From Memory's Shrine: The Reminscences of Carmen SylvaSylva, Carmen
History
From Memory's Shrine: The Reminscences of Carmen Sylva
Sylva, Carmen
Queens -- Romania -- Biography; Sylva, Carmen, 1843-1916
The torture those sittings were to me, I hope he never knew. He was so
good and kind, and did so much to make them bearable, whiling away the
time by talking to us and telling us amusing stories, or getting someone
else to read an entertaining book aloud to us while he painted. But it
was all no good. Outside I could see the sun shining, and hear the birds
singing and the wind whistling through the trees, and I--who longed to
be out there in the sunshine, singing with the birds, and running races
with the wind,--I must be cooped up within four walls, in a room that
instead of the fragrance of the flowers, smelt of nasty oil-colours! It
was not to be borne. As well try to imprison the wild west wind, or stop
the dancing mountain-stream in its course! I was just as wild and free,
and my mother sometimes asked if any power on earth could be found to
tame me. Had she but known! All too soon a spell would be worked,
transforming the wayward child into a quiet gentle maiden, grave-eyed
and serious. It was by the discipline of sorrow that the change should
be wrought--in the sick-room that the lesson must be learnt; there I
could sit for hours, silent and motionless, dreading lest a movement, a
whisper should disturb the dear sufferer beside whose pillow I watched.
But already then, in my wildest, most reckless mood, and however my
spirit might chafe at the enforced immobility of the lengthy sittings, I
felt the soothing influence of the artist’s gentle voice, and the deep
full tones could lull my feverish impatience. Nor did the impression
wear off as time went on; echoes of that sympathetic voice live in my
memory, calling up many a bygone scene--long talks as we rambled through
the forest, dreams and aspirations, hopes and fears, all the joys and
sorrows of those vanished days,--Sohn’s memory is inseparably associated
with all of these. The portraits he painted extend over a long series of
years. One of Otto was done just before the poor boy’s death--my
father’s also, at a time when we knew that he had not long to live among
us--my mother he depicted at all times and seasons, and under all
possible circumstances, from ecstasy to the deepest mourning. He used to
say, that he hoped to live long enough to make one more portrait of her
with snow-white hair. But this wish remained unfulfilled, for my
mother’s hair had not yet turned grey, when he was called away from us.
Public-domain text, read in full here on John Shaqi.
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