PASSING OF, GREAT TRAGEDIENNE.

Shannon News, 29 March 1923, Page 3

PASSING OF, GREAT TRAGEDIENNE.

“ HOW SLOW IS MY DEATH AGONY 1” HER LAST INSTRUCTIONS. (Received Tuesday, 7. p.m.) PARIS, March 26. “ How slow is my death agony.” These words wer e uttered by Madame Sarah Bernhardt, with a cheerfulness born of her tremendous vitality, as she lay sinking to-day. Later in her spasmodic delirium, those around the bedside, heard her enact again some of her most famous roles in “ L’Aig. ion,” “La Dame aux Camelias,” and “ Phedre.” In her lucid intervals, she gave directions for her funeral, insisting on the use of the rosewood coffin, which had been in her house for 30 years. She also gave minute instructions for the number and variety of flowers to be placed thereon. Enor. mous crowds, including famous actors and actresses and dramatists, stood all day long in the vicinity of her home. HOW THE NEWS WAS RECEIVED. NATION-WIDE MOURNING. (Received Tuesday, 8.5 p.m.) PARIS, March 26. A great crowd waited outside the window of Madame Bernhardt’s room When they saw it gently closed, they knew their great idol had passed away. Men bared their aehds and wo. men dropped to their knees, and sobbing was heard everywhere. The doctors announced to the throng that Sarah Bei’nhardt had passed away quietly in the arms of her son, while the remainder of her family stood at the bedside. She had been in agony all day long. Although her death was expected, the news created a deep sensation, ah the most distinguished personages, who arrived, signed the visitors’ book.

Sarah Bernhardt attained, a unique position in the theatrical world, having been close on 60 years on the stage, and her name for nearly 40 years of that period * having been known throughout the world. Born m Paris on 23rd October, 1844, she was educated at a convent in Versailles, and, at the age of 14 years, entered the Conservatoire as a pupil, and received lessons from M. Provost and M. Samson. From the start, despite her lack of enthusiasm, she was marked for success, and while .at the Conservatoire won prizes for * both tragedy and comedy. In May, 1863, she went to the Gymnase, and played at first in rhymed vaudeville. She had many discouraging experiences, but she set to work in real earnest to learn what she called her business. On the advice of Camille Doucet, she went to the Odeon, then managed by Chilly and Duquesnel, and it was decided she should appear as June in “Britannicus.” Her success at this theatre was as Zacharie, in “Athalie,” and' here she felt conscious of having fully impressed the public. She appeared in George Sands’s “L’Autre,” arid then came “Le Passant,” in which the management had no belief. All the world knows now how popular Coppee’s little piece became. In February, 1872, the actress arrived at one of the turning points of her life, when she made a great success of Victor Hugo’s “Ruy Bias,” 'in which she played the Queen. Immediately after this success the critics urged M. Perrin, the manager of the Theatre Franchise, to engage the' rising star. Sarah, .however, was bound to the Odeon; but by paying ari. indemnity of £2oo' she was enabled to return to the Comedie-FrancaiseP She made her reappearance there' in “Mademoiselle de Belle Isle” (sth November, i 872). In 1875 she astonished everyone by exhibiting as a sculptor and painter at the Salon.

“Then came the engagement by Mr Mayer of the Comedie-Francaise troupe for a series of performances to be given at the Gaiety Theatre, London, in June, 1879. But now things began to go wrong, and Sarah Bernhardt placed her, comrades and the management of the theatre in a real difficulty by refusing to appear at a Saturday matinee in consequence of ' fatigue—fatigue caused by the performance of “Le Passant” and the second act of “Phedre” at a private house on the previous Friday. The' French press wrote in wrath. The result was that Sarah sent in her resignation as a member of the Comedie-Francaise, and she left Paris. A terrible uproar followed, and the public assailed the fugitive Avith violent invective and cutting sarcasm. The critics were unanimously against her, and M. Emile Zola was almost the only journalist to make the voice of wisdom heard amid the outburst of passion.

In 1882, Sarah Bernhardt married M. Jacques Damala, an actor by choice, but formerly an attache in the Greek diplomatic service, but separated from him the following year. He died some years ago. In ISBO she made the first of several highly successful tours of America, and in 1891 she visited Australia, playing short seasons in Melbourne and Sydney. While in America in 1906 she refused to accede to the terms of the theatre trust, and in consequence she could not engage any of the theatres controlled by that body, but she got over the difficulty by giving- her performances in a huge tent. i

While appearing in “Jeanne d’Arc" in Paris in 1915, she had a, fall which so badly injured her right leg that it had to be amputated. Her public appearances in recent years have been largely confined to giving selections from some of the characters made famous by her.

One other serious illness occurred in America in 1317, when her condition caused grave alarm, and only her wonderful vitality pulled her through. Sarah Bernhardt- was twice nominated for the Legion. of Honour, but for some reason of red tape that deserved honour,was withheld from her.