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)
Nietzsche revealed new intellectual vistas for Paul and he actually
became serious. The notion of regarding one’s own personality as a
possible work of art to be labored upon and polished to perfection’s
point, set him thinking hard. What had he done with his life? What
wasted opportunities! He deserted his club and began piano-playing
again, and when reproached by his friends for his fickleness he excused
himself by quoting Nietzsche; a thinker, as well as a snake, must shed
his skin once a year, else death. He also was ready with Emerson’s
phrase about fools being consistent, and felt altogether very fine,
and superior to his fellow-beings. Nietzsche feeds the flame of one’s
vanity, and Paul was sure that he belonged to the quintessential band
of elect souls that is making for the Uebermensch--the Superman!
He really was a nice, boyish lad, and he could never pass a pretty
girl--whether a countess or a chambermaid--without making soft eyes
at her. Paul was popular; and so the Roumanian ladies laughed at him
admiringly. Paul had left his mother in Paris, the heat was too trying
for travel, and he was close to Baireuth on this torrid summer day, one
Sunday afternoon in July.
Yet another hour before him, he turned his critical attention to the
laughing trio. One was a princess. She told Paul so, and spoke of
the sultry diversions of Bucharest. The second was a fat singer, who
startled the Englishman by inquiring if there wasn’t a good coloratura
part in Parsifal. If there were, she intended asking Frau Cosima
Wagner to let her sing it; but if there wasn’t, she supposed she
would have to be content with the Forest Bird; even Melba had been a
Waldvogel, why couldn’t she be one also?
Her sparkling eyes and mountain of flesh amused Paul exceedingly. He
knew Heinrich Conried very well, and he told the singer that when
Parsifal was sung next season at the Metropolitan Opera House he would
speak to the impresario and get her the part of Kundry. It was for
a lark-like voice, such as the lady said she possessed, and full of
Bellinian fioritura.
Public-domain text, read in full here on John Shaqi.
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