On November 6, 1915, Sarah Bernhardt performed a dramatic poem by Eugène Morand, Les Cathédrales, at the Théâtre Sarah Bernhardt in Paris. Even the “Divine Sarah,” then seventy-one years old and still the greatest actress of the French stage after a career spanning more than fifty years, had seldom taken to the stage under more remarkable circumstances. It was her first performance in Paris after her return from the Bordeaux region, where she had fled as the Germans approached Paris in August 1914. Bernhardt herself was no stranger to war. She had opened a hospital for the wounded at the Odéon theatre in Paris during the Franco-Prussian war of 1870–1. According to legend, she left Paris in 1914 only after her friend and future wartime premier Georges Clemenceau told her she was on a list of hostages to be taken by the Germans if they captured the city. Moreover, the aging star was herself recuperating from major surgery – the amputation of her leg, which had finally become gangrenous after years of mistreatment of an old injury.

In itself, Les Cathédrales is a work remote in form and content from today's aesthetic sensibilities. It recounted the dream of a young and courageous French soldier who has grabbed a few moments of sleep near the front, in the department of the Nord, invaded by the Germans.