I had fancied, and up to this performance of _Zaïre_ I had always heard and read in the papers that my voice was pretty, but weak; that my gestures were gracious, but vague; that my supple movements lacked authority, and that my glance lost in heavenward contemplation could not tame the wild beasts (the audience). I thought then of all that. I had received proof that I could rely on my physical strength, for I had commenced the performance of _Zaïre_ in such a state of weakness that it was easy to predict that I should not finish the first act without fainting. On the other hand, although the _rôle_ was easy, it required two or three shrieks, which might have provoked the vomiting of blood that frequently troubled me at that time. That evening, therefore, I acquired the certainty that I could count on the strength of my vocal cords, for I had uttered my shrieks with real rage and suffering, hoping to break something, in my wild desire to be revenged on Perrin. Thus this little comedy turned to my profit. Being unable to die at will, I changed my batteries and resolved to be strong, vivacious, and active, to the great annoyance of some of my contemporaries, who had only put up with me because they thought I should soon die, but who began to hate me as soon as they acquired the conviction that I should perhaps live for a long time. I will only give one example, related by Alexandre Dumas _fils_, who was present at the death of his intimate friend Charles Narrey, and heard his dying words: “I am content to die because I shall hear no more of Sarah Bernhardt and of the grand Français” (Ferdinand de Lesseps). But this revelation of my strength rendered more painful to me the sort of _farniente_ to which Perrin condemned me. In fact, after _Zaïre_, I remained months without doing anything of importance, playing only now and again. Discouraged and disgusted with the theatre, my passion for sculpture increased. After my morning ride and a light meal I used to rush to my studio, where I remained till the evening. Friends came to see me, sat round me, played the piano, sang; politics were discussed—for in this modest studio I received the most illustrious men of all parties. Several ladies came to take tea, which was abominable and badly served, but I did not care about that. I was absorbed by this admirable art. I saw nothing, or, to speak more truly, I _would not_ see anything. I was making the bust of an adorable young girl, Mlle. Emmy de * * *. Her slow and measured conversation had an infinite charm. She was a foreigner, but spoke French so perfectly that I was stupefied. She smoked a cigarette all the time, and had a profound disdain for those who did not understand her. [Illustration: SARAH BERNHARDT IN HER COFFIN ]