The morning news. [volume] (Savannah, Ga.) 1887-1900, 1896-01-19

.ra nicture I said TO myself in that
s4o7tial way in which one does talk
mes self, Il must see that woman!'
t,- this I didn't mean simply seeing
-.frer the fashion Of reporters, but as
y-oman sees another. The picture?
.--u she was standing in front of mir
NTH her face turned partly toward
~, and drawing the laces Of her stays.
80 she had done it so correctly that my
.---ration was hers and my curiosity
go her. personally, was quite as great
- rombroso says curiosity is developed
- woman with fair hair and dark eyes.
-r},-e-the-bye, though, he says this isn't a
Ian curiosity; it is an intellectual One)
IN the picture her stays were drawn in
--o,erlv at the waist line and spread out
broadly and beautifully about the bust
end the hips. Said 1: THE woman who
lraws her laces in that fashion has
trains:" the average woman pulls her
lsres up and down just as closely as she
csn. so that neither bust nor hips have
an opportunity to develop, she can't laugh
with enjoyment, and her poor arms have
no opportunity to express themselves.
And Yvette Guilbert certainly manages
10 express very much with those long,
slender arms and wonderful hands Of hers.
man, and the art of the stage. said there
we're only two things worth considering
in a play or a book, woman and love.
Believe me Yvette Guilbert is worth study
ing. 1t makes no difference whether she
speaks or not, and yet it does. For cen
turies poets have said there was a fasci-
nation in the silence of the sphinx. Take
ny word for it, there is more fascination
in the speech of woman, especially when
YOU realize that her speech conceals
her thoughts. Here is a. woman, not beau
tful as we reckon beauty, and yet the
greatest artists in France have thought
il worth while to paint her. while the
artist who draws the designs, the finest
ones, for the SeVres vases took Yvette
Guilbert as a model, and gave thanks for
the permission to picture her She belit-
Ties ordinary beauty. The pink and white
the blue eyes, the small mouth, the dim
pied figure with its eighteen inch waist
becomes as nothing beside this woman
whose figure is natural, whose eyes are
what color are they? I only know this
about them-Since they first looked on the
world humanity has been their book, and
they have read it well. Her hair is red, a
perfect red, with not a dash of crimson
In it, her skin is white her mouth is
large, her teeth are exquisite, and in
ten minutes speech with her that mouth
assumes hundreds of curves that each
mean something.
Sarah Bernhard becomes nothing of a
riddle before Yvette Guilbert. She says
how kind the world has been to her.
look at her, and she is Gavroche. The
poor little street boy we'll acquainted
with the slang of the day, clever sympa-
thetic keen and yet willing, because some
body else is cold, to wrap his coat about
it. Somebody. some reporter, wrote
story which was said to tell Of the love
Of Yvette Guilbert's life.
Bahl Women with eyes like hers don't
tell Of their lowest they suffer them; they
them. thew
them Somebody else, meaning to be po-
lite and remembering her fondness for the
white gown and black gloves, compared
her to a bird. Never. Unless she was a
dove who sat on one of the trees in Para
disc and cooed and wondered as she heard
the serpent tempting Ewes She looks as if
she might carry out the theory of trans
mgratOn-as if she had known the his
tory of every woman's heart since the
world began. And men see her, and call
her chic, which she Is, and call her pecu-
liar, which she IS, but it takes always
6 woman to discover what she really is
the Sphinx of the nineteenth century.
~ Of say to her what costume do you
There is a light in the eyes, those won
Gerful eyes, that suggests femininity and
It's love for chiffons. And she says, 81
ike a very quiet Dress like black
dress, and one in which while l look well
] am not noticeable"
There is a toss of the head, shrug of
the shoulders, movement of those beau
tlful hands, and | realize that it is not
GaVrOche the gamin, up to all the argot
and all the tricks of the street to whom
l am talking, but the grand dame.
But for the EVENING" The hands give
kind of a whirl as if they compassed all
the lilies in the world, and she answers,
white before everything else. White in
beautiful clinging stuffs, and no jewels"
Then remember what Balzac says about
GoIors. Black apparently subdues, but
II has an ineXpressible fascination, while
white, although it looks virgin-like, is
powerful in its intensity to draw out"
with a woman's curiosity l ask another
question: What do you consider beau
tful woman?'
She looked at me, and then she seemed
TO look far off in the distance before she
mate is not beauty in another. l do not
admire the English women; they are too
regular and too lacking in expression.
1our American women come nearer the
french women than any other people, but
uleh you are a new race, and from you
should come the most beautiful women in
me world. And time and time only will
prove whether you have them, although
nave seen many beautiful American
women and | must say for them that
(ney dress elegantly and have that indie
Hlaole something which we call chic. But
beautiful woman to me and to nay people
Is woman of expression; a woman whose
eyes not only tell their story, but whose
BODY IN its litheness is most artistic No
fat-fat is not beautiful. No dimples-
Whples are insipid; but expression, that is
what makes her fascinating to men.
-ie1FC peetl IOlu InaL your american men
are generous-that they work, work,
WORK and are satisfied if their women are
happy All! what superb husbands they
must make. What do I love best to read?
va poetry. 1 like some of the modern
hoVelists, particularly de Maupassant, be-
cause he wrote first about this, then about
mat was universal, and an artist to his
niger tips. 1 love beautiful lingerie. How
40 you call it here-underWear. All! can
imagine a lady wearing a plain gown, but
cannot imagine a gentlewoman who did
10y wish her underwear, so you call it,
ualnty and eXquisitely made and trimmed
WIN lace and ribbons"
81 near it all. / hear the words, but be-
ore everything else there comes the mu-
&c OF that wonderful voice. call it fine,
can think of no other word for it. 1t
ny strength, it is clear, ringing, distinct,
ina tnere is never a. note too high, or too
iioW Every syllable has its value, and l
1--we only heard one other woman, whose
IIench compared with that of YYette
3Gulpert, and that was Sarah Bernhard.
Ger Work-well, you have heard enough
f,oqt her work, and yet l wish instead of
~dehIng her plantation melodies, so she
Llay nave some English songs in her re-
pet1olre, that some one would make her
er9erstand the meaning of the words,
S Sl'0 once she did that. neither you nor
toeu doubt her ability to draw the pic
C.e or that wonderful poem of Dante,
Naorlel Rosettts which begins: