The sun. [volume] (New York [N.Y.]) 1833-1916, 1897-08-01
sARorr Kn1rrs ~ .pUsR
Hraprsssion. nsaae ~ shs r,ai,sn Actress en- sns
French Critic.

NJ. Francisque sarcey, the noted French
critic, was somewhat slow in expressing tho full
approval Of Eloonora buses acting which his
criticisms In lie Temps showed after he had
seen her In several roles. OF her Interpretation
Of Mdgdd, well known in New York, he wrote:
There IL one scene, to my mind tho best in
the play, tho most original, in which Sarah
90 charmed us. It is that between Mdo.
da and the minister HoGerdino, who
Schcdrs had formerly purposed should marry
his daughter MdDdd. She had refused, ho!d-
ing him In contempt as poor-spirited and mar
row.souled. She knows all about life now.
She discovers. talh ing with this honest man, so
simple and so grave, that he was nowise what
she had thought him. u commonplace nature.
He had guarded within his heart the image Of
her he loved; had never married; had dedicated
himself with heroic resignation 10 his humble
duty; had bowed with q good grace to those
rules that she had.trampled under foot. She
feels him to be noble. She stands there dream
ing. Was 1t not herself who had shaken Oft
the yoke, had ruined her own life and lost her
happiness, the true happinessi The scene 10
exouislte-on a eamut, restrained and most
melancholy. / know mono on our stage with
which it compares. 1t 10 born of the soil OF
Germany.
Sarah played It ravishingly. I believe that
the Du6o was even DotlOIs pub ~ 70 III "o
would term a studied scene. 1t was indis-
pensable to know Italian perfectly to follow
step by step such an Interpretation and appre-
c.ate It. All How I understand at last those
Americans, who, knowing French but impor-
cries, over the dissertations Of our tragedies"
In a later number Of L. Temps. NJ. Sarcey
II come now to the last performances Of Nine.
them it was because wished, before ending the
series Of my studies Of her art, to await the re-
suit Of the performance that che tenderer on
Saturday between 8 and 5 to her comrades OF
appeared than she captured US all. For my
part l do not care for the ,,Cevalleria Rustieana,'
which seems to me 2 T melod Iran w Sp6fSilG a, ana mo
By Italians. The two actors who accompanied
T Tas eHss h role. 0n she n played lS1s pf i : wiz t srsss pa. :
display heF powers. She has, nSOing from the
'Cavafleria' to the Dame aux CsmSlias,' and
thence to the Femme dc Claude wisely grad
Dame aux Cam6lias.' she gave on this occa-
these artistic who live their roles. and hence re-
semble themselves SO little from one night to
s sSS 1spr.s cSstsainlEI a the gsse i tor hsT d u whf IN
Paris. But she played then with her neryes;
she was not mistress Of hef ,SI. she had no
was q la nlorte that she let escape. with o bass
note. and with q stare, scared and desperate.
We all shivered with terror. and whom she
looked, in such q woebegone way. at her poor
little hands, slender and emaeiated, every heart
was melted with pity and tenderness. How
they w~ept-from the orchestra to the fourth
Tho second act of La Femme de Claude
! ended the performance. 1t Is perhaps there that
l admire her the most, because In that role sho
Is not only the great artist, as in La Dame aux
Cam6lias; she Is besides.a sure and profound
comedienne. With what variety and what
powerful infections she carries and inmates
those grand speeches that Dumas puts Into the
mouth of his heroine. The delivery may hardly
DO rapid; it Is SO clear cut, the articulalio %
precise, the intonation 50 true and so intense
that 1t seemed 10 me l understood Italian In
hearing her; and what expressive stimulation,
what eloquent gesticulation, and all governed
by such mar yellous discretion. She reaches
artificial. but then the arti6cc Is not observable.
We listen breathlessly. the lorgnette fastened
upon that face which Is radiant, the teeth Of
perfect Wilderness, and with her superb eyes.
She Is not beautiful. nor oven very pretty. 1t
Is much better; 1t 10 an ardent soul which
burns in her face.
when she had launched the famous .Comel'
which the curtain falls, there was an explosion
of enthusiasm; sincere enthusiasm: the enthu.
siasm Of artists. who knew just why they were
captured, and who were none the less enslaved
because they could render an account OF how
it had been done, Then there followed recalls
never;to-be-forgotten evening. An revoiri'
was the cry from the orchestra and the boxes.
We hope sincerely that she will return. II she
could some day play for us q piece In French!
We would overlook her slight accent, provided
she did not select a work In verso"