New-York tribune., 1905-12-13
THE DRAMA.
MIME. BERNHARDr AT THE LYRIC.
"CamiIle. %

Camille"
Nine. Bernhar6ts impersonation of Camille
which was shown at the Lyric Theatre last nisnC'
in presence of large and sympathetic assemblase'
possesses the commendab1e attributes of delicate
feeling and polished style. and these merits make
1t endurabe. The theme, however. has become e&-
ceedingly tedious. It recurs with the monotonous
and persistent regularity of taxes and 1t appears
to be invested with the inevitable certainty OF
death For some inscrutable reason many female
performers have seemed desirous TO declare the
benevolent doctrine mot denied by anybody, that
In an exceptional case. feminine character may
be, intrinscally fine. that its virtue cannot be
destroyed, even oy the sacrifice of chastity That
is the drift Of the everlasting Dumas drama, and
such Is the thought again enforced by Nine Bern
hardt.
1t is not a specially impressive thought, is
discussion OF it particularly desirable. Some per
sons indeed. believe that all subjects suitable
for the stage and that because animal propensites
are operant in human nature an exposition OF the
physical mania commonly called love is just
as desirable as anything else that can be shown
in work of art To such persons the amatory
dramas that presented by Mime. Bernhardt' IN
Illustration oS the erring sister (who has got 10
glory by being ''ruinedO. entirely agreeable
and so is the acting with which she inumines the
dreary waste of those pestiferous plays Other
observers exist who believe that the purpose OF
art IS the 1inistration of beauty. and consequently
the diffusion Of goodness and happiness, ana thaI
the law of is selection and for this audz-
ence there is dexterity of acting and no fenclly
of scenic presentment that commend TO appfo-
baton the drama OF morbid sexuality' talnteo
didacticism, and sentimental vice The Camllle
type of woman. embodied by Nine Bernharut'
IS less reprehensibe than the Sapho. Fedora, Tosca
type (n which this actress excels) but 1t is not
lovely. and Nine. Bernhardt. with all her force OF
character and weight of professional experience
(and these attributes, this occasion, were rein
forced and solidifed by obvious and formidable
maturity, both mental and PHYSICAL does not
make 1t either sympathetic impressive me
best performance of this part seen here
w that given by Nine Modjeskar-who act
a lover so truly to express love. The tempera-
ment of Nine. Bernhardt. on the contrary, is SO
hard and her style metallic that she never
imparts even the least conviction of tenderness.
She shines in violent transitions of emotion, ana
she is an admirable executant in passages or We
hement volubility. Her collapse, in closing tne
second act of "'The Sorceress,' and her defiance
of the Inqusition in that drama afford conspicu-
illustration of her supreme achievement Moth
ing in her performance of Camille is commensurate
with that impetuous blast of rage and tunult OF
invective,-though the fine touches Of elaborate
artice are exceedingly numerous and OF super
latively finished texture, much like old lace.
Much has been written, and in many countries
and various tongues to extol the powers of the
eminent French actress. and 1t is certain that she
has made a distinctive mark on the age The fact
nevertheless. remains, that her plays are usually
pernicious in quality, and that her influence has
not been good The complex and ingenious mech
angn of her actng-the felicity of pose. the anpli-
tude of gesture, the facial play, the velvet tone
the clear articulation the whirlwfnd of shril and
piercing speech-is admirabIe but this is not mate
rial in rational endeavor to ascertain the nature
of the public benefit that has proceeded from her
acting. Expert faculty is important to the actor
and pleasant to the spectator; but the benefit, II
found anywhere, must be found In the message
that the expert faculty conveys. The thing repre-
sented is vastly more important TO an audience
than the manner of representation The meaning
Of the play,-the result that is to remain IN the
memory and influence the conduct of hfe,-is more
significant to the public than actors dexterity
In imparting it. Nine. Bernhardts views of the
duty of an actor to the stage and to society have
not apparently. been modified by any irksome
sense of restraint within her peculiar field and in
her peculiar way, she is puissant dramatic force;
she has done well, things that should not have
been done at all; and her success has been ample
But It has been the success of proficiency and dis
play. sngularity and caprice, more than that
of artistic beauty he treasure Of thought, imagtna-
ton and feelng), which is communicable from one
mind to another and which survives in the abid-
ing welfare of the soul. Some actors (no one who
ever saw them, for example, will ever forget
Charlotte Cushman Edwin Booth John Gilbert,
Joseph jefferson or Henry Irvng) touch the heart,
flun1ine the imagination, and cast magical
glamour on the world,-so that their images lnger
in the memory from age to age, and are cherished
with kind of worship. Happy.-or, if not happy.
at least giorious-are the creatures of genius who
possess that power of enchantment.-their splendor
surviving long after they have vanished into 81
lence and night. The homage that flows toward
them is spontaneous. and admiration finds it easy
TO celebrate their names. Nine. Sarah Bernhardt
is not of that hallowed company Her tribute is
from the head. 1t is useless to ask 1t from the
heart. w. w.