"Bernhardt" Quotes from Famous Books
 ... together in the parlour, the general living-room: carpet-covered sofa, big table, few chairs—that's all. We talk an hour—and on what? We discuss Bernhardt, the divine Sarah. "Good shows don't come to Lynn much; it don't pay them. You can't get more than fifty cents a seat. Now Bernhardt don't like to act for fifty-cent houses! But the theatres are crowded if ever there's a good show. We get tired of the awful poor shows to the Opera House." ...
— The Woman Who Toils - Being the Experiences of Two Gentlewomen as Factory Girls • Mrs. John Van Vorst and Marie Van Vorst
... there is tolerance for other backgrounds which are not without dignity, though they may be lacking in distinction. Poverty is admittedly inconvenient, but carries no reproach. Light hearts and jesting tongues minimize its discomforts. I well remember when the coming of Madame Bernhardt to Philadelphia in 1901 fired the students of Bryn Mawr College with the justifiable ambition to see this great actress in all her finer roles. Those who had money spent it royally. Those who had none offered their possessions,—books, ornaments, tea-cups, for sale. "Such ...
— Americans and Others • Agnes Repplier
... true pantomime than in the European, without a general notion of the subject as conveyed from time to time by an interpreter. A crucial test on this subject was made at the representation at Washington, in April, 1881, of Frou-Frou by Sarah Bernhardt and the excellent French company supporting her. Several persons of special intelligence and familiar with theatrical performances, but who did not understand spoken French, and had not heard or read the play before or even seen an abstract of it, paid close attention to ascertain what ...
— Sign Language Among North American Indians Compared With That Among Other Peoples And Deaf-Mutes • Garrick Mallery
... to take breath, he produced one after another a novel in the style of d'Annunzio, a comedy in Rostand's vein, a book on love, another on reforms in the Constitution, a study of Modernism, a monograph on Sarah Bernhardt, and, finally, the "Dialogues of the Living." The sarcastic but measured spirit of this last work obtained for him the position of column writer on one of the leading dailies. Having thus entered journalism he stayed in the profession, and became one of the ornaments of ...
— Clerambault - The Story Of An Independent Spirit During The War • Rolland, Romain
... advertising variety and reputations, and he sends them away aglow with the feeling that they have been entertained every minute. His raw material is the best he can buy. His finished product is usually the finest his brain can form. He engages Sarah Bernhardt, Calve, a Sir James M. Barrie playlet, Ethel Barrymore, and Henry Miller. He takes one of them as the nucleus of a week's bill. Then he runs over the names of such regular vaudevillians as Grace ...
— Writing for Vaudeville • Brett Page
... was masterly in everything, from waving a pompadour to conducting theatricals. She herself was the star dramatic performer of Fairbridge. There was a strong feeling in Fairbridge that in reality she might, if she chose, rival Bernhardt. Mrs. Emerston Strong, who had been abroad and had seen Bernhardt on her native soil, had often said that Mrs. Edes reminded her of the great French actress, although she was much handsomer, and so moral! Mrs. Wilbur Edes was masterly in morals, as in everything else. She was much admired by the ...
— The Butterfly House • Mary E. Wilkins Freeman
... goin' to alter his depahtment on the newspaper. Wasn't that it? Oh, I see. In the magazine. Very well. Here's to what you says about me some day in the magazine. An' when you writes it don't forget to mention somewhere along in it how when I was playin' in San Francisco and Sarah Bernhardt was playin' there, and this was years ago, don' forget to mention along with what you write about mah singin' and actin' that I come to mah dressing room one evenin', in Frisco, and there's the hugest box o' flowers you ever saw with mah name on it. An' I open ...
— A Thousand and One Afternoons in Chicago • Ben Hecht
... like it. My sister was superb. I doubt if Bernhardt at her best ever inspired me with more awe. How that maid flew around. How humble she was. How she apologized. And how, every time my sister said, "Look sharp, now," the maid said, "Thank you." I thought I should die. I was so much interested in the dramatic possibilities of my cherished sister ...
— As Seen By Me • Lilian Bell
... play for thirty nights in succession, {346} and Rachel and Sarah Bernhardt; but as regards true genius, Janauschek in her earlier days was incomparably their superior; for these all played from nerves and instinct, but Janauschek from her brain and intellect. I often wondered that she did not write plays. It is said of Rachel that ...
— Memoirs • Charles Godfrey Leland
... or one hundred, or twenty-five rubles?" And not one of them gave me any money. I mention this because, when people give money for that which they themselves desire, they generally make haste to give it. For a box to see Sarah Bernhardt, they will instantly place the money in your hand, to clinch the bargain. Here, however, out of all those who agreed to contribute, and who expressed their sympathy, not one of them proposed to give me the money on the spot, but they merely assented ...
— The Moscow Census - From "What to do?" • Lyof N. Tolstoi
... his welfare, the way she had done; if she could do that—well, like Hank Brown, he would have to hand it to her for being a lot cleverer than he had given her credit for being. "If she's been faking the whole thing, she ought to go on the stage," he muttered tritely. "She'd make Sarah Bernhardt look like a small-time extra. Yes, sir, all of that. And I don't quite get it that way." Then he swore. "Hank Brown! That hick—after having her choice of town boys, her taking up with that Keystone yap! No, sir, that don't get ...
