Bedouins: $b Mary Garden, Debussy, Chopin or the circus, Botticelli, Poe, Brahmsody, Anatole France, Mirbeau, Caruso on wheels, Calico cats, The artistic temperament; Idols and ambergris, with The supreme sin, Grindstones, A masque of music, and The vision malefic; with various portraits of Mary Garden in operatic costumeHuneker, James
History
Bedouins: $b Mary Garden, Debussy, Chopin or the circus, Botticelli, Poe, Brahmsody, Anatole France, Mirbeau, Caruso on wheels, Calico cats, The artistic temperament; Idols and ambergris, with The supreme sin, Grindstones, A masque of music, and The vision malefic; with various portraits of Mary Garden in operatic costume
Huneker, James
Garden, Mary, 1874-1967; Music -- History and criticism; Sopranos (Singers)
“But we thought you liked occult Johnnies!” had been their doleful
answer; and then Oswald bade them seek the old Nick himself, but leave
him to his own thoughts; many had clustered about his consciousness
during that afternoon; the principal one, the girl. Who was she? With,
all the boastings of the brothers that Count Van Zorn was welcome in
distinguished musical circles, Oswald made up his mind to a decided
negative. That man never went into the polite world nowadays, though he
may have done so years before. An undefinable atmosphere of caducity
and malodorous gentility clung to this disciple of music and the arts
esoteric. How came it then that June Tilney, so mundane, so charming,
so youthfully alert, could tolerate the vulture? What a vulture’s
glance suggesting inexpressible horrors was his brief, warning look!
Oswald grew dizzy. “By God!” he groaned, “no, not that! But surely some
sort of diabolic business!”
Why not go? Nothing but boredom could result at the worst, and boredom
in his life was rapidly merging into a contempt for existence, contempt
for this damnable Parisian morass. His ambition had winged away years
before. Occasionally at dusk, on white summer nights, he seemed to
discern a flash of some shining substance aloft, and felt his eyes
fill, while in his ears he heard the humming of a great colored melody.
Then he would make marks in his note-book and the next day forget his
infrequent visitor; he believed in old-fashioned inspiration, but when
it did arrive he was too indifferent to open the doors of his heart.
The Devil? Any belief but the dull, cynical unfaith of his existence,
any conviction, even a wicked one, any act of the will, rather than the
motiveless, stagnant days he was leading. Why not call on the Count?
Why not see June Tilney again? He recalled vaguely the freshness of her
face, of her presence. Yes, alert was the word, alert, as if she were
guarding herself against an enemy. Ah! hiding a secret. _That_ was in
her light fencing, feathery raillery, cold despondency, half-smothered
anger, fierce outburst, and, at the close, in her obstinate
reiteration. What did it all mean? He sat on his bed and wondered.
And in the dim light of early evening he heard his name called, once,
twice--with the memory of June Tilney’s warning earlier in the day
pressing thick upon his spirit, he rushed into the hallway from whose
vacancy came no response to his excited challenge. Yet he could have
sworn to the voice, a soundless voice which had said to him: “Don’t go!
Don’t go!” Oswald put on his hat, picked up his walking-stick, and left
the house....
III
Public-domain text, read in full here on John Shaqi.
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