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Updated: June 17, 2025
The part is one which is remarkably popular at present in Paris, as there is something in the history of that fabulous being, who has been represented as the victim of a capricious and arbitrary Providence, and exposed during his whole life to the most unmerited and horrible torments, which seems greatly to interest the French people; and Talma has thus been led to bestow upon the character a degree of reflection and preparation, which the parts in a French tragedy do not in general require.
It is true that I have seen Kemble, Macready, Kean, Young, C. Kemble, Cook, and Talma play Hamlet, and I might not, perhaps, be a very fair judge of this young actor's merits; but I was greatly amused when a gentleman, who asked my opinion of him, told me upon hearing it, that he would not advise me to state it freely in America, "for they would not bear it."
So spoke Molière, so looked Lekain, so stepped Talma; therefore all the succeeding generations of players must so speak and look and walk. Let us imagine the process transferred to our English stage the shades of Burbage and Betterton prescribing how Hamlet and Richard III. should be played the manners of the seventeenth century forcibly transferred to our modern stage.
But he met Legendre and Laplace, heard Cuvier lecture and saw Talma act, and, what was of more moment, had his first glimpse of the Continent and the city of one phase of whose history he was to be the most brilliant recorder.
He delighted to choose his companions among actors, and was fond of sitting at wine not only with Quintus Roscius the Roman Talma but also with far inferior players; indeed he was himself not a bad singer, and even wrote farces for performance within his own circle.
Then she passed two or three hours in his apartment, but never more. Sometimes the Emperor invited Talma or Mademoiselle Mars to breakfast. One day, in a conversation with this admirable actress, the Emperor spoke to her concerning her debut. "Sire," said she, in that graceful manner which every one remembers, "I began very young. I slipped in without being perceived."
Carrying prudence to an extreme, he made it a rule never to enter the precincts of the Palais Royal, that place of perdition where he had spent fifty francs at Very's in a single day, and nearly five hundred francs on his clothes; and when he yielded to temptation, and saw Fleury, Talma, the two Baptistes, or Michot, he went no further than the murky passage where theatre-goers used to stand in a string from half-past five in the afternoon till the hour when the doors opened, and belated comers were compelled to pay ten sous for a place near the ticket-office.
Some of the actors of the French Theater at Paris had accompanied the court to Holland, and Talma there played the roles of Bayard and d'Orosmane; and M. Alissan de Chazet directed at Amsterdam the performance by French comedians of a vaudeville in honor of their Majesties, the title of which I have forgotten.
In this analogous passage, Talma repeats these scenes with much greater propriety and effect.
Gall, the inventor of phrenology, took a cast of the little Liszt's skull; Talma, the tragedian, embraced him openly with effusion; and the misanthropic Marquis de Noailles became his mentor, and initiated him into the art of painting. In 1824 Liszt, then thirteen years old, came with his father to England; his mother returned to Austria.
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