New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-11-27
THE DRAMA.
FRENCH ACTING AT THE GARDEN.
BERNHARDr AND CooUELrN.

tering multitude. presented Edmond Rostand's
drama of az Aiglon." In the form OF adapted
English translation this drama has been current
here since October 20. at the Knickerbocker
Theatre. with Miss Maude Adams and Mr.. J. III.
Gtmour in the conspicuous characters OF Reich
stadt and Flambeau-now impersonated by Bern
hardt and Coquelin.-and II has become well and
widely known Ample description of it was given
IN this journal five weeks ago, and q rehearsal or
its incidents would be superfuous In its
French form. as 1t proceeded from the hand OF It's
author 1t Is more symmetrical and considera-
bly, more impressive, than it Is in the English
translation, and those persons who have seen the
metamorphosis would doubtless be edited by seeing
the original French verse. indeed.-"monotony
in Wire, as Lord Byron called it's for the most
part, a melancholy flow of wearfsome cadence; but
there is certain spirit inherent IN the native Ian
guage OF every written work OF art that seems 10
elude expression In any other tongue. That the
play is much more ably and effectively acted In
almost all Of the parts, by Sarah Bernhardt ana
her associates than 1t Is by the English performers
at the Knickerbocker Theatre is beyond question
Sarah Bernhard may not be dazzling prodigy II
is easily possible to gaze upon her without the use
of blue glasses: but. in contrast with such Vapid
faccid and colorless performer Miss Maude
Adams. she is leopard alongside of kitten
There are, in the drama of ''L'Aiglon. two dra-
matte situations OF extraordinary artistic felicity,
providing occasion for moving, and even SPLEEN
did, display of character and emotion. One OF
them is the scene at the mirror the other is the
scene the haunted battlefield of Wagram. The
character of the Duke of Reichstadt is weak and
trivial but Sarah Bernhardt is a woman OF great
personal force, and actress of great skill and
trained ability. and in both those situations she
superb. At the mirror. beholding his fatal
resemblance to the Austrian line. and goaded by
the icy. ironica cruel barb of Metternich's merci-
less sarcasm. the wretched boy becomes frenzied
with self-scorn and self-dsgust. think himself
the son of Napoleon Bonaparte and TO know him
self nerveless and helpless unstable the wind
inf-m as foam" On the lonely battlefield in the
middle of the night. hearing horrid dream.
the thunder of the captains and the shouting.
the yes of murderous rage and the groans or
anguish. Re is driven momentarily mad with con-
ficting emotions, that ne with frenzy and
desperately launches himself into furious fight with
the phantoms of his own distracted BRAIN Ihis
dramatic fabric, remotely borrowed from Shakes
peare. is nevertheless vital and permanent. as one
of the few authentic spendors of French dramatic
litera ture and, the climax and central effect or
''L'AgIon' it redeems a somewhat prolix and
tedious play; tedious that is to all except the
idoators of Napoleon Bondparte and his kind
Those Pagod things of sabre sway.
With fronts of brass and feet of clay
The effect of this passage was greatly marred by
the Introduction of waving speCtreS. and a sudden
and silly yellow calcium. Sarah Bernhardts
preme charm 8 her voice, and of that the liquid
sweetness remains unchanged-in itself marvel
after all the vcissitudes and ravages of crowded
professional of nearly forty years; for this
actress made her first appearance at the Coincide
FRANCHISE in 1862. the Of seventeen, and she
has been in the storm and stress of ambitious
laborous, impulsve and exhaustive life ever since
Upon the forms. modes, and shows of her acting
which, first and last has been very copIously re-
viewed in this place. and often highly extOed.-it
is not essential now to expend many words. This
time it is pleasant to note that she has appeared in
play that is only romantic but decent. She
does so much resemble a male. as Reichstadt
but her slight figure is fun of grace. and now,
heretofore, she merges herself into the character
and impersonates it. Such part could present no
difficulties for such actress. Every element OF
1.-THE assitude. the petulance the bility, the
mental disgust, the mordant and consuming fever,
the thirst for action and the sense of weakness
was distinctly expressed; and above all the reckless
abandonment to sensual joys which, in such a
temperament as that of the Eaglet, might well
result from baffled ambition and curbed or broken
spirit The representation will long be re-
nembered of beautiful symmetry. The ac-
tress. however, more honored than the perform
ance: the applause that greeted her was like the
fall OF n cataract and ii followed her like the
waves of the sea. There at least sixteen cur
tain calls
Mr. Coquelin acted Flambeau-an easy part for
any experienced actor. and an especially easy part
for him. Flambeau is the representative soldier
OF Napoleon. the veteran whose ewes the little
Corscan was hero and in whose memory he Is
a god. Courage, tenderness humor. blunt honesty.
simple truth and heroism blend in such a
character. and-as shown. for example. in Dago-
bert in Sues great novel-greaty endear II to the
sympathetic heart Mr.. Coquen entered fully into
the spirit of the part and made 1t the most natural
and affecting figure In the drama.
1t Is within the experience of every votary of
the theatre that touch the heart
iumine the ina ina ton. and cast a magical charm
life, that their images linger in the mem
DRY, from youth to age. and cherished with a
kind OF worship The venerable Mr. Fladgate the
father OF the Garrick Club. in London exulted in
this of remembrance of John Philip Kemble.
The late Chief Justice DAILY kept TO the last of his
great age this sort of a remembrance hallowed
and hallowing. of Edmund Kean There are old
persons who still speak tenderly Of Mary Duff and
Malibran. of Helen Fauct and of Ellen Tree and
even OF the classic Rachel-that white marble
statue veined with fire. Happy. or IL not happy
least glorious are the creatures of genius who
possess this power of enchantment. their splendor
surviving long after they have vanished into ever
lasting night The homage that flows toward them
is spontaneous. and admiration finds easy TO Cele-
brate their powers and their deeds. Sarah Bern
hardt is of this hallOwed company. and 1t il
useless demand of the heart a tribute that IL
does not voluntarily offer No actress better I'M
derstands the mechanism of acting. No actress
possesses wider command of the resources Of dra-
matte expression. No actress could more readily
conquer expert appreciation leave the observer
more completely cold. OF this homage 10 the high
est order of mind and soul it might well be said as
ii has been said of kindred feeling
Love gives itself. and. II not given
No genius beauty, worth wit
No gold of earth gem of heaven
Is rich enough to purchase it"
THE DRAMATIC SEASON AT DAYS.
9TH