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)
Paul awoke next morning with what the hardheaded Germans call a moral
headache. He had a bad taste in his conscience, and he decided to call
as soon as possible on Rue. It was nearly eleven before he got to her
house. As she had no rehearsal for Siegfried, she received him. He
thought that she was distant, but he talked fast and earnestly, and
soon the ice began to thaw. Paul felt happy. Helena appealed to his
decadent taste, but Rue was as the perfume of the morning. He told her
so, and explained at great length and with considerable ingenuity how
he came in the company of a lone young woman. Her two chaperons--Paul
fancied two sounded more imposing--had gone by mistake to the garden
of the Sonne Hotel; that is why he left so soon with the lady, who was
only a recent acquaintance.
He felt Rue’s eyes on him as he wove this roundelay, and, feeling hot
about the neck and a little fearful of his ability to keep up the
strain much longer, he suddenly grasped the girl, crying out, and most
sincerely:
“O Rue! why do we waste time talking about a woman I never cared for
and never expect to see again. I love you, I love you, my darling! Kiss
me just once and tell me you care a little for me.”
As he fell upon her she was taken off her guard, and the inevitable
happened. She kissed Paul and he placed a big ring on her finger, and
left the house an hour later an engaged and also a much be-perjured
man. He was happy until he thought of Helena.
That evening when Siegfried was finished Paul walked arm and arm with
Rue down the hill to Sammet’s. As they entered they brushed against
three ladies, and Paul said aloud: “Oh, Lord!”
The next day Rue had to go to a rehearsal for the Rhine Daughters in
Die Götterdämmerung, and Paul was whistling the Spring Song from Die
Walküre in his room when a knock at his door brought the news that a
lady wished to see him. He wondered who the lady was, and, as the
parlor of the house had been turned into a bedroom, he put on his hat
and went into the hall, to be confronted by Helena, shamefaced but
resolute.
“Come out into the street,” he begged, for in her implacable eyes he
read signs of the approaching storm.
They silently descended to a lower étage. Then she turned and faced him:
“So you didn’t come to me this morning,” she said. Roumania excited
was a stirring spectacle, nevertheless Paul wished that he was up the
Hudson playing golf.
He endeavored to placate her. Helena, angered at her loss of dignity
in condescending to call on this man, reproached him bitterly, and it
seemed to him that she was about to sing the picturesque songs of hate
which Carmen Sylva has made known to us, when they reached the street.
Then her rage vanished in a moment.
Public-domain text, read in full here on John Shaqi.
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