The genius of Réjane is a kind of finesse: it is a flavour, and all the ingredients of the dish may be named without defining it. The thing is Parisian, but that is only to say that it unites nervous force with a wicked ease and mastery of charm. It speaks to the senses through the brain, as much as to the brain through the senses. It is the feminine equivalent of intellect. It "magnetises our poor vertebrae," in Verlaine's phrase, because it is sex and yet not instinct. It is sex civilised, under direction, playing a part, as we say of others than those on the stage. It calculates, and is unerring. It has none of the vulgar warmth of mere passion, none of its health or simplicity. It leaves a little red sting where it has kissed. And it intoxicates us by its appeal to so many sides of our nature at once. We are thrilled, and we admire, and are almost coldly appreciative, and yet aglow with the response of the blood. I have found myself applauding with tears in my eyes. The feeling and the critical approval came together, hand in hand: neither counteracted the other: and I had to think twice, before I could remember how elaborate a science went to the making of that thrill which I had been almost cruelly enjoying. The art of Réjane accepts things as they are, without selection or correction; unlike Duse, who chooses just those ways in which she shall be nature. What one remembers are little homely details, in which the shadow, of some overpowering impulse gives a sombre beauty to what is common or ugly. She renders the despair of the woman whose lover is leaving her by a single movement, the way in which she wipes her nose. To her there is but one beauty, truth; and but one charm, energy. Where nature has not chosen, she will not choose; she is content with whatever form emotion snatches for itself as it struggles into speech out of an untrained and unconscious body. In "Sapho" she is the everyday "Venus toute entière à sa proie attachée," and she has all the brutality and all the clinging warmth of the flesh; vice, if you will, but serious vice, vice plus passion. Her sordid, gluttonous, instructed eyes, in which all the passions and all the vices have found a nest, speak their own language, almost without the need of words, throughout the play; the whole face suffers, exults, lies, despairs, with a homely sincerity which cuts more sharply than any stage emphasis. She seems at every moment to throw away her chances of effect, of ordinary stage-effect; then, when the moment seems to have gone, and she has done nothing, you will find that the moment itself has penetrated you, that she has done nothing with genius.