New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1909-01-28

in association with Sarah Bernhard In the course
of that he acted Flambeau. in "L'Aiglon'
Scarpia. IN La Tosca''; Duval, in La Dame aux
Camelias'; and the First Gravedigger in the desc
Grafton of Hamlet" which then inflicted on
this community. His performance Of Cyrano was
a good one-such any talented and trained odd
stager" could give. and, indeed, such as several
old stagers" did give, when Rostand's play
reached our theatre IN an English form. In imag
inaton, poetic and romantic spirit, and In pathos
it was vastly inferior to the personation given
here by Richard Mansfield October l. 1888. AS
Don Cesar de Bazan Coqueln commonplace
and Matthias, in 1.-The Bells he was prosy,
common. and at some points. ridiculous. He was
best in low comedy. His Mascarille was gem
Of that KIND and it could not have been excelled.
The strongest serious representation that he ever
gave stage given when he acted
Scarpia. in La Tosca" In that part he the
incarnation of luxurious vuIpine sensuality, COM
bned with merciless. heartless. sarcastic, reptile
cruelty. He played that part so well that when
Tosca inserted the carving knife into his gizzard
the public heart experienced intense qualification
1t remains to Be said that Coquellns most intel
lectual representation that of Tartufe, and
that fact seems to indicate how essentially little
he contributed to the of the stage. Tar
tuffe can be acted in at least two ways. The au-
thor appears to have conceived him plump.
ford. sleek, individual with fluent delivery and
with bland and specious demeanor of affected
meekness. Such persons, in actual life usually
made known to the close observer by the eye,
which is hard and bold in expression, fat and
watery. crafty when of being observed, and
horribly carnaI and cruel when under the influence
of stimulant An assumption of oily good humor
is not unusual with that type of villain, but he is
more commonly grave, polished, and insidious-
The later image of him is the usually present
ed the stage and probably 1t is the one Moliere
intended in Tartuffe,-because the more dramatic
one.
CoquelIn presented a suave easygong. knavish
rascal, self-indulgent and genial. except at mo-
ments of peril and of defensive pugnacity. His
vein more that Of Amnidab Sleek than that
of Joseph Surface. Simple animal appetite rather
than calculating sentimental luxury, asserted
as predominant motive and the effect OF hate
full wickedness thus subordinated to that OF
physical bulk and curiously humorous Inertia. A
subtle drollery seemed just beneath the surface
and, where that was absent, the coloring was dull
CoQuelin assumed gravity, but it heavy rather
than imposing. The affectation of contrition, at
the end of act third. stroke of nature, made
with fine There some excitement, but not
attractive plausible amatory ardSr in Tar
tuffes declaration to the wife, there was only an
exultant sense of desire and OF the good fortune
of possessing a priestly robe for the convenient
conceanent Of sin. More than once, indeed, the
villain seemed be laughing at himself and taking
his depravity and the trouble cccasoned by it as
jest. The embodiment was framed, fashioned
and illumined with ripe mimetc skill-but there is
more than swinsh animalism in Tartufe The
personaton of that part by COquelin explained his
fame. His artistic method of making sport was
often superb-as when the priest told the lady not
trouble about Heaven"
Coquelins tendency in the dramatic art was
toward the broadly comic aspects of human nature,
the grotesque attributes of character, the absurd-
ties of experience, and those phases of life he
often depicted with admirable fidelity. Behind the
question of technical proficiency there is always
the question of Individual superiority, Of what can.
perhaps, rightly called artistic benehcence-the
question whether the actor has been supremacy en-
dowed by nature and Is. for that reason, OF ex-
traordinar ~ Importance to the community. Coquelin
did not fascinate either by intrinsic charm OF &C
quired grace. In the atmosphere of poetry, as was
painfully shown by his Don Cesar, he was a
stranger His temperament being cold. he could not
always simulate the excitement that Is essential
through perfect conceament of art to make imlta-
ton seem reality. On the other hand, he possessed
strength of character. force Of brain-notaoy sig
nided in mental poise and in willard he had an
afauent fund OF drou humor. His self-possession
was extraordinary, showing itself IN his repoSe'
deliberate precision, and elaborate detail
Among Coquelin's principal characters were;
Figaro. in lie Marriage de Figaro
Diafoirus. IN ''Malade Imaginaire.'
Argante I'm Les Fourberies de Scsfin
1esbonnard in la viste de Noces
Don AnnIbaI. in ''L'Arenturiere'
Iabussiere. in "Thermiior
Aristide in lie Lion Amoureux
Cyrano. In "Cyrano de Bergerac'
FIambeau in 'LAiglon."
Ieopoid in Les -Four Chamoault
Scarpia, in La 1osca.
FIRST Ciravedigger in Hamlet
nuc de Septnonts in ''L'Etrangere
1,azcsr,1e in Les Precieuses Ridicules
Matthias in THE Bells
Don Caesar. in Don Cesar de baZah
Tartuffe in ''Tartuffe."
Chicot IN La Dame de Monsoreau.
ton vatican In Les Mserabies
he also acted in perversions called La meyers
,nnr;volsee,. and .'Falstar" being plays derived
,or his use. by ii Paul Blair FROM respeotiveIy.
.s7-ru Tanning of the Shraw." ana me -IeIIy
Wives Of windsor and the TWO pa''S u W
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