" The scandalous life and the immense success of Bernhardt charmed everyone. He had spent just the thirty and was about to become a legend and a fetish. [...] Journalists telegraphed in foreign news concerning it.
Novelists [...] inspired her to their heroines, the painters exhibiting his portraits.
The result, enhanced by a character who could idolize and criticize her every move [...]
His crisis of rage [...] were considered masterful, his regal arrogance, his promiscuity, the divine right of queens. "
(taken from A. GOLD AND R. FIZDALE, Divine Sarah. Life of Sarah Bernhardt, Milan, Mondadori, 1992)
" represents all the primal passions of women, and is extremely fascinating. Such a woman I could love her, love her to distraction, even a pure unbridled passion. [...] When I think of her, I still feel the weight in my chest that has burdened you for days after I saw it. "It was 1908 when the twenty-three David Herbert Lawrence, after saw Sarah Bernhardt play the Lady of the Camellias, wrote these words all testify to its disturbance of young male sexuality in front of the bursting of the Divine. Without taking into account the well-date, 1908, in fact, the claim of the author of Lady Chatterley's Lover could be perceived as a bell'apprezzamento with a bit of exaggeration when he says he was shocked for days Because of that turmoil. Starting, however, precisely the date, one is amazed at the statement of Lawrence, as in 1908, Bernhardt was 64 years (she was born in Paris in 1844). Here, then, that you draw eyes the image of a woman who, despite his age, beyond that, it would mean, of age, was able to wear the garments of the femme fatale of feminine charm, the essence of sensuality. 
In addition to the fascinated spectators Bernhardt not only with the strength of its beauty, but also with his personal way of being on stage - as opposed to the fees recitatives of the time, mainly based on the perfect diction - involving the whole body, from voice grew gesture: "[...] his praises, the petitions, the hugs: it's amazing what poses and knows how to take every limb, every joint of his body says with her. "[2] he wrote in 1885 a twenty-nine of Sigmund Freud quarantunenne Sarah Bernhardt. (taken from an article by Danilo Ruocco, published www.divismo.it/IDivi/Bernhardt/tabid/65/Default.aspx)
Ruocco, in his article, remember that Bernhardt had numerous relationships with men rich and powerful, which facilitated the rise. The interest of clarification, however, is due to the fact that his intense sex life is related with its particular way of acting. " You can now ask why, to explain the difference between the" pose "of French actors and those of Bernhardt, we are reminded that the Divine was also a prostitute. The reason is that it is assumed that the use of the body made from Sarah during the life of a courtesan, influenced the use of the body made by Bernhardt on stage. A curvy body, sensual, it would mean shamelessly in the spotlight, ready, also, to assume poses disturbing. This was the body of Sarah Bernhardt, actress and courtesan. The "put" plastic French tragic actors, the result also of the tradition of interpretation stratificatasi to a part, were not obviously similar to "pose" by Sarah, the result, instead of its own way of approaching the part to play . "From the point of view of graphology, the sign profuse reigns supreme here, namely the feeling that expands without any measures. Corresponds to the total negation of all forms of rationality, technique, or even simple ability to postpone or to calibrate the action to an end. Moretti writes: " is the sign of the expansion ... it is trendy, unconscious process. The feel is the main function of the expanded mental ... and can be followed or not by thinking " (Act, 120 ). The sign is indicative of the trend towards emotions poured out upon the other ... As this affection is not routinely controlled by reason, logic, it follows that The expansion brings with it greater emotional lability. I'd say the expansion will accommodate all forms of affect and thus can pass on the intensity of the intensity of another. For this provision to have the internal built-in intensity and to recall and reproduce in the imagination by means of introspection. That's why the sign is the sign of profuse short stories, romance . "(Act, 121)
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