Editing Sarah Bernhardt (section)

===''Ruy Blas'' and return to the Comédie Française (1872–1878)===
<gallery mode="packed" heights="250">
File:Sarah Bernhardt Mélandri 1872.jpg|Bernhardt as the Queen of Spain in ''[[Ruy Blas]]'' (1872)
File:Sarah Bernhardt as Phedre in Racine's Phaedra.jpg|[[Phèdre]] by Racine at the Comédie française, (1873)
File:Sarah Bernhardt's coffin 1880.jpg|Bernhardt in her famous coffin, in which she sometimes slept or studied her roles ({{c.}} 1873)
File:Sarah Bernhardt by Georges Clairin (1876).jpg|Portrait by [[Georges Clairin]] (1876)
File:073-Sarah Bernhardt som doña Sol.jpg|Bernhardt as Doña Sol in ''[[Hernani (drama)|Hernani]]'' (1878)
</gallery>

The [[Tuileries Palace]], city hall of Paris, and many other public buildings had been burned by the Commune or damaged in the fighting, but the Odéon was still intact. Charles-Marie Chilly, the co-director of the Odéon, came to her apartment, where Bernhardt received him reclining on a sofa. He announced that the theaters would reopen in October 1871, and he asked her to play the lead in a new play, ''Jean-Marie'' by [[André Theuriet]]. Bernhardt replied that she was finished with the theatre and was going to move to Brittany and start a farm. Chilly, who knew Bernhardt's moods well, told her that he understood and accepted her decision, and would give the role to Jane Essler, a rival actress. According to Chilly, Bernhardt immediately jumped up from the sofa and asked when the rehearsals would begin.{{Sfn|Skinner|1967|pages=74–78}}

''Jean-Marie'', about a young Breton woman forced by her father to marry an old man she did not love, was another critical and popular success for Bernhardt. The critic Sarcey wrote "She has the sovereign grace, the penetrating charm, the I don't know what. She is a natural artist, an incomparable artist."{{Sfn|Tierchant|2009|page=91}} The directors of the Odéon next decided to stage ''[[Ruy Blas]]'', a play written by Victor Hugo in 1838, with Bernhardt playing the role of the Queen of Spain. Hugo attended all the rehearsals. At first, Bernhardt pretended to be indifferent to him, but he gradually won her over and she became a fervent admirer. The play premiered on 16 January 1872. The opening night was attended by the [[Edward VII|Prince of Wales]] and by Hugo; after the performance, Hugo approached Bernhardt, dropped to one knee, and kissed her hand.{{Sfn|Skinner|1967|pages=84–85}}

''Ruy Blas'' played to packed houses. A few months after it opened, Bernhardt received an invitation from [[Emile Perrin]], Director of the Comédie Française, asking if she would return, and offering her 12,000 francs a year, compared with less than 10,000 at the Odéon.{{Sfn|Tierchant|2009|page=97}} Bernhardt asked Chilly if he would match the offer, but he refused. Always pressed by her growing expenses and growing household to earn more money, she announced her departure from the Odéon when she finished the run of ''Ruy Blas''. Chilly responded with a lawsuit, and she was forced to pay 6,000 francs of damages. After the 100th performance of ''Ruy Blas'', Hugo gave a dinner for Bernhardt and her friends, toasting "His adorable Queen and her Golden Voice."{{Sfn|Skinner|1967|pages=84–85}}

She formally returned to the Comédie Francaise on 1 October 1872, and quickly took on some of the more famous and demanding roles in French theatre. She played Junie in ''Britannicus'' by Jean Racine, the male role of Cherubin in ''[[The Marriage of Figaro (play)|The Marriage of Figaro]]'' by [[Pierre Beaumarchais]], and the lead in Voltaire's five-act tragedy [[Zaïre (play)|Zaïre]].{{Sfn|Tierchant|2009|page=98}} In 1873, with just 74 hours to learn the lines and practice the part, she played the lead in Racine's ''[[Phèdre]]'', playing opposite the celebrated tragedian, [[Jean Mounet-Sully]], who soon became her lover. The leading French critic Sarcey wrote "This is nature itself served by marvelous intelligence, by a soul of fire, by the most melodious voice that ever enchanted human ears. This woman plays with her heart, with her entrails."{{Sfn|Skinner|1967|page=104-107}} ''Phèdre'' became her most famous classical role, performed over the years around the world, often for audiences who knew little or no French; she made them understand by her voice and gestures.{{Sfn|Tierchant|2009|page=17}}

In 1877, she had another success as Doña Sol in ''[[Hernani (drama)|Hernani]]'', a tragedy written 47 years earlier by Victor Hugo. Her lover in the play was her lover off-stage, as well, Mounet-Sully. Hugo was in the audience. The next day, he sent her a note: "Madame, you were great and charming; you moved me, me the old warrior, and, at a certain moment when the public, touched and enchanted by you, applauded, I wept. The tear which you caused me to shed is yours. I place it at your feet." The note was accompanied by a tear-shaped pearl on a gold bracelet.{{Sfn|Bernhardt|2000|page=328}}

She maintained a highly theatrical lifestyle in her house on the rue de Rome. She kept a satin-lined coffin in her bedroom, and occasionally slept in it or lay in it to study her roles, though, contrary to the popular stories, she never took it with her on her travels. She cared for her younger sister who was ill with tuberculosis, and allowed her to sleep in her own bed while she slept in the coffin. She posed in it for photographs, adding to the legends she created about herself.{{Sfn|Skinner|1967|page=100}}

Bernhardt repaired her old relationships with the other members of the Comédie Française; she participated in a benefit for Madame Nathalie, the actress she had once slapped. However, she was frequently in conflict with Perrin, the director of the theatre. In 1878, during the [[Exposition Universelle (1878)|Paris Universal Exposition]], she took a flight over Paris with balloonist [[Pierre Giffard]]{{citation needed|date=October 2021}} and painter [[Georges Clairin]], in a balloon decorated with the name of her current character, ''Doña Sol''. An unexpected storm carried the balloon far outside of Paris to a small town. When she returned by train to the city, Perrin was furious; he fined Bernhardt a thousand francs, citing a theatre rule which required actors to request permission before they left Paris. Bernhardt refused to pay, and threatened to resign from the Comédie. Perrin recognised that he could not afford to let her go. Perrin and the Minister of Fine Arts arranged a compromise; she withdrew her resignation, and in return was raised to a ''societaire'', the highest rank of the theater.{{Sfn|Skinner|1967|pages=115–117<!-- 110? -->}}