The New York herald., 1921-07-03
Talnla was true
to his memories
By PANAME.

MI VALMORE is a poet whose
intensity and truth give her
art an essential value above that of
more famous women. 1t cannot be
said that she lacked appreciation, for
Sainte- Beuve wrote a memoir of her.
But cannot escape the feeling that
there is more politeness than real un-
derstanding in his account of her life
and works.
A new volume is soon to appear,
called the Manuscripts of Marceline.
And from this the Reuue Mondidie
| gives in advance a few hitherto un-
published poems and a prose piece by
Prosper Valmore, her husband. This
latter has a particular interest in con-
nection with the Napoleon centenary.
After Bonaparte had gone into exile
the partisans Of the Bourtons ana
those who care only to be on the Win
| ing side were eager to show in every
way their disdain for the fallen en-
| pre-. lellS HOW lilSy "Sh' ~
the Place vendome and tried to over
turn the statue of Napoleon. But the
| perennial bronze" resisted all their ef-
| forts. The same evening they went to
the Theatre Francois and ordered
Talma, the grief stricken friend OF
Napoleon, to read ridiculous express
sion Of aervile homage to the allied
armies which had delivered France
from Napoleon. Valmore goes on to
describe the result, of which he was a
witness.
THE occasion was all the more pain
full for Ta!ma, because he was con-
strained, French artist, to thank the
| enemy for a deliverance which had
cost the lives of so many of his coun-
trymen. Besides, it forced him to ap-
pear ungrateful toward one who had
overwhelmed him with benefits. If he
refused the reading he would have to
give up an art which he had developed
to such a height and which he so
loved. His genius came to his
aid. In acquiescing he saved himself.
After making himself familiar with
the paper Talma advanced to the front
OF the stage. His attitude was noble
and unaffected. There was a silence
The spectators, attentive and curious,
appeared to besiege the reader to cap
ture from his features the feelings
which were to be reflected there.
"Then slowly and gravely, he began
and pursued his reading, and when he
came to the close of the long discourse,
of which this is the last sentence,
Take then. o Kings! the most glorious
reward that victors could wish-the
benediction of the DdnQuished'-it
might be said that Talma gathered in
his breast at that moment all the
power of his art. His accents were
magnetic, his voice deep and heavy, his
countenance torn with dismay, the
lines of his face distorted. At last
when he let fall these words, The bene-
dction of the vanquished,' his head
fell upon his breast, as If bowed by
sorrow and shame. The audience re-
mained motionless in stupor, no hand
dared meet hand in applause. The
mastery of Talma had achieved ven-
geance."
So much for Prosper. Marceline evil
IDENTIFY was not too much occupied with
her poetic inspiration to look after his
comfort, for she sent his forgotten
slippers after him, while he was in
Lyons, by the friendly Sainte- Beuve.
Yet under such dutiful domesticity
burned an incredible flame. Read these
lines:
Thou who alone hast loved me, hear. II
thou change
will pardon thee without reproach.
dear angel
And thou shalt never know my despair.
o. my more than other part! My life
Is indivisibe
Never have / held thee without loving
thee more;
Never leaving thee at evening.
Gone without palng in fear that /
should never see thee again.
For centuries the appreciation of
Shakespeare in France was delayed
not only by the difference of language,
but by the very power and violence of
his genius, which refused to confine it
self within the unities observed on
the classic stage. His plays have now
come to the place OF honor which they
deserve. And the success of James
Hackett in Macbeth is n French tribute
both TO American acting and to the
literature of England.
| was present at the Odeon. where
Hackett appeared. The audience was
made up OF the best of the American
society n Paris and of the Partisan
world of culture and influence. AS for
the actor himself. he has been likened
to the elder Guitry and to other artists.
No, he reminds me of none of them.
He is himself He achieved the very
eloquence Of power i'm the scenes which
precede the murder of Duncan. and he
rose to grandeur in the banqueting
scene, when Macbeth beholds the ghost
Of Banquo.
AS for French versions of Shake
speare. let me refer to the admirable
article in Comoedid by Marcel Rieu.