New-York tribune., 1901-04-09
THE DRAMA.
RETURN OF MME- BERNHARDT
"L,AIGLON" REPEATED

Nine. Bernhardt made her re-entrance in "
York last night. appearing at the Metropo,,..
Opera House. and again impersonating the Duke
of Reichstadt, in Edmond ROstand's drama =.
'L'Aiglon." MIR. Coquen repeated his strong ~.
personation of the bluff resolute. dauntless bar,
humorous. half pathetic martial veteran Ftar,
beau. On the vast stage and in the vast ana,
torium OF the Metropolitan purely dramatic nar
formance is made remote, and Is rendered 10 sor
extent, unappreciabe by the bOundless contIgu,.r.
of space. VocaIisrn must be heavily emphas,os
and action duly exaggerated in such a large ths
atre. to produce the artistic effect of nature Tn
pageantry of 'L'Aglon."-the scene Of tba
masquerade and the scene of the haunted batfa
field. chill and spectral under the midnight skv
becomes all the more imposing when shown uuon
a broad expanse: and. of course. Nine Bernhard,
and Mr.. Coquen. experienced and proficient =,
acting, having their powers under perfect control
adapt themselves to all conditions. This rene
tition of "L'AigOn.' accordingly,-whch was seen
enjoyed and applauded by a large audience-can
be recorded pictOrially impressive and dramatic
ally smooth.
The play has been sufficiently analyzed and de-
scribed. For a French audience, If dolatrous OF
the memory of Napoleon BOnaparte. IL possesses
peculiar charm of attractive significance. For the
dsinterested general public II is valuable chiefly
because of its dramatic situations. Rostand in de-
pcting the preternatural. follows Shakespeare ar
a long distance; but his invention of the Wagram
episode is at once triumph OF the Imaginative
mind and a lasting honor TO the literature OF
France. English readers who would cOntempIate
a weak character enmeshed and overwhelmed by
the adversely of strong circumstance have need
TO look beyond Shakespeares Richard the Second
which is the comprehensive complete, final. and
Incompatible study Of that subject: but Rostand's
portrayal Of Reichstadt is good variant OF the
theme and a suggestive fanciful presentment Of
somewhat interesting. however fatuOus. historical
person. The character of Reichstadt.-vibrant be-
tween aspiration and detection feverish. petulant
irritable eager for potential action. but aware Of
constitutional weakness, morbid sensuous. and
buehted with seIf-dfsgust-is easily within Nine.
T2ernhardt's grasp: and she embOdies II IN a
form Of symmetry moving with exquisite grace.
sDeakine with fascinating sweetness. ana. at Ger
tain moments Of passionate revolt ana ot oe-
lirum showing-or, at least. susgesting.-that
abandonment of passion which at once reveals
human nature and powerfully agitates and controls
it, Mascunity is not indicated, and perhaps II Is
not intended. The art is commonly visible LASH
tude vainly striving 10 be power does not as an
ideal the peculiar fire OF this actress-who
whatever else she may be- is not weak. and who
has no sympathy with weakness. No professional
movement OF Nine. Bernhardt's eccentric career
aside from the business aspect of the matter-has
been more eccentric than her adoption OF such
characters as ROstand's Reichstadt and Shake
speare's Hamlet for the OF which she Is, in
her peculiar. fiery way, far too great and for the
other In every way far too little. and with
neither of which does she possess the slightest
natural affinity. With the Bernhardt public, how
ever the main thing is Bernharit; and for that
public 1t may be said Of her. in the passionate
words of Laertes, that
Thought and afliction. passion. hell itself
She turns 10 favor and TO prettiness-