a turn Of her figure, nor expression in
hor tacc, not fold in her gorgeous drapery, that
IL not study; but withal such consciousness
OF her art, and such nn ostonaion of the means
she employs, TINT the power remains always OK
traneous, ns 1t were, and exciting only TO tho
sense and tho intellect.
"Lntterly she has become n hard mnnnerist.
Her face ono flexible, has lost the power of ex.
pressing the nicer shades and softer gradations
oi feeling, much SO that they write dramas
for her with supernaturally wicked and depraved
hcrolnes 10 suit her especial powers. ] conceive
that mn artist could not sink lower in degradation.
Yet, to satisfy the taste of Partisan audience
and the ambition of Partisan actress, this was
not enough. and wiekodness required the pquan-
oy of immediate approximation with innocence.
In the Valaria she played two oharaoers, and ap-
pcarod on the stage alternately as a miracle of
vice and miracle of virtue; an abandoned pros
tituto and chnsto matron There was some
thing in their oontrasted impersoDaton, consider
cd simply in relation to the nims END object of art,
revolving, that sat in silence and deep dis
gust, which wins partly deserved by the audience
which could endure the exhibition =