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Updated: June 26, 2025
We in this generation have actually seen this success achieved by Rachel and Ristori in the one art, by "George Sand" and "George Eliot" in the other. Woman is, then, visibly gaining on man in the sphere of intellect; and, if so, Mr. Darwin, at least, must accept the inevitable inference. But this is arguing the question on the superficial facts merely. Buckle goes deeper, and looks to principles.
The subsequent conversion of the site into the premises of the French Theatre I was to be able to note more distinctly; resorting there in the winter of 1874-5, though not without some wan detachment, to a series of more or less exotic performances, and admiring in especial the high and hard virtuosity of Madame Ristori, the unfailing instinct for the wrong emphasis of the then acclaimed Mrs.
Can you not read in the colors on Turner's canvas, can you not see in the rush of Church's Niagara, can you not hear in the strains of the Traviata, can you not perceive in the tones and looks of Ristori, just what you find in the successful men in other spheres of life?
Further confirmation is to be found in the fact that such tragedies as the Antigone, the Oidipous, and the Prometheus were written to suit the popular taste of the time; not to be read by literary people, or to be performed before select audiences such as in our day listen to Ristori or Janauschek, but to hold spell-bound that vast concourse of all kinds of people which assembled at the Dionysiac festivals.
The most polite and most agreeable of all the generals of Alexander Scribe; the author of 'Adrienne Lecouvreur, which Rachel played so well, of 'Médée, in which Madame Ristori shines; a charming gentleman, who, in our age of clubs, cigars, stables, jockeys, and slang, has had the good taste to like feminine society.
Her Dalilla in Samson was much admired in America, but her rendering of the rôle of Francesca di Rimini in the tragedy of that name is perhaps her greatest performance. Signora Sedowsky is undoubtedly the greatest tragic actress of Italy. She is perhaps less stately and grand than Ristori, but in fire and depth of feeling she greatly surpasses this eminent tragédienne.
In 1865 occurred the sixth centenary of Dante's birthday, and the four greatest Italian actors were invited to perform in Silvio Pellico's tragedy of Francesca di Rimini, which is founded on an episode in the Divina Commedia. The cast originally stood on the play-bills thus: Francesca, Signora Ristori; Lancelotto, Signor Rossi; Paulo, Signor Salvini; and Guido, Signor Majeroni.
In as short space, the Orsini called out three thousand men in arms, when Cæsar Borgia's henchman claimed the payment of a tax. Times have changed since then. The Mausoleum of Augustus, once a fortress, has been an open air theatre in our time, and there the great Salvini and Ristori often acted in their early youth; it is a circus now.
The verdict of Ristori, before whom she recited, was highly favorable, and the great tragedienne predicted a brilliant career for the young actress, and declared she would be a great success with an English company in Paris, while the "divine Sarah" affirmed that she had never seen greater originality. On the return journey from Paris a brief stay was made at the quaint city of Rouen.
We look upon the enthusiasm for Ristori by no means as an unmingled tribute to superior genius. We make no question of her actual womanly charms.
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