My Double Life: The Memoirs of Sarah BernhardtBernhardt, Sarah
General
My Double Life: The Memoirs of Sarah Bernhardt
Bernhardt, Sarah
Actors -- France -- Biography; Bernhardt, Sarah, 1844-1923
I looked at the envelope a long time, and gave it at last to Madame
Guérard.
“It is a letter from M. Perrin, director of the Comédie Française,” she
said. “He asks if you can fix a time to see him on Tuesday or Wednesday
afternoon at the Comédie Française or at your own house.”
“Thanks. What day is it to-day?” I asked.
“Monday,” she replied.
I then installed Madame Guérard at my desk, and asked her to reply that
I would go there the following day at three o’clock.
I was earning very little at that time at the Odéon. I was living on
what my father had left me—that is, on the transaction made by the Hâvre
notary—and not much remained. I therefore went to see Duquesnel and
showed him the letter.
“Well, what are you going to do?” he asked.
“Nothing. I have come to ask your advice.”
“Oh well, I advise you to remain at the Odéon. Besides, your engagement
does not terminate for another year, and I shall not allow you leave!”
“Well, raise my salary, then,” I said. “I am offered twelve thousand
francs a year at the Comédie. Give me fifteen thousand here and I will
stay, for I do not want to leave.”
“Listen to me,” said the charming manager in a friendly way. “You know
that I am not free to act alone. I will do my best, I promise you.” And
Duquesnel certainly kept his word. “Come here to-morrow before going to
the Comédie, and I will give you Chilly’s reply. But take my advice, and
if he obstinately refuses to increase your salary, do not leave; we
shall find some way.... And besides—— Anyhow, I cannot say any more.”
I returned the following day according to arrangement.
I found Duquesnel and Chilly in the managerial office. Chilly began at
once somewhat roughly:
“And so you want to leave, Duquesnel tells me. Where are you going? It
is most stupid, for your place is here. Just consider, and think it over
for yourself. At the Gymnase they only give modern pieces, dressy plays.
That is not your style. At the Vaudeville it is the same. At the Gaîté
you would spoil your voice. You are too distinguished for the Ambigu.”
I looked at him without replying. I saw that his partner had not spoken
to him about the Comédie Française. He felt awkward, and mumbled:
“Well then, you are of my opinion?”
“No,” I answered; “you have forgotten the Comédie.”
He was sitting in his big arm-chair, and he burst out laughing.
“Ah no, my dear girl,” he said, “you must not tell me that. They’ve had
enough of your queer character at the Comédie. I dined the other night
with Maubant, and when some one said that you ought to be engaged at the
Comédie Française he nearly choked with rage. I can assure you the great
tragedian did not show much affection for you.”
“Oh well, you ought to have taken my part,” I exclaimed, irritated. “You
know very well that I am a most serious member of your company.”
Public-domain text, read in full here on John Shaqi.
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