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Since those mobile dark brows of yours ceased to make men laugh, since your voice denounced the 'demoniac' manner of contemporary tragedians, I take leave to think that no player has been more worthy to wear the canons of Mascarille or the gown of Vadius than M. Coquelin of the Comedie Francaise.
Well, in this my late fifth reading of the "Vicomte" I did laugh once at the small Coquelin de Volière business, and was perhaps a thought surprised at having done so: to make up for it, I smiled continually. But for tears, I do not know.
I remember hearing one of the two great comedians of the Théâtre Français, M. Coquelin, praise a comic actor of the Variétés whom we had lately seen in a rather cheap and flimsy farce, because he combined "la vérité la plus absolue avec la fantasie la plus pure." And this is the merit of La Boule: its most humorous inventions have their roots in the truth.
A rare proof of the genius of the great Coquelin was given by his performances of Père Duval and the Baron Scarpia in support of the Camille and Tosca of Mme. Sarah Bernhardt. These parts are both subordinate; and, in playing them, Coquelin so far succeeded in obliterating his own special talents that he never once distracted the attention of the audience from the acting of his fellow star.
"You see, M. Coquelin I beg your pardon, M. Coquenil. The names are alike, aren't they?" "Yes," said the other dryly. "Well," she went on quite charmingly, "I have done some foolish things in my life, but this is the most foolish. I did give Martinez the five-pound notes. You see, he was to play a match this week with a Russian and he offered to lay the money for me.
Huneker in his instructive and delightful book on Chopin, he prolonged the tone, "by some miraculous means," so that "it swelled and diminished, and went singing into D, as if the instrument were an organ." It is that power of sustaining an expression, unchanged, and yet always full of living significance, that I find in Coquelin. It is a part of his economy, the economy of the artist.
Ponsin as Nicole, and Coquelin, at that time still young and fresh, as Gringoire, I felt that I had enjoyed one of the greatest and most elevating pleasures the world had to offer. I went home, enraptured and enthusiastic, as much edified as the believer returning from his church. I could see Gringoire a dozen times in succession and find only one expression for what I felt: "This is holy."
Madame Carvalho, Sarah Bernhardt, and Croizette were standing at the head of the long line of women; Faure, Talazac, Delaunay, Coquelin, on the other side. I went first all along the line of women, then came back by the men. I realised instantly after the first word of thanks and interest how easy it is for princes, or any one in high places, to give pleasure.
The one interests you by his intelligent mastery of convention, by the tact and taste with which he employs in voice, carriage, facial expression, gesture, diction, the several conventions according to which ideas and emotions are habitually conveyed to your comprehension. Salvini, Coquelin, Got, pass immediately outside the realm of conventions.
In other words, Coquelin is Death, handing to Sarah the undertaker's bill 300,000 francs for her civil burial at the Comédie Française. <b>BETHUNE, LOUISE.</b> This architect, whose maiden name was Blanchard, was born in Waterloo, New York, 1856. She studied drawing and architecture, and in 1881 opened an office, being the first woman architect in the United States.