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"You'd make a good actor, a holy good actor. You got a way with you. Coquelin, Salvini, Bernhardt! Voila, you're just as good! Bagosh, I'd like to see you on the stage." "So would I," said Larue. "I think you could play a house full in no time and make much cash I think you could. Don't you think so, Luzanne?" Luzanne laughed.
As Mascarille, in "Les Précieuses Ridicules," Coquelin becomes delicate and extravagant, a scented whirlwind; his parody is more splendid than the thing itself which he parodies, more full of fine show and nimble bravery. There is beauty in this broadly comic acting, the beauty of subtle detail.
The dominant ideas of this little band tend in the direction of moderate Collectivism i.e., of municipal Socialism. My Coquelin coachings and my dancing- lessons had led me to rehearsals both of the ballet and the drama; and for a short time I was at the feet of Ellen Terry and Irving. I say "short" advisedly, for then as now I found Bohemian society duller than any English watering-place.
M. Rostand's Cyrano de Bergerac is not merely Cyrano, but also Constant Coquelin; Sardou's La Tosca is not merely La Tosca, but also Mme. Sarah Bernhardt; Molière's Célimène is not merely Célimène, but also Mlle. Molière; Shakespeare's Hamlet is not merely Hamlet, but also Richard Burbage.
This transition was very striking. The changes in the expression of Irving's face were marvelous as wonderful as those in his Louis XI; but that was very nearly all. In everything else, Coquelin, as I had seen him in Sardou's "Thermidor," was infinitely better. Besides this, the piece was, in general, grotesquely unhistorical.
Again, in "Tartuffe," when, at the end, the hypocrite is exposed and led off to prison, Coquelin simply turns his back on the audience, and stands, with head sullenly down, making no movement; then, at the end, he turns half-round and walks straight off, on the nearer side of the stage, giving you no more than a momentary glimpse of a convulsed face, fixed into a definite, gross, raging mood.
Coquelin, who remakes his face, as by a prolonged effort of the muscles, for every part, makes, for this part, a great fish's face, heavy, suppressed, with lowered eyelids and a secret mouth, out of which steals at times some stealthy avowal. He has the movements of a great slug, or of a snail, if you will, putting out its head and drawing it back into its shell.
After these were done Coquelin told him by letter that he would give him half what they had agreed upon for the big picture for the two sketches and begged the big picture as a gift. So Rothenstein cut the head and shoulders out of the big one and sent him the arms and legs. It is the head he cut out that I have. When Rothenstein and I and Coquelin become famous, that will make a good story.
Others then came to me, and they all gave me advice tinged by their own personality: Mounet as a seer or believer; Delaunay prompted by his bureaucratic soul; Coquelin as a politician blaming another person's ideas, but extolling them later on and putting them into practice for his own profit; Febvre, a lover of respectability; Got, as a selfish old growler understanding nothing but the orders of the powers that be and advancement as ordained on hierarchical lines.
We ate bear for dinner. I have written to the Prefect of Police to have Louise Michel released. There was no fighting to-day. The positions taken were fortified. December 2. Louise Michel has been released. She came to thank me. Last evening M. Coquelin called to recite several pieces from Les Chatiments. It is freezing. The basin of the Pigalle fountain is frozen over.
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