Compared with Bernhardt, Rachel is said to have been the greater in pure tragedy, but she did not possess as many arts of fascination. There are many points of similarity between the two actresses: Rachel was at times artificial, wanting in tenderness and depth, while at times she was superhuman in her passion and emotion, and often put more into her rôle than was intended; and the acting of Sarah Bernhardt has the same characteristics. Rachel, however, was much more subject to moods and fits of inspiration than is Bernhardt--especially was she incapable of acting at her best on evenings of her first appearance in a new rôle. Her critical power was very weak in comparison with her intellectual power, the reverse being true of her modern rival. Rachel's greatest inspiration was Phèdre, and in this rôle Bernhardt "is weak, unequal. We see all the viciousness in Phèdre and none of her grandeur. She breaks herself to pieces against the huge difficulties of the conception and does not succeed in moving us.... Rachel was the mouthpiece of the gods; no longer a free agent, she poured forth every epithet of adoration that Aphrodite could suggest, clambering up higher and higher in the intensity of her emotions, whilst her audience hung breathless, riveted on every word, and dared to burst forth in thunders of applause only after she had vanished from their sight."
Both of these artists were children of the lower class, and struggled with a fate which required grit, tenacity, and determination to win success. The artist of to-day is no social leader--"never the companion of man, but his slave or his despot." It is entirely her physical charms and the outward or artificial requisites of her art that make her what she is. According to Mr. Lynch, her tragedy "is but one of disorder, fury, and folly--passions not deep, but unbridled and hysterical in their intensest display. Her forte lies in the ornate and elaborate exhibition of rôles," for which she creates the most capricious and fantastic garbs. She is a great manager,--omitting the financial part,--quite a writer, somewhat of a painter and sculptor, throwing her money away, except to her creditors, adored by some and execrated by others. Her care of her physical self and her utter disregard for money have undoubtedly contributed to her long and brilliant career; rest and idleness are her most cruel punishments. All nervous energy, never happy, restless, she is a true fin de siècle product.
Among the large number of women who wielded influence in the nineteenth century, either through their salons or through their works, Mme. Guizot was one of the most important as the author of treatises on education and as a moralist. As an intimate friend of Suard, she was placed, as a contributor, on the Publiciste, and for ten years wrote articles on morality, society, and literature which showed a varied talent, much depth, and justness. Fond of polemics, she never failed to attack men like La Harpe, De Bonald, etc., thus making herself felt as an influence to be reckoned with in matters literary and moral.
As Mme. Guizot, she naturally had a powerful influence upon her husband, shaping his thoughts and theories, for she immediately espoused his principles and interests. In 1821, at the age of forty-eight, she began her literary work again, after a period of rest, writing novels in which the maternal love and the ardent and pious sentiments of a woman married late in life are reflected. In her theories of education she showed a highly practical spirit. Sainte-Beuve said that, next to Mme. de Staël, "she was the woman endowed with the most sagacity and intelligence; the sentiment that she inspires is that of respect and esteem--and these terms can only do her justice."
Mme. de Duras, in her salon, represented the Restoration, "by a composite of aristocracy and affability, of brilliant wit and seriousness, semi-liberal and somewhat progressive." Her credit lies in the fact that, by her keen wit, she kept in harmony a heterogeneous mixture of social life. She wrote a number of novels, which are, for the most part, "a mere delicate and discreet expression of her interior life."
Mme. Ackermann, German in her entire make-up, was, among French female writers, one of the deepest thinkers of the nineteenth century. A true mystic, she was, from early youth, filled with ardent, dreamy vagaries, to which she gave expression in verse--poems which reflect a pessimism which is rather the expression of her life's experiences, and of twenty-four years of solitude after two years of happy wedded state, than an actual depression and a discouraging philosophy of life. Her poetry shows a vigor, depth, precision of form, and strength of expression seldom found in poetry of French women.
One of the most conspicuous figures in the latter half of the nineteenth century is Mme. Adam,--Juliette Lamber,--an unusual woman in every respect. In 1879 she founded the Nouvelle Revue, on the plan of the Revue des Deux Mondes, for which she wrote political and literary articles which showed much talent. In politics she is a Republican and something of a socialist, a somewhat sensational--but modestly sensational--figure. She has been called "a necessary continuator of George Sand." Her salon was the great centre for all Republicans and one of the most brilliant and important of this century. In literature her name is connected with the movement called neo-Hellenism, the aim of which seems to have been to inspire a love and sympathy for the art, religion, and literature of ancient and modern Greece. In her works she shows a deep insight into Greek life and art. Her name will always be connected with the Republican movement in France; as a salon leader, femme de lettres, journalist, and female politician, no woman is better known in France in the nineteenth century.
A woman who might be called the rival of Mme. Adam, but whose activity occurred much earlier in the century, was Mme. Emile de Girardin,--Delphine Gay,--who ruled, at least for a short time, the social and literary world of Paris at her hôtel in the Rue Chaillot. Her very early precocity, combined with her rare beauty, made her famous. In 1836, after having written a number of poems which showed a weak sentimentality and a quite mannered emotion, she founded the Courrier Français, for which she wrote articles on the questions of the day--effusions which were written upon the spur of the moment and were very unreliable. Her dramas were hardly successful, although they were played by the great Rachel. Her present claim to fame is based upon the brilliancy of her salon.
The future will possibly remember Mme. Alphonse Daudet more as the wife of the great Daudet than as a writer, although, according to M. Jules Lemaître, she possessed the gift of écriture artiste to a remarkable degree. According to him, sureness and exactness and a striking truth of impressions are her characteristics as a writer. She exercised a most wholesome power over Alphonse Daudet, taking him away from bad influences, giving him a home, dignity, and happiness, and saving him from brutality and pessimism; she was his guardian and censor; she preserved his grace and noble sentiments. The nature of her relations to him should ensure the preservation of her name to posterity.
We are accustomed to give Gyp--Sybille Gabrielle Marie Antoinette de Riquetti de Mirabeau, Comtesse de Martel de Janville--little credit for seriousness or morality, associating her with the average brilliant, flippant novelists, who write because they possess the knack of writing in a brilliant style. Her object is to show that man, in a civilized state in society, is vain, coarse, and ridiculous. She paints Parisian society to demonstrate that the apparently fortunate ones of the world are not to be envied, that they are miserable in their so-called joys and ridiculous in their pleasures and their elegance. She has described the most risqué situations and the most delightful women, but she gives us to understand that the latter are not to be loved. The vanity of the social world might be called her text.