New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1880-11-26

Oh garb with character was also seen 1. !.
been peculiarly considered In this work. w
The imperial carriage OF the head, and N. u..
| wiilowy movements Of the person eoptrihn.s
the singular charm of the embodiment. Th...
many abrupt and startling transitions from ,-.'ues
Gus sparkle ami enticing iDgeDuousness 10 o,-'''
| rage and lurid passion. The identiicat,o, INC
the personality was complete at every poo. '
| the work was seen to grow from qu,et ls.s
drawiDR-room elegance To q tempest Of painf,, !"
| sion. Whatever objection might be urged 49,
| the vehicle OF this manifestation Of power and
| ulty. it could not be doubted that the disnl,, 80
of q dazzling and remarkable order. Their h.. -
been seen upon the stage in our timc mora r,a
vslOn of what is dangerous in woman OF No.
full INSCRIPTIONS kind, than was pressuted hr a.
Blanche de Chelies of Mile. Bernhard In thu 49,
act of " The Sphinx" The supple, beautiful ,h.
cal vitality with which she enacted the seemed Of -,
AstIeys final fascination cannot DO described =
was as remarkable for delicacy as for beauty n,
superb sphinx" attitude and expression yere A..
observed in this act and there we're cer,ai.
tremcly fine simulatons OF humane domestic ae,.
ment toward its close. The death scene wss ma.
aged with stony power and simplicity truly g,.,.
1t is difficult to mass together the conflicting :.
pressiOns left by this extraordinary portra,tu,.
an abnormal and obnoxious character SO a. IN rs,,
q definite statement of It's worth. Considered :.
piece of mechanism, it IL level with Mile. Re-.
hardts Erou Frou.
There is natural reluctance, though, TO man,.
upon any of the works of this great artist in a.
stage-manager style Of criticism-whch is csn,.,,
only TO record an opinion on the technical m,nt. =,
what is done. there is usually something beyond
,ba In ha inQfa
are not conscious of any informing thought ts,,
remains from Mile. Bernhardts performance Of .sT.
Sphinx" other than tho sense of her sran geuess h,
fascination, and her finished and beautiful mettoa
of dramatic treatment. To say that she plays Inn
part as well as il possibly be played to say bat
little. The reality of the performance created DIR,
feet llusion-but, ABOVE and beyond this, there WA
revelation of morbid individuality never to be for,
gotten however little to be admired, and howeye,
unfruitful in any influence that can enlarge splnt.
ual knowledge. crafty taste, or ennoble life.
The example set in the dea,h-sccne-of sirvl,
action and prompt and terrible celeritys one Tia,
the stage might wisely follow, IN all its treatment
of the hour and the incidents Of physical
dissolution. There was slight spssm-
q tremulous motion--and she covered her face with
a white veil and fell back rigid and awful. Their,
Is no photography III tnis-ihu pnotOglaph Is not
painting and never can take its place. Nile. Bern.
hardt was recalled several times III the course OF the
evening, and the house rang with admiIing paudts
when the last curtain fell.
NJ. Angelo was seen to much advantage "a Henri
de Saugny-parucularly III the park scene. Tasex.
pressiyeness Of his action was enhanced Dy an IN
tense auietude but the finest OF the subsidiary
efforts was that of 81. GangiOif as Lord dsly-a
performance remarkable for polish OF manners and
perfect proprie;y. The full east IS bere appendix