My Double Life: The Memoirs of Sarah Bernhardt — A Reader’s Guide
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The catalog record for My Double Life: The Memoirs of Sarah Bernhardt — A Reader’s Guide provides practical reading context through 180,308 words, 13 hr 4 min estimated reading time, and 44 detected text sections.
The text analysis averages about 17.4 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Bernhardt, Sarah, 1844-1923,” connecting these edition facts with the source record’s subject description.
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and the following morning at eight o’clock we started by diligence for Versailles. I can see Marie now, great big girl as she then was, in tears. All the members of the family were assembled at the top of the stone steps. There was my little trunk, and then a wooden case of games which my mother had brought, and a kite that my cousin had made, which he gave me at the last moment, just as the carriage was starting. I can still see the large white house, which seemed to get smaller and smaller the farther we drove away from it. I stood up, with my father holding me, and waved his blue silk muffler which I had taken from his neck. After this I sat down in the carriage and fell asleep, only rousing up again when we were at the heavy-looking door of the Grand-Champs Convent. I rubbed my eyes and tried to collect my thoughts. I then jumped down from the diligence and looked curiously around me. The paving-stones of the street were round and small, with grass growing everywhere. There was a wall, and then a great gateway surmounted by a cross, and nothing behind it, nothing whatever to be seen. To the left there was a house, and to the right the Satory barracks. Not a sound to be heard—not a footfall, not even an echo.
“Oh, Mamma,” I exclaimed, “is it inside there I am to go? Oh no! I would rather go back to Madame Fressard’s!”
My mother shrugged her shoulders and pointed to my father, thus explaining that she was not responsible for this step. I rushed to him, and he took me by the hand as he rang the bell. The door opened, and he led me gently in, followed by my mother and Aunt Rosine.
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 parlour. 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 arm-chairs near the grating. On the walls were a portrait 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 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,” &c. &c. “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 scarcely see anything of her face. She recognised my father, whom she had probably seen before, when matters were being arranged. She opened a 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 child-like 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 happy that I flung myself at once into her arms. It was Mother St. Sophie, the Superior of the Grand-Champs 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 see the house,” she said.
Sarah Bernhardt opens her memoirs not with a birth date but with a metaphor: she watches letters accumulate 'just as I watch the waves of the sea,' each envelope a potential wreck or treasure. This image of poised anticipation—'I cling for a second to what is, and then I fling myself headlong into what is to be'—captures the restless energy that drives her narrative. The excerpts reveal a woman who treats life as a series of dramatic entrances and exits, from a balloon ascent to a tense luncheon where a marshal and a playwright clash over the proper steel for writing history.
Theatrical Tensions and Political Edges
In one of the memoir's most charged scenes, Bernhardt hosts a luncheon where Marshal Canrobert and the playwright William Busnach engage in a political argument that turns 'rather violent.' Busnach, described as 'the most witty and at the same time the rudest man in France,' challenges the marshal to write about 'odious Utopias.' Canrobert replies coldly: 'We do not use the same steel for writing history! You use a pen, and I a sword.' The exchange is a miniature drama of class, profession, and authority—a sword versus a pen, the old guard versus the provocateur. Bernhardt does not take sides; she records the crackle of wit and the chill of the retort, then lets the scene dissolve into 'the most delicious harmony of ideas.' The episode shows her instinct for placing herself at the center of conflicting forces without being consumed by them.
Letters, Waves, and the Unknown
Bernhardt's relationship with correspondence is almost talismanic. She receives 'quantities of letters' and delays opening them, studying envelopes for handwriting and seal. She compares the arrival of mail to the sea: 'What are they going to bring me, these mysterious envelopes, large, small, pink, blue, yellow, white? What are they going to fling upon the rock, these great wild waves, dark with seaweed? What sailor-boy’s corpse? What remains of a wreck?' The passage is one of the most lyrical in the excerpts, mixing dread and delight. She admits she never opens letters immediately, preferring to let a secretary or friend handle those whose senders she cannot identify. This ritual of hesitation and surrender—'I adore what is to be without seeking even to know about it'—mirrors her approach to career decisions, such as the moment she receives a letter from the Comédie Française and feels 'a faint tinge of pallor' instead of the flush of joy she felt a decade earlier.
The Trapeze of Decision
Bernhardt describes her characteristic response to life-altering events with a gymnastic metaphor: 'I cling for a second to what is, and then I fling myself headlong into what is to be. It is like a gymnast who clings first to his trapeze bar in order to fling himself afterwards with full force into space.' The image recurs in her account of receiving the summons from the Comédie Française. She recalls that ten years earlier, a similar envelope had made her 'flush with joy'; now she feels pallor. Yet she does not resist. The memoir suggests that her public persona—the 'Divine Sarah'—was built on a private rhythm of hesitation and leap. She admits to a 'movement of recoil' before embracing change, and she loves what is about to happen 'with tender emotion as something dead.' This psychological pattern gives the memoirs a structural pulse: each chapter ends with a decision, each beginning with a new stage.
Readers should note that these excerpts cover only the first third of a long memoir. Bernhardt's voice is consistent—wry, theatrical, self-aware—but the full work includes tours, performances, and encounters with figures like Victor Hugo and Thomas Edison. The tension between her private hesitation and public daring, visible in the trapeze metaphor and the letter ritual, offers a key to reading the entire narrative. Watch for moments when she pauses before a door, a letter, or a decision: those are the hinges of her double life.
That rainy afternoon, Bernhardt’s trapeze life—her delight in the mysterious envelope—made me ache for a quieter kind of devotion. I found myself reaching, almost without deciding, for Hugh: Memoirs of a Brother — Key Ideas to Explore, and its unhurried tenderness felt like coming inside from the storm.
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