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-instruction. In Mme. Bernhardt's Hamlet, as in
his, nothing was trusted to chance, or "inspiration." Good or bad, what
one saw was what was meant to be seen. When Fechter played Edmond Dantes
or Claude Melnotte, he put reality into those preposterous inventions,
and in Hamlet even his alien accent helped him vitalize the part; it
might be held to be nearer the Elizabethan accent than ours; and after
all, you said Hamlet was a foreigner, and in your high content with what
he gave you did not mind its being in a broken vessel. When he
challenged the ghost with "I call thee keeng, father, rawl-Dane," you
Would hardly have had the erring utterance bettered. It sufficed as it