Paris and the Parisians in 1835 (Vol. 1)Trollope, Frances Milton
History
Paris and the Parisians in 1835 (Vol. 1)
Trollope, Frances Milton
Paris (France) -- Description and travel; Paris (France) -- Social life and customs -- 19th century
I have indeed no doubt whatever that Mademoiselle Mars could read
Corneille and Racine as effectively as Mrs. Siddons read Shakspeare in
the days of Argyle-street luxury, and, like our great maga, give to
every part a power that it never had before. I well remember coming
home from one of Mrs. Siddons's readings with a passionate desire to
see her act the part of Hamlet; and from another, quite persuaded that
by some means the witch-scene in Macbeth should be so arranged that
she should speak every word of it.
In like manner, were I to hear Mars read Corneille, I should insist
upon it that she ought to play the Cid; and if Racine, Oreste would
probably be the first part I should choose for her. But as even she,
with all her Garrick-like versatility, would not be able to perform
every part of every play, tragedy must be permitted to repose for the
present in France as well as in England.
During this interregnum, it is well for them, considering how dearly
they love to amuse themselves, that they have a stock of comedians,
old, young, and middle-aged, that they need not fear should fail; for
the whole French nation seem gifted with a talent that might enable
them to supply, at an hour's warning, any deficiencies in the company.
I seldom return from an exhibition of this sort without endeavouring
in some degree to analyse the charm that has enchanted me: but in most
cases this is too light, too subtile, to permit itself to be caught by
so matter-of-fact a process. I protest to you, that I am often half
ashamed of the pleasure I receive from ... I know not what. A playful
smile, a speaking glance, a comic tone, a pretty gesture, give effect
to words that have often nothing in them more witty or more wise than
may often be met with (especially here) in ordinary conversation. But
the whole thing is so thoroughly understood, from the "_père noble_"
to the scene-shifter--so perfect in its getting-up--the piece so
admirably suited to the players, and the players to the piece,--that
whatever there is to admire and enjoy, comes to you with no drawbacks
from blunders or awkwardness of any kind.
Public-domain text, read in full here on John Shaqi.
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