I loved you ever; but it is no matter."

Here Mme. Bernhardt betrayed a real grief, but as a woman would, and not
a man. At the close of the Gonzago play, when Hamlet triumphs in a mad
whirl, her Hamlet hopped up and down like a mischievous crow, a
mischievous she-crow.

There was no repose in her Hamlet, though there were moments of leaden
lapse which suggested physical exhaustion; and there was no range in her
elocution expressive of the large vibration of that tormented spirit.
Her voice dropped out, or jerked itself out, and in the crises of strong
emotion it was the voice of a scolding or a hysterical woman. At times
her movements, which she must have studied so hard to master, were drolly
womanish, especially those of the whole person. Her quickened pace was a
woman's nervous little run, and not a man's swift stride; and to give
herself due stature, it was her foible to wear a woman's high heels to
her shoes, and she could not help tilting on them.

In the scene with the queen after the play, most English and American
Hamlets have required her to look upon the counterfeit presentment of two
brothers in miniatures something the size of tea-plates; but Mme.
Bernhardt's preferred full-length, life-size family portraits. The dead
king's effigy did not appear a flattered likeness in the scene-painter's
art, but it was useful in disclosing his ghost by giving place to it in
the wall at the right moment. She achieved a novelty by this treatment
of the portraits, and she achieved a novelty in the tone she took with
the wretched queen. Hamlet appeared to scold her mother, but though it
could be said that her mother deserved a scolding, was it the part of a
good daughter to give it her?