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)
“You conceited man, and you really took me in solemn earnest! I fancied
the Americans had a sense of humor. Pooh! You’re not a man to love more
than a moment, anyhow,” and she went on her way laughing mockingly,
leaving Paul shamefaced, angered, his self-love all bruised and his
senses aroused, for Helena wrathful was more beautiful than Helena
amiable.
He was so distressed in mind that he only sat through one act of
Die Götterdämmerung; his Wagner madness seemed to have evaporated.
He hovered around the back of the theatre, and caught a glimpse
of Rue getting in a carriage with the same fat old German--her
singing-teacher, he fancied.
Although it was late, he called at her house. She had not yet arrived,
the maid told him. He mooned about disconsolately until one o’clock,
keeping at a safe distance from the Hotel Sonne. Then he wearily went
to bed and dreamed that the Nornes were chasing him down Fifth Avenue.
The next morning he called again on Rue. She sent down word that she
was tired. He called again in the afternoon; she was not at home. In
the evening, feeling as if he were going mad, he was told that she had
gone out and would not be back until late. He hung around the house in
a hungry-dog fashion, smiling bitterly at times and beginning to doubt
even his own intentions. But no Rue.
He went home at last, and in a rage of love and jealousy he sat down
and wrote to Rue this letter:
“Rue, my Rue, darling, what is the matter? Have I offended you? Why did
you not see me to-day, to-night? Oh, how lonely was the street, how sad
my heart! I thought of Verlaine’s ‘It rains in my heart as it rains in
the town.’ Why don’t you see me? You are mine; you swore it. My sweet
girl, whose heart is as fragrant as new-mown hay! Darling, you must
see me to-morrow--to-day--for I am writing to you in the early, early
morning. You know that you promised to come to me next year in America.
Only think, sweetheart, what joy then! The sky is aflame with love.
We walk slowly under few soft spring stars, and your hand is in mine,
and that night, that night your heart will sob on my breast, my lovely
woman, and your heart will fiercely beat as we both slip over the hills
to heaven. Rue, you will make me a poet. Only tell me, I beg of you,
the hour when I may see you.”
Then Paul threw himself on the bed, but not to sleep. It was daybreak,
and the Teutonic chanticleer of the dawn had lusty lungs, and it was
almost time for coffee. He dressed in feverish haste, went out of
doors, secured a messenger and despatched the letter. He walked up and
down the Lisztstrasse for twenty minutes, and his emotion was so great
at the sight of the boy returning, a letter in hand, that he retreated
into the doorway and awaited the news. It was brief. He read this in
Rue’s firm handwriting:
“Your friend Helena has told me all. Here is your ring.”
There was no signature.
Public-domain text, read in full here on John Shaqi.
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