Eleonora Duse

Definition and stakes

Portrait of Laura Marholm Laura Marholm,  Six modern women: Psychological sketches (1896)

“ A lean figure, peculiarly attractive, though scarcely to be called beautiful; a melancholy face with a strangely sweet expression, no longer young, yet possessed of a pale, wistful charm; la femme de trente ans, who has lived and suffered, and who knows that life is full of suffering; a woman without any aggressive self-confidence, yet queenly, gentle, and subdued in manner, with a pathetic voice,—such is Eleonora Duse as she appeared in the parts which she created for herself out of modern pieces. ”
Source: Gutenberg

Henry James,  Notes on Novelists, with Some Other Notes

“ Least of all, within a much shorter period, has it undermined one’s kindness to have had occasion to admire in connection with the piece such an artist for instance as Eleonora Duse. We have seen Madame Duse this year or two in her tattered translation, with few advantages, with meagre accessories and with one side of the character of the heroine scarcely touched at all—so little indeed that the Italian version joins hands with the American and the relation of Marguerite and Armand seems to present itself as a question of the consecrated even if not approved “union.” ”
Source: Gutenberg

Portrait of Laura Marholm Laura Marholm,  Six modern women: Psychological sketches (1896)

“ Love is full of sympathy, and that is why Eleonora Duse acts love. Not greedy love, which asks more than it gives, like Walter’s and Bernhardt’s; not sensual love, nor yet imperious love, like the big woman who takes pity on the little man, whom it pleases her to make happy. When Duse is in love, even in “Fédora,” it is always she who is the little woman, and the man is for her the big man, the giver, who holds her happiness in his hands, to whose side she steals anxiously, almost timidly, and looks up at him with her serious, wearied, almost child-like smile. ”
Source: Gutenberg

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