New-York tribune., 1905-12-17
THE DRAMA.
NINE. BERNHARDT AT THE LYRIC.
''Phedre. .

Readers Of the ancient Greek nterature are. Of
course. acquainted with the story OF Phsedra and
Hippoytus, told by Euripides in his false prosy'
argumentative, and grimIy horrible drama on that
subject Ractne's tragedy in which Nine. BERN
hardt acted yesterday afternoon is variant OF the
Greek original. telling the story, with con-
siderable difference to some of its details, but
with essential difference as its central plan
Phedre is the fnother-in-law OF Hippolytus, and.
In the absence of her husband Theseus, VINO IS
supposed to be dead, she avouches to her son-in-
lew an unhoy passion for him, with which she IS
consumed, and. being repused by that continent
youth, she falsely and basey apprises the returned
Iheseus that his has endeayored 10 seduce her
thereby causing direful complications and ilmit-
able anguish At the last she goes mad, with re-
morse, but she is sufficiently rational to confess
her criminal fslsehood and she swallows poison and
so dies. In the Greek play she hangs herself In
both plays she is. essentially. the same abnormal
and deplorable wretch-the vital image OF ter
rife struggle between vice and virtue animal pas
sion and the of rectitude. low desire and self
contempt The great Racine, ponderous but celes-
tal. has placed her in many trying situations and
has supplied her (and likewise associates). with
many long speeches. Her agonies excruciattng
and incessant.-not. however, at any time mitiga-
tive of her loquacty. Human suffering, as a rule,
and always with great natures,-is silent The
woe of Phedre is gsrrulous- BELTS invalid: for
no magic. of the divine Raone's most angelic
Alexandrines can take this part out Of the cate
CORY OF the sick.
edy Is, not rersifcation. but assafRtida,-a sove-
reign antt-spastnodic and great pity it is that this
could not have been administered at the beginning
of her troubles. There is, to sure, poetic way
of exalting the character. by reverting to the
Greek IDEAL and assuming that the afflicted
Phedre is a noble and majestic woman whom the
goddess Venus,-that offended deIty,-has deter
mined to destroy, and who precipitates herself
upon her own ruin because of celestial propulsion.
That was RacheTs way: that Ristori's way;
that was Mod1eska's way: but that is not the
Of Sarah Bernhardt, who, in acting Phedre Gin
which part her aspect in the Greek dress, is beau
tfuD has almost invariably stimulated the ardor of
the modern .wanton, in the artificial of the
modern helle-at times powerfully rising TO super
lattve passion, but never to majesty. The persona
ton aternates between self-love and sef-pity. Its
expression of jealousy,-when Phedre becomes
aware that Hippolytus loves her rival Aiicia,-is
superb The aercer passions are Nine. Bernhardt's
domain The crowning excellence, in this case, IS
the e1ocution. Byron designated French
nonotony in wire" and such It is; but Nine
Bernhard speaks it in such a way as often to
make the sound of it delicious. The embodiment OF
Phedre lacks majesty, tenderness and spiritual
morse; it is of the earth earthly: it moves
common level: and It is monotonous: but the play
is French classic; the part enlists Nine. Bern
hardts best powers: and persons desirous TO OBJ
French actress since they cannot see her
Donna Sol. cannot do better than to see her
Phedre. It will be repeated next Friday