Memories of My Life: Being My Personal, Professional, and Social Recollections as Woman and ArtistBernhardt, Sarah
General
Memories of My Life: Being My Personal, Professional, and Social Recollections as Woman and Artist
Bernhardt, Sarah
Actors -- Biography; Bernhardt, Sarah, 1844-1923; Women -- Biography
The courtyard was large and dreary-looking, but there were buildings to
be seen, and windows from which children’s faces were gazing curiously
at us. My father said something to the nun who came forward, and she
took us into the parlor. This was large, with a polished floor, and was
divided by an enormous black grating which ran the whole length of the
room. There were benches covered with red velvet by the wall and a few
chairs and armchairs near the grating. On the walls were the portraits
of Pius IX., a full-length one of St. Augustine, and one of Henri V. My
teeth chattered, for it seemed to me that I remembered reading in some
book the description of a prison and that it was just like this. I
looked at my father and at my mother and began to distrust them. I had
so often heard that I was ungovernable, that I needed an iron hand to
rule me, and that I was the devil incarnate in a child. My Aunt Faure
had so often repeated: “That child will come to a bad end, she has such
mad ideas, etc., etc.”
“Papa, papa,” I suddenly cried out, seized with terror, “I won’t go to
prison. This is a prison I am sure. I am frightened; oh, I am so
frightened!”
On the other side of the grating a door had just opened, and I stopped
to see who was coming. A little round, short woman made her appearance
and came up to the grating. Her black veil was lowered as far as her
mouth, so that I could see scarcely anything of her face. She recognized
my father, whom she had probably seen before when matters were being
arranged. She opened the door in the grating and we all went through to
the other side of the room. On seeing me pale and my terrified eyes full
of tears, she gently took my hand in hers, and turning her back to my
father raised her veil. I then saw the sweetest and merriest face
imaginable, with large, childlike blue eyes, a turn-up nose, a laughing
mouth with full lips and beautiful, strong, white teeth. She looked so
kind, so energetic, and so gay that I flung myself at once into her
arms. It was Mother Ste. Sophie, the Superior of the Grandchamps
Convent.
“Ah, we are friends now, you see!” she said to my father, lowering her
veil again. What secret instinct could have told this woman, who was not
coquettish, who had no looking-glass and never troubled about beauty,
that her face was fascinating and that her bright smile could enliven
the gloom of the convent?
“We will now go and visit the house,” she said.
We at once started, she and my father each holding one of my hands. Two
other nuns accompanied us, one of whom was the mother-prefect, a tall,
cold woman with thin lips, and Sister Séraphine, who was as white and
supple as a spray of lily of the valley. We started by entering the
building and came first to the large class-room in which all the pupils
met on Thursdays at the lectures, which were nearly always given by
Mother Ste. Sophie. Most of them did needle-work all day long, tapestry,
embroidery, etc., and others decalcomania.
Public-domain text, read in full here on John Shaqi.
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