Show MonnetSnllys Traprle Acting 11 MounetSullys performances demonstrate dem-onstrate one thing beyond doubt that France has no tragedian worthy of the name The difference of language enters I II en-ters into this conclusion not at all Salvini Rossi and Duse have demonstrated demon-strated that greatness is not obscured by this obstacle It is a difference of race and temperament ithat puts lI MounetSuliy outside the consideration of any critic not of ihis own blood If his acting is a true expression of feeling feel-ing i is an expression that appeals not to everyone but only to Frenchmen French-men Therefore to us who require robustness ro-bustness of action in men just a we do delicacy in this work delcy women seems trivial and ineffective To the AngloSaxon ithere T are few things more ludicrous than a quarrel between Frenchmen Their mair ho in I u J J deadly earnest their feelings may bestirred be-stirred to the depths but their mode of i expression is sp different from ours i I that the more excited they become the more funny the appear 1I Mou1 I netSally essaying in a tragic role netSaly essaying a t1agic produces pro-duces something of this effect To the Frenchman who compares him with the Frenchman in real life his art may seem supreme To us who gauge our standards by the strength and virility of the great Englishspeaking actors I it seems weak and lacking in everything every-thing except a certain almost effeminate effemi-nate finish France can furnish us with object lessons in comedy and emotional drama in the male roles of tragedy we can I learn nothing from her Life |