|
The Argus (Melbourne, Vic. : 1848-1954) (about)
|
Cite: http://nla.gov.au/nla.news-article1886361
No comments yet.
1 correction by cmdevine - Show corrections
SARAH BERNHARDT.
GREAT ARTIST DEAD.
Enormous Crowds Mourn.
(Australian Press Assocation.)
PARIS, March 26.
Madame Sarah Bernhardt, who has
been ill for many weeks, died this even-
ing. Her condition had improved during the day, and she was conscious of the hap- penings around her. The doctors were amazed. They say that never in medical history has a woman nearing eighty years of age, with a career which had drawn upon mental and physical forces, as Madame Bernhardt's had done, survived so long a disease which was draining her
strength.
"How slow is my death agony." These words were uttered by Madame Bernhardt with a cheerfulness born of tremendous
vitality, as she lay sinking to-day. Later, in spasmodic delirium, those around the bedside heard her enact again some of her most famous roles in "L'Aiglon," "La Dame Aux Camellias," and "Phedre." In lucid intervals Madame Bernhardt gave directions about her funeral, insisting upon
the use of a rosewood coffin which has been in the house for thirty years; also upon minute instructions on the number and variety of the flowers to be placed
upon the coffin.
Enormous crowds, including famous actors, actresses, and dramatists stood
throughout the day in the vicinity of Madame Bernhardt's home.. When the great crowd saw the window of her room
gently closed, and knew that the great idol had passed away, men bared their heads and women dropped on their knees.
The sobbing of the mourners was heard everywhere. The doctors announced to the throng that Madame Bernhardt had passed away quietly in the arms of her son, while the remainder of the family stood at the bedside. She had been in agony all the day. Although her death had been ex- pected, the news created a great sensation. All the most distinguished personages in Paris visited the house and signed the
visitors' book.
A Voice of Gold.
Madame Sarah Bernhardt (Rosine Ber- nard) was born in Paris on October 22, 1845. At the age of 13 years she entered the Conservatoire, and within a few years was a prize-winner in both tragedy and comedy. She made her debut at the Come- die Française in August, 1862, in a minor part in Racine's "Iphigenie en Aulide," without marked sucess. By 1896 she had played 112 parts, 38 of which she had created. In 1907 she published a volume
of autobiography.
It seems that recently (though soe years have passed) that the great artist with the voice of gold was replying to the wonderful demonstration in London, when
From an Early Portrait.
Lady Bancroft emerged from her long re- tirement to present her French sister artist with an address signed by more than 100,000 admirers from all parts of the world. Then came the war, which drew the bonds of l'Entente Cordiale closer than ever. Following this, the crowning trouble of Madame Bernhardt's life, happened, the necessity for amputation of her leg. There followed the plucky attempt to continue her art crippled as she was, and the har- rowing and saddening experience of defeat. The inquiry that resulted so lamentably was not caused by her falling suddenly to her knees in "Jeanne d'Arc," as gene- rally supposed, but by stumbling over some scenery years ago at Liege. She neglected the trouble until on her way back from South America, when she again injured the knee. From that moment she suffered terrible agony, that finally decided her to got rid of the limb.
By critics throughout tbe world Madame Bernhardt has always been looked upon as the true and only successor of the three great tragic actresses-Siddons, Rachel, and Ristori. Her acting was dominated by a sure and certain instinct of what the conditions of the drama in which she was for the moment playing involved and required. In "Camille," for instance, from the very beginning, she found her note and kept it-a note of softness and tender melancholy, low in tone and rich in music, that seemed to float the soul of the unhappy woman to the inevitable haven beyond the voices.
Madame Bernhardt had Jewish blood in her veins, as her mother was of the Hebrew race. Her father, Bernard, was a Frenchman. Her first real success was in Racine's "Athalie," and she was at once hailed on all hands as an actress endowed with queenly grace and charm, and that notwithstanding her thinness, want of beauty, and sad expression. She was an artist by nature and an incom- parable one. But a greater success fol- lowed 'Athalie" when she appeared as the heroine in "Rom Vaincue." She was held up to admiration as no longer a comedienne, but human nature itself in- terpreted by a marvellous intelligence, a soul full of fire, and the most harmonious and melodious voice that ever delighted human ears. Those who heard her in Melbourne will be in accord with this judgment. But great genius that she was, she could not make a success of every- thing. She essayed "Hamlet," but for once failed to stir the feelings of her bearers to their very depths. The fact of her nature and temperament being so essentially feminine militated against her complete assumption of male characters, and no more successful was her attempt to impersonate the Due de Reichstadt in "L'Aiglon." The most notable achieve- ments of the actress were made in "Fedora,"' "Theodora," "La Tosca," "Cleopatra," "Magda," "Gismonda," "Ruy Blas," "Camille." "Phèdre," "L'Etran- gere," and "La Sorcière."
Madame Bernhardt's triumphs in lands other than her own were truly remarkable. England, Russia, Americn, and Australia all acknowledged her extraordinary gifts, and although she spoke in a foreign tongue, she inspired the same enthusiasm as a Paderewski or a Kubelik, who ap- pealed by the aid of music, that universal language which high and low equally understand. Her earnings were pro- digious, bul she was recklessly extrava- gant, and was more than once in pecuniary difficulties, even at a time when she was earning £40,000 a year. In February, 1883, her jewels were sold by auction in Paris, and realised £7,128. About the same time she married the Greek Consul in London, M. Jacques Damala, who be- came an actor and played with her on tour; but they separated after a few months. She had her share of the management of theatres, and successfully took charge of the Ambigu in Paris, the Porte St, Martin, the Renaissance, and the old Opera Comique, which she renamed the Theatre Sarah Bernhardt. The great actress had one son, M. Maurice Bernhardt, through whom she leaves grandchildren.