What can I tell you of Sarah that you do not know already? Her acting is the summit of art. Our grandfathers used to speak with emotion of Talma and Mlle. Mars. I never saw either the one or the other, and I have barely any recollection of Rachel, but I do not believe that anything more original and more perfect than Mme. Sarah Bernhardt’s performance on Wednesday has ever been seen in any theatre. On the 11th February, 1895, came the revival of _Amphitryon_, with Coquelin, who unfortunately remained with her for only a brief period. M. Sarcey considered the performance wanting in life. The other critics treated it as a success for Sarah and Coquelin, but there was no enthusiasm. On the 15th February, _Magda_, by the German writer Sudermann, was produced. All the critics described her as admirable. On the 5th April, _La Princesse Lointaine_, by M. Edmond Rostand, proved an equally great success for poet and actress. To London and Scotland again, with _Gismonda_, _Izeïl_, _La Princesse Lointaine_, _La Tosca_, _Magda_, and _La Femme de Claude_. Then she made arrangements to produce _Amants_, by M. Maurice Donnay, for which she engaged Mme. Jeanne Granier. In the meantime what does Sarah do? Rest? Not at all. On the 5th January the _Figaro_ announced her departure on that day for America, where she was to give a series of performances. She was back on the 4th July, 1896. She took two months’ rest at Belle-Isle, and on the 30th September she revived _La Dame aux Camélias_ with phenomenal success. On the 8th October she recited before the Tsar and Tsaritsa at Versailles. _Lorenzaccio_, adapted by M. Armand Dartois from Musset’s poem, was produced on the 3rd December, and enabled Sarah to score yet another triumph. [Illustration: The Fort-aux-Poulains, Belle-Isle, Mme. Sarah Bernhardt’s country residence.] “SARAH BERNHARDT’S DAY” On the 8th February she brought out a piece by M. Sardou, _Spiritisme_. It was a failure. Sarah’s talents were extolled to the skies as usual, but in comparison with her previous appearances the reception of the play was cold. After twenty-five indifferent performances she was obliged to revive _La Tosca_, and then bring out a piece, _Snob_, by M. Gustave Guiches, in which there was no part for her. Easter week arrived, and she took advantage of it to give a series of performances of M. Rostand’s religious drama, _La Samaritaine_, which met with triumphal success. Says M. Sarcey--“Sarah, transfigured and drinking in the life-giving Word, and repeating the words ‘I am listening, I am listening’ with all a neophyte’s ardour, is a sight to be seen. Her personality completely fills the second act. Full of the divine fire, she evangelizes the crowd wherever she goes. Her success was very great.”