The Sunday herald. [volume] (Washington [D.C.]) 1866-1887, 1880-11-14

showing that she is wollacquantcd with the vari-
Gus resources and rcnncmcnts of her art. They do
not vaguely Indicate but clearly express her inten'
tions. Her posting is graceful and seldom suggestive
OF studied effect rather than unconscious effort. Her
face s readily ssgcd With deep c%SOn Ssl and yss
finished style Of speech and action gives many delight
fu effects In tho lighter scenes as well ns tho love
passages Of the play, and aro heightened by bits OF
acting which seem spontaneous though thoy arc tho
result Of careful study and prcarrangement.
Tho Sua Is the most gushing Of tho Metropolitan
Journals. II says,
It was only when Maurice presented himself, and
tho charming scone ensued wherein takes place the
recitation from Corncill, which Is Itself pretty ira
dition In Milo. Bornhardt's personal history, only
then that tho stimulation of hcr art was APPARENT
and that her audience hogan kndie all before the
frightening nrc Of hor genius Mile. Bernhardt con-
ysycI snch an mrres,ion Of m love ana as
aud tender passion, so pquant engaging. and fasoi-
mating that oil hearts were stirred and won. Tho
effect was magical: the drama became Instinct with
life, with tcndercr Interest, more touching scnt
meut every pulse beat faster and confessed the ys
terlous Influence OF her genius and thenceforward shc
1t must bo admitted, however, that very largo
proportion OF tho audience conveyed to one the Idea
OF having been actuated in great part by motives
OF curiosity. II did not seem TO catch always the
contagon OF her art and II did not respond with that
warmth and enthusiasm that the performance con-
stantly mered. Perhaps It was that the language
was barrier, because one may recall like apathy
cooness In the OF Rlstori. At any rate two
thirds Of the audience was Disappointing and possibly
disappointed.
Fine as was tho close Of the second act however, u
was hut rs the spark which preceded the re In the
two great In the third and fourth acts she
simply bewlldering lurid and amazing phenomenon
OF emotion and passion that seized upon ones senses
with the of vivid reality. and swept every
thing before II In whrlwind OF conviction II is
impossible to describe the impression that tho
produced which ends with the recitation from Phadre.
with each limo she seemed to add acubit to the stature
OF Adrienno, until abe lowered above her cold and
mocking rival, every hbro trembling vt Its own ten
sion, her face glowing like furnace-a very embod-
ment Of consuming hatred and whitening scorn. 1t
lvssr In toalTn
visible IN tho agitation OF the audience, In Its rapt and
almost painful attention. and tho spontaneous Outburst
of feeling that ensued at Its close This scene eicitci
a stirring recall: Immense quantities Of flowers were
carried the stage, and the curtain was raised and
lowered half dozen times In the last act hor treat
mcnt of tho character In marvellous depletion oil
anguish and despair, accumulated and rendered more
poignant by physical suffering. II is history that
begins In sadness, in grief that changes to rapture,
and that ends In inexpressble pain aud despair II
was deeply affecting spectaclo It touched all hearts,
melted all sympathles, stirred the profoundest emo
| Of which no Idea can DO conveyed. Each seemed,
when the end came to feel within The echo Of Mchon
Tho New York Epenfng Post says,
It would bc unjust to Judge Bernhardt pcrcmptorily
after single performance. There Ia no doubt that
she IL most accomplished performer, OF strong ndi-
snt.sa a to the pr OF scst s GS 1 Ts
remains to be proved. or her versatility, OF course.
nothing can at present be said and In this as her ad-
mirers assert, lie her chefest claims to cOnsidera
tion. In Adrienne sho is remarkably effective bul
| she did not touch greatness Monday night. She wa,
at time transformed by the re Of passion or the
power OF genius as to defy critical Judgment. Sht
awakened the velie~t admiration by tho perfection
her method her complete mastery OF hcr art and hel
brilliant intelligence, but she did not send tho blood
whirling tumuuously through tho veins until reasor
Is tho slave OF emotion. 1t always possible Il
trace the means by which the end was reached, ant
and this Is equivalent TO saying that her efforts wer
the result of the perfection Of mechanism rather thar
of inspiration She never for instance. reached III,
heights of passion to which Clara Morris is wont Il
attain, but she gave that famous actress an Invaluable
lesson, II she would profit by It, touching the tru
Significance and use of dramatic style and finish. Il
her performance exhibited occasional signs OF labor
1t was careless, never abrupt nevor inharm0n
Gus, never coarse. 1t was moreover, notably FIRE,
from all exaggeration. all undue striving after self
assertion, and from all effort to improperly subcrd
nate minor parts The elocutlon OF Mile. Bernhard
Is Of tho highest order and her voice is rich In tom
and wide In range. In every variety OF m0dulatoi
1t Is completely under CONTROL and the crispness
uency Of Its utterance arc delightful. The sctres
s in wOrd perfect In all that part of her art whicl
can be acquired by study There is no doubt that he
performance Monday night fell short OF what ha,
been expected. She very heavily handicapped b.
the reckless audation OF which she has been the oh
l...e