ILLUSTRATIONS
| Coombe Cottage | [Frontispiece] |
| FACING PAGE | |
| Portraits of Sarah Bernhardt by the Author (age 7), drawn in 1881 | [228] |
| Sarah Bernhardt in the ’eighties | [229] |
THE
PUPPET SHOW OF MEMORY
CHAPTER I
THE NURSERY
When people sit down to write their recollections they exclaim with regret, “If only I had kept a diary, what a rich store of material I should now have at my disposal!” I remember one of the masters at Eton telling me, when I was a boy, that if I wished to make a fortune when I was grown up, I had only to keep a detailed diary of every day of my life at Eton. He said the same thing to all the boys he knew, but I do not remember any boy of my generation taking his wise advice.
On the other hand, for the writer who wishes to recall past memories, the absence of diaries and notebooks has its compensations. Memory, as someone has said, is the greatest of artists. It eliminates the unessential, and chooses with careless skill the sights and the sounds and the episodes that are best worth remembering and recording. The first thing I can remember is a Christmas tree which I think celebrated the Christmas of 1876. It was at Shoreham in Kent, at a house belonging to Mr. H. B. Mildmay, who married one of my mother’s sisters. I was two years old, and I remember my Christmas present, a large bird with yellow and red plumage, which for a long time afterwards lived at the top of the nursery wardrobe. It was neither a bird of Paradise nor a pheasant; possibly only a somewhat flamboyant hen; but I loved it dearly, and it irradiated the nursery to me for at least two years.
The curtain then falls and rises again on the nursery of 37 Charles Street, Berkeley Square, London. The nursery epoch, which lasted till promotion to the schoolroom and lessons began, seems to children as long as a lifetime, just as houses and places seem to them infinitely large. The nursery was on the third floor of the house, and looked out on to the street. There was a small night-nursery next door to it, which had coloured pictures of St. Petersburg on the wall.
I can remember the peculiar roar of London in those days; the four-wheelers and hansoms rattling on the macadam pavement through the fog, except when there was straw down in the street for some sick person; and the various denizens of the streets, the lamplighter and the muffin-man; often a barrel-organ, constantly in summer a band, and sometimes a Punch and Judy. During the war, when the streets began to be darkened, but before the final complete darkness set in in 1917, London looked at night very much as it was in my childhood. But the strange rumbling noise had gone for ever. Sometimes on one of the houses opposite there used to be an heraldic hatchment. The nursery was inhabited by my brother Hugo and myself, our nurse, Hilly, and two nurserymaids, Grace Hetherington, and Annie. Grace was annexed by me; Annie by Hugo. Hilly had been nurse to my sisters and, I think, to my elder brothers too. She had the slightly weather-beaten but fresh agelessness of Nannies, and her most violent threat was: “I’ll bring my old shoe to you,” and one of her most frequent exclamations: “Oh, you naughty boy, you very naughty boy!” The nursery had Landseer pictures in gilt frames, and on the chest of drawers between the two windows a mechanical toy of an entrancing description. It was a square box, one side of which was made of glass, and behind this glass curtain, on a small platform, a lady sat dressed in light blue silk at an open spinet; a dancing master, in a red silk doublet with a powdered wig and yellow satin knee-breeches, on one side of it, conducted, and in the foreground a little girl in short skirts of purple gauze covered with spangles stood ready to dance. When you wound up the toy, the lady played, the man conducted elegantly with an open score in one hand and a baton in the other, and the little girl pirouetted. It only played one short, melancholy, tinkling, but extremely refined dance-tune.