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 beauty that needs all the assaults of fate to make it show its immortal sweetness. Her noblest aspect is when sometimes she expresses truth in some severe shape, and rises, simple and austere, above the mixed elements around her. On the dark side, she is very great in hatred and revenge. I admired her more in Phedre than in any other part in which I saw her; the guilty love inspired by the hatred of a goddess was expressed, in all its symptoms, with a force and terrible naturalness, that almost suffocated the beholder. After she had taken the poison, the exhaustion and paralysis of the system,—the sad, cold, calm submission to Fate, —were still more grand. I had heard so much about the power of her eye in one fixed look, and the expression she could concentrate in a single word, that the utmost results could only satisfy my expectations. It is, indeed, something magnificent to see the dark cloud give out such sparks, each one fit to deal a separate death; but it was not that I admired most in her. It was the grandeur, truth, and depth of her conception of each part, and the sustained purity with which she represented it. The French language from her lips is a divine dialect; it is stripped of its national and personal peculiarities, and becomes what any language must, moulded by such a genius, the pure music of the heart and soul. I never could remember her tone in speaking any word; it was too perfect; you had received the thought quite direct. Yet, had I never heard her speak a word, my mind would be filled by her attitudes. Nothing more graceful can be conceived, nor could the genius of sculpture surpass her management of the antique drapery. She has no beauty, except in the intellectual severity
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