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Updated: June 24, 2025
The tragedy of Hamlet, in which we saw Talma perform for the first time, is one which must be interesting to every person who has any acquaintance with French literature; and it will not probably be considered as any great digression in a description of Talma's excellencies as an actor, to add some further remarks concerning that celebrated play in which his powers are perhaps most strikingly displayed, and which is one of the greatest compositions undoubtedly of the French theatre.
The difficulty Ducis felt about translating Othello in consequence of the importance given to such a vulgar thing as a handkerchief, and his attempt to soften its grossness by making the Moor reiterate 'Le bandeau! le bandeau! may be taken as an example of the difference between la tragedie philosophique and the drama of real life; and the introduction for the first time of the word mouchoir at the Theatre Francais was an era in that romantic- realistic movement of which Hugo is the father and M. Zola the enfant terrible, just as the classicism of the earlier part of the century was emphasised by Talma's refusal to play Greek heroes any longer in a powdered periwig one of the many instances, by the way, of that desire for archaeological accuracy in dress which has distinguished the great actors of our age.
I understood Talma's continual lament, his incessant desire for plays which should show him, not as a hero only, but also as a man. "Romeo and Juliet," "Othello," and all the other masterpieces followed. Then, in their turn, Macready and Kean appeared in Paris.
Amedee, having spoken of his drama to the comedian Gorju, called Jocquelet, that person, speaking in his bugle-like voice that came through his bugle-shaped nose, set himself up at once as a man of experience, giving his advice, and quoting, with admiration, Talma's famous speech to a dramatic poet: "Above all, no fine verses!"
"Not yet," said Lucien, "though this is the first long piece of prose which I have published; but Hector will have sent a copy to my address in the Rue Charlot." "Here read!" . . . cried Dauriat, copying Talma's gesture in Manlius. Lucien took the paper but Coralie snatched it from him. "The first-fruits of your pen belong to me, as you well know," she laughed.
Amedee, having spoken of his drama to the comedian Gorju, called Jocquelet, that person, speaking in his bugle-like voice that came through his bugle-shaped nose, set himself up at once as a man of experience, giving his advice, and quoting, with admiration, Talma's famous speech to a dramatic poet: "Above all, no fine verses!"
Sir Humphry repeated to us a remarkable criticism of Buonaparte's on Talma's acting: "You don't play Nero well; you gesticulate too much; you speak with too much vehemence. A despot does not need all that; he need only pronounce. Il sait qu'il se suffit."
I have heard my father say that on the occasion of this visit of Talma's to London, he consulted my uncle on the subject of acting in English.
He spoke half in jest and half pathetically; but, believe me, as a piece of acting it was as fine as Talma's in his famous part of Leicester, which was played throughout with touches of this kind.
After witnessing this representation of the character of Orestes at this melancholy period of his life, it was with no ordinary interest that we shortly after saw Talma perform the part of Orestes in Iphigénie en Tauride, a play which represents very beautifully the only event in his life, which ever seemed likely to secure his happiness, the discovery of his sister; and we shall never forget the beautiful expression of Talma's countenance, and the delightful tones of his voice, when he described to his sister and his friend, the emotions which the feeling of happiness so new to him had created, and the hopes of future exertion and honour, which he now felt himself able to entertain.
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