New-York tribune., 1903-01-07
MME. SARAH MOR4LIZES.
ESSAY from Her Pen on the
Influence of t&e Theatre.

translate it for publication in his pages. her
heart beat with a high emotion She proceeded
to Paris filed with sense of her heroine's fame
deeply touched by recollection of ''the wonder
fui way in which, at her own expense. she fitted
up the Odeon hospital in the tine of the
Franco-German War in 1870 and excited over
the triumphs in Berlin and elsewhere from
which the celebrated actress had just returned
Within less than twenty-four hours after
Madame Bernhardt had alighted at the Care
du Nord her original looking little carriage
was at her door. and her chestnuts soon de-
posted her on her favorite scene of activity
her own theatre Miss Challice lost no time
There found her., she says under the cleo
trio lights in her beautiful rooms of cream and
gold, showing no sign Of fatigue. and evidently
the handspring of the many matters incidental
TO the opening of the theatrical season on the
morrow. AS I watched her in her long white
clinging erTnine trimmed dress. calm and col
lected, giving orders every point, could but
recognize that the genius which is surrounded
by adoring hearts flowers. jewels and rich
draperies has also its practical part TO play
Never shall Miss Challice forget the first night
with its storm Of welcome In the salon of
Madame Sarah the sight of Monsieur Fictorien
Ssrdou seemed to her "a fitting frame to this
great tableau of theatrical success, and as the
great actress graciously received the homage
the Iine intellectual rugged face of the great
author also expanded in grateful acknowledge
nent TO the grand interpreter of his artistic
pen" But what of the article? Never, never
has Madame done such thing" said her sec
reta-y; articles have been written on her. but
never by her-it is impossible in her busy life
for her TO find the time TO write herself
Nevertheless, she found the time, and the
article is spread before in The Cornhill
Magazine" Madame Bernhardt begins it by
saying:
have often heard people deny the moral in
luence Of the theatre, but find 1t undeniable
This influence has existed from all time, and
never in my opinion has il been anything but
beneficial. Beneficial il must always be 10 see
the evolution of the human soul, and the more
inteligently this evolution Of the human souI
is shown the more effectual is the lesson drawn
by those privileged to witness it
We ali know that a single illustration Is worth
more than hundred aXloms, and II only from
this point of view the theatre is potent school
OF morality: and the awakening of sympathy
by seeing the drama of the lives of others pre-
vents the stultihcation arising from self
centred life
In spite Of the tendency of certain litterateurs
lower this sublime art. it remains erect
alive poetic enchanting, evokng. and instruct
ing. Yes, / maintain it is. above all, instruct
ing, for the theatre is not only a delightful
pleasure-it is vivid and conclusive-vivid by
force OF the misses scene, which intensity the
emotions and conclusive with the action, which
marks & fact much more than merely reading
Of it
The theatre is the temple of all the arts which
beautfy life, and il is in this that its power lies
For whereas a library picture gallery. or a
concert hail. each enthroning its respective art,
has each fits particular admirers, the theatre
by the service of literature, the hne arts and
music has a stronger claim upon human sym
pathy and thus obtains wider hearing.
To me the theatre seems like kaleidoscope
whose moving facets show attentive public
the baseness. the crimes. the vices, the weak
nesses Of humanity. the faults of civilization
same movement, which whilst showing the evil
shows the cause of the evil. that is such a
fascinating feature of the theatre Thus the
spectator being brought face 10 face with his
conscience. profits by the lesson given. and
such spectators can be numbered by thousands.
She admits that all spectators do not profit
iy the teaching of the theatre in the same de-
gree The public. in her opinion. is composed
Of heterogeneous elements, the Intellectual the
sceptic. the simple. the material and the i'm
personal. But she maintains that all find some
instruction. Everything is relative. is it not?'
she asks. and continues:
Then there is the public. so impersonal and
irnpulsive when it is a question of art that 1t
never errs. Plia bic and easily led in matters
Of politics religion, il is incapable of dis
covering truth for itself. il has capacity, for
search but It has true instinct for the recog-
milton OF what is presented true, and this
recognition, 1 repeat. is unerring with respect
to art Hence it is the public which profits the
most by the benefits and the erocative instruc-
tion Of the theatre It harnesses itself TO the
chariots of the elect and transports them
through the winds and storms Of opposition TO
the peaceful plains OF appreciation The 'pupllc
represents the mind IN its natural condition
generous ingenious. susceptible. and open TO
every noble and idealistic appeal Free OF an
arrere pensees of jealousy or malice, II RESPONDS
At once to the appeal of fine sentiment The
public is always the first TO recognize q great
actor, and the way in which il enters into a
piece is pure so amusing. so perfect the
evidence of its acceptance of the lesson of the
anna iE
applauds virtue. and bewails misfortune
Then what intense pleasure we have in seeing
an historical piece we'll played Not only DO the
characters act. walk and talk before our eyes
in the costumes they wore at the time. but We
sec them surrounded by the objects which were
dear to them. and moving about anna 1uInl, I,
+ure familiar to their age. Seeing an hisuorlcd4
character represented thus in ms own a attiLSe ,
phere is naturally Of tenfold more interest lhail
merely reading in a history a bald account OF
the life Of the person in question. Ihe mere
mention of the deed which made him celepIdOto
makes bl,t little impression and II would
require much research 10 form correct lo.a
20 ,1ie raf,its character and tastes whereas the
immediate insight given thereto on the stage
makes US at once feel in sympathy win MIN.
The historical characters in such wei known
rlavs as Sardous La Patrte" AND Les fre-
,,,iAres Ar7nes de Figaro" seen upon the stage
in the environment of their period. have d very
real effect upon MS. -. +,o
teaching of the theatre is superior 10 the teacn-
ing of classes and books; mol simply rlea ts
that the dramatic art is the supplement- OF hls
tory ard philosophy. and IL is a poWerrul ala
TO the development of the love of the gooc i anu
the beautiful which history ano phiiosoPhS
introduce us
a. ,his mint we begin TO wish that instead
re generalities like the going, we might have
some discourse based the authors own eH-
,,a-sence We do not get just what we want
bu+ presently Nine. Bernhardt announces that
she IS passionately attached 10 ali the arts De
clares that she longs for more time in which 10
,,,,rsue them and then gives us little auto