o be disappointed in your expectations, and you could not blame
her if you were. To be ideally fair to that representation, it would be
better not to have known any other Hamlet, and, above all, the Hamlet of
Shakespeare.

From the first it was evident that she had three things overwhelmingly
against her--her sex, her race, and her speech. You never ceased to feel
for a moment that it was a woman who was doing that melancholy Dane, and
that the woman was a Jewess, and the Jewess a French Jewess. These three
removes put a gulf impassable between her utmost skill and the
impassioned irresolution of that inscrutable Northern nature which is in
nothing so masculine as its feminine reluctances and hesitations, or so
little French as in those obscure emotions which the English poetry
expressed with more than Gallic clearness, but which the French words
always failed to convey. The battle was lost from the first, and all you
could feel about it for the rest was that if it was magnificent it was
not war.

While the battle went on I was the more anxious to be fair, because I
had, as it were, pre-espoused the winning side; and I welcomed, in the
interest of critical impartiality, another Hamlet which came to mind,
through readily traceable associations. This was a Hamlet also of French
extraction in the skill and school of the actor, but as much more deeply
derived than the Hamlet of Mme. Bernhardt as the large imagination of
Charles Fechter transcended in its virile range the effect of her
subtlest womanish intuition. His was the first blond Hamlet known to our
stage, and hers was also blond, if a reddish-yellow wig may stand for a
complexion; and it was of the quality of his Hamlet in masterly
technique.

II.

The Hamlet of Fechter, which rose ghostlike out of the gulf of the past,
and cloudily possessed the stage where the Hamlet of Mme. Bernhardt was
figuring, was called a romantic Hamlet thirty years ago; and so it was in
being a break from the classic Hamlets of the Anglo-American theatre.
It was romantic as Shakespeare himself was romantic, in an elder sense of
the word, and not romanticistic as Dumas was romanticistic. It was,
therefore, the most realistic Hamlet ever yet seen, because the most
naturally poetic. Mme. Bernhardt recalled it by the perfection of her
school; for Fechter's poetic naturalness differed from the
conventionality of the accepted Hamlets in nothing so much as the
superiority of its self-i