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)
He wondered why this kindly old gentleman in the queer dress should
fiddle in the great palace across the way; he, so rich and powerful,
doing for fun what the poor little Yiddish boy did as a task. When
Yakov could play he wouldn’t live in a palace, but would try to get a
job in a theatre orchestra. His mother answered his query, “What is
a cardinal?” with a vague, “Oh, he is a sort of high rabbi,” which
didn’t tell her son much. He was brought up in the orthodox faith, went
to Shool--the synagogue--and was careful to eat no food that had not
been prepared in Kosher fashion. This last practice brought him into
conflict with the boys of his class at the public school around the
corner. They were American born, though many of foreign descent. That
made no difference, for, as much as they quarrelled with one another,
they were a unit as to the undesirability of the Jew. Their teacher had
scolded, had even punished them, but uselessly. They were sarcastic,
were these boys of Italian, Irish and German parents, calling aloud,
“Micky,” “Dutchy,” “Guinney,” “Wop,” but for Yakov and his like--in
the majority at the school--they had choicer terms: “Sheeny” “Kike!”
“Mekmek!” Yakov didn’t much mind the nicknames.
He only feared the suddenly delivered punches at his back, the
vise-like grip of “Jimmy the Brick” (self-christened) on his neck,
and the hateful grin with which a ham sandwich would be thrust into
his mouth. This last was the supreme insult. If he did not complain
to his teacher, it was because he feared reprisals. So he only told
his mother, with tears in his large, dark, expressive eyes, and she
comforted him. She said it was the glory of his race, this badge of
suffering, these insults from the Gentiles. He must not fight back, but
meekly endure. Jehovah would watch over him. She was a decent widow
woman, who had a small dressmaking business in her house and barely
supported herself and child, also giving him a musical education. Oh!
to see him a great violinist! She loved music, and as she worked her
sewing-machine she hummed to its rhythms. Once, many years ago, she had
heard in Lemberg, her Galician birthplace, the greatest violinist in
the world, Joseph Joachim, and one of her race. She was unmarried then,
yet she made a silent vow that if ever she had a son....
She had Yakov now, and his father was gone. She always said to
him--dead. But she knew better. He had deserted her for another woman,
left her without a dollar, and she had been fighting for ten years to
keep their heads above water. Living in this humble yet genteel court
behind the Cathedral, she dreamed of Yakov’s future, and she cried
with joy when the teacher at the conservatory grudgingly admitted
that the boy had talent and might--he coughed his reservations--with
hard work make a fair musician. Yakov went to school and in the
afternoons practised. The weather was warm, windows were opened, and he
attentively heard the fiddle