— The Lookout Man • B. M. Bower
... chaplet of heather about her glorious hair. Elise was in white with pearls. She was thirty-five, but she did not look it. Ursula was older, but she would always be in a sense ageless, as such women are—one would thrill to Sara Bernhardt were she seventeen ...
— The Gay Cockade • Temple Bailey
... a most flattering reception, and for a season played with Edwin Booth in the Shakespearean repertoire. Duse first came into public notice about 1895, when her wonderful emotional power at once caused critics to compare her to Bernhardt, and not always to the advantage of the great French tragedienne. At one period her name became linked most unpleasantly with that of the ...
— Women of the Romance Countries • John R. Effinger
... School. And for four years I lived. Oh, I won't rhapsodize about New York. It was dirty and noisy and breathless and ghastly expensive. But compared with the moldy academy in which I had been smothered——! I went to symphonies twice a week. I saw Irving and Terry and Duse and Bernhardt, from the top gallery. I walked in Gramercy Park. And I read, ...
— Main Street • Sinclair Lewis
... Emile Augier's delightful comedy Le Gendre de M. Poirier, "Patronize art? Of course! But the artists? Never!" And frankly, it would be too much, would it not, to expect a family only half a generation away from an iron foundry, or a mine, to be willing to receive Irving or Bernhardt on ...
— Worldly Ways and Byways • Eliot Gregory
... P. M., she was up on a lonesome Eminence, right between Sara Bernhardt and Julia Marlowe, waiting for a Telegram from C. F. to come on and tackle any Role that was ...
— Knocking the Neighbors • George Ade
... Mme. Bernhardt and M. Coquelin were playing "L'Aiglon." Toward the end of the second act people began to slide down in their seats, shift their elbows, or casually rub their eyes; by the close of the third, most ...
— In the Arena - Stories of Political Life • Booth Tarkington
... Ellen Terry's dressing-room at the Lyceum Theatre one evening during that lady's temporary absence on the stage, Sarah Bernhardt picked up a crayon and wrote this pretty word on the mirror—Dearling, mistaking it for the word darling. The French actress lighted by chance upon a Spenserianism now become obsolete without good reason. It is a more charming adjective than the one that has ...
— Ponkapog Papers • Thomas Bailey Aldrich
... was in Edmond Rostand's "L'Aiglon," adapted in English by Louis N. Parker. As the young Eaglet, son of the great Napoleon, she had fresh opportunity to display her versatility. It was a character in which romance, pathos, and tragedy were curiously entwined. Bernhardt had done it successfully in Paris, but Miss Adams brought to it the fidelity and brilliancy of youth. In "L'Aiglon" she was supported by Edwin Arden, Oswald Yorke, Eugene Jepson, J. H. Gilmour, and ...
— Charles Frohman: Manager and Man • Isaac Frederick Marcosson and Daniel Frohman
... [he writes] I saw Sara Bernhardt and DeMax in "Phedre," and understood where Mr. Fay, who stage-manages the National Theatrical Company, had gone for his model. For long periods the performers would merely stand and pose, and I once counted twenty-seven quite slowly ...
— Irish Plays and Playwrights • Cornelius Weygandt
... of novels, is a company. Jeremy, the actor-manager, is a company. So is Bynion the quack doctor, and the Rev. Mr. Kinnimer who supplies tracts to the upper classes, and Upton the artist, whose pictures make tours like Sarah Bernhardt, and Watkins, whose philosophy sells more than Tupper's, and Caroline Jingo, who writes war poems and patriotic odes. If you were to invite these supposed seven persons to dinner, and all of them came, you would have to lay covers for ...
— The Prophet of Berkeley Square • Robert Hichens
... is even suggested that, if Salome had not been censored, the social comedies might never have been written. "It is possible," observes Mr. Ransome, "that we owe The Importance of Being Earnest to the fact that the Censor prevented Sarah Bernhardt from playing Salome at the Palace Theatre." If this conjecture is right, one can never think quite so unkindly of the Censor again, for in The Importance of Being Earnest, and in it alone, Wilde achieved a work of supreme genius ...
— The Art of Letters • Robert Lynd
... delights. Names famous wherever pleasure is understood gave to their variegated posters a pleasant air of distinguished familiarity—names of theatres such as "Varietes," "Vaudeville," "Chatelet," "Theatre Francais," "Folies-Bergere," and names of persons such as "Sarah Bernhardt," "Huegenet," "Le Bargy," "Litvinne," "Lavalliere." But the name in the largest type—dark crimson letters on rose paper—the name dominating all the rest, was the name of Musa. The ingenuous stranger to Paris was compelled to ...
— The Lion's Share • E. Arnold Bennett
... Sarah Bernhardt asked me to her ‘hôtel’ to hear M. Rostand read a play he had just completed for her. I accepted reluctantly, as at that moment we were busy at the theatre. I also doubted if there could be much in the new play to interest me. It was La Princesse Lointaine. I shall remember ...
— The Ways of Men • Eliot Gregory
... seen me at my best. Give me a maid's part, with a tray to carry on in act one and a couple of 'Yes, madam's' in act two, and I'm there! Ellen Terry hasn't anything on me when it comes to saying 'Yes, madam,' and I'm willing to back myself for gold, notes, or lima beans against Sarah Bernhardt as a tray-carrier. But there I finish. That lets me out. And anybody who thinks otherwise is going to lose a lot of money. Between ourselves the only thing I can do really well ...
— The Adventures of Sally • P. G. Wodehouse |
