THE REMINISCENCES OF CARL SCHURZ
Philippe was driven away and the republic proclaimed, describing Rachel as she recited the “Marseillaise” on the stage, half singing, half declaiming, and throwing her hearers into paroxysms of patriotic frenzy.
Some of my student friends having witnessed Rachel's first performance in Berlin, gave me extravagantly enthusiastic reports. My desire to see her became very great. Indeed, the attempt would not be without risk. In thus venturing into a public place I might fall into the hands of the police and go from there straightway to prison. But my friends told me that the government detectives would hardly look for state criminals in a theater, and that I would be safe enough in the large crowd of Rachel enthusiasts. I could put myself into some dark corner of the parterre without danger of meeting a detective for one night at least. Finally, with the light-heartedness of youth, I resolved to take the risk.
So I saw Rachel. It was one of the most overpowering impressions of my life. The play was Racine's “Phèdre.” I had read most of the tragedies of Corneille, Racine and Voltaire, and was well enough acquainted with them to follow the dialogue. But I had never liked them much. The stilted artificiality of the diction in the tedious monotony of the rhymed Alexandrine verse had repelled me, and I had always wondered how such plays could be made interesting on the stage. That I was to learn. When Rachel stepped upon the scene, not with the customary stage stride, but with a dignity and majestic grace all her own, there was first a spell of intense astonishment and then a burst of applause. She stood still for a moment, in the folds of her classic robe like an antique statue fresh from the hand of Phidias. The mere sight sent a thrill through the audience: her face a long oval, her forehead, shadowed by black wavy hair, not remarkably high, but broad and
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