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Updated: April 30, 2025
Potter halted, bursting into speech less monosyllabic but no less vehement: "Mr. Tinker, did you ever see Mounet-Sully?" "No." "Did you, Mr. Canby?" "No." "Mewnay-Sooyay!" Potter mimicked the pronunciation of his adviser. "'Mewnay-Sooyay! Of coss I don't say YOU could ever be another Mewnay-Sooyay! Ass! I'll tell you what Mounet-Sully's 'technique' amounts to, Mr. Tinker. It's yell!
You won't really send in your resignation? In the first place; it would not be accepted, I can answer for that!" Mounet-Sully talked to me of art and of probity. His whole speech savoured of Protestantism. There are several Protestant pastors in his family, and this influenced him unconsciously.
The public coughed, wriggled, and showed that they found the whole thing painful and ridiculous. In our performance it was Mounet-Sully, in all the splendour of his talent, who played Hernani. And it was Worms, that admirable artiste, who played Charles Quint and how well he took the part! How he rolled out the lines! What a splendid diction he had!
But the most perfect of those artistic utilizations of chance accessories which were the more effective precisely because they were accidental, and the more appreciated because their use so obviously was an inspiration was the final exit of Oedipus: a departure "into desert regions" that Mounet-Sully was able to make very literally real.
I shall never forget the first performance, in which Mounet-Sully obtained a delirious triumph. Oh, how fine he was, Mounet-Sully, in his role of Orestes! His entrance, his fury, his madness, and the plastic beauty of this marvellous artiste how magnificent! After Andromaque I played Aricie in Phedre, and in this secondary role it was I who really made the success of the evening.
Bernhardt appeared, exhausted by her efforts and supported by Mounet-Sully, she received an ovation which I think is unique in the annals of the theatre in England." The following morning the Daily Telegraph terminated its admirable criticism with these lines: "Clearly Mlle.
The case had aroused considerable interest. Among those present at the trial were Halevy, the dramatist, and Mounet-Sully and Coquelin, from the Comedie Francaise. Fernand Rodays thus described the widow in the Figaro: "She looks more than her age, of moderate height, well made, neither blatant nor ill at ease, with nothing of the air of a woman of the town. Her hands are small.
One evening, after a dinner at Girardin's, we played together the whole scene of the first act of Hernani with Dona Sol. And if he was not as handsome as Mounet-Sully, he was just as admirable in it. On another occasion he recited the whole of "Ruth and Boaz," commencing with the last verse.
Mounet-Sully surpassed himself. Paul Mounet gave us the complete illusion of a monster thirsting for blood, even his mother’s!
I counted few friends in this house, except Laroche, Coquelin, and Mounet-Sully the first two my friends of the Conservatoire and the latter of the Odeon.
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