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)
“_O Exiled Prince on whom was wrought such wrong!
Who, conquered, still art impious and strong!_”
“_O Satan have mercy on us!_”
“_O Satan, patron saint of evil!_”
“_O Satan take pity on our misery!_”
“_O Prince of Suicide, Maker of music!_”
“_O Satan have pity on us!_”
“_O Father of Pain, King of Desolation, true Master of the House
of Planets!_”
“_O Satan have mercy on us!_”
“_O Creator of black despair!_”
“_O Satan take pity on us!_”
Indifferent Christian as was Invern, his knees knocked at this
sacrilegious Baudelairian invocation. The violet grew in intensity
as the prayers of the blasphemer increased. Slowly across the sombre
velvet stretched in patibulary attitude a human skeleton. No thorns
crowned its grinning skull; instead a live viper wreathed about its
bony nest and turned glittering eyes upon the two men. Van Zorn’s voice
became a wail, calling down imprecations on earth to men of good-will.
He cursed life and praised death, and his refrain was ever:
“_O Satan, take pity on our misery!_”
Oswald no longer heard him. With hysterical agitation he remarked the
transformation of the adumbrated phantom. The skeleton had begun to
carnify--its frame was first covered with ivory-white flesh, and then,
with amazing velocity, a woman bourgeoned before his eyes. Gone the
skull, gone the viper. In their stead emerged the delicate head of a
goddess--filleted by Easter lilies--with smiling lips, enticing pose,
the figure of a delicious nubility. Hazel were the wide, gold-flecked
eyes that shot forthright shafts into the bosom of Oswald, and charged
him with ineffable longing. The arms, exquisite in proportion, the
graciously modelled torso, pierced him with an epileptic ecstasy.
And the crazy tones of Van Zorn assailed his ears as if from a great
distance:
“_O Satan, have mercy on us!_”
But the entranced youth cared little now for the diabolic litany. One
idea seized and was burning up the vital spark of him. As the creature
waxed in beauty he knew her--June Tilney! Yes, it was she--or was it
the daughter of the devil in the Rops picture?--who drew him toward her
with an irresistible caress in her eyes; eyes full of the glamour of
Gehenna, eyes charged with sins without joy, penitence without hope.
Forgotten her warnings before this Kundry of Golgotha.
“_O Satan come down to us_,” rhythmically crooned the grovelling old
man.
This, Satan? This radiant maiden with the flowery nimbus and beaming
eyes, her young breasts carolling a magnificat as they pointed to the
zenith--Oswald stumbled to the foot of the gibbet, in his ears the
throbbing of death. Her glance of cadent glory transfixed him. Scorched
by the vision, some fibre snapped in his brain and he triumphantly
cried:
“Thou art a goddess, not the Devil.”
A freezing blast overturned him, the saints of hell encircled him, as
he heard Van Zorn’s grinding sobs:
Public-domain text, read in full here on John Shaqi.
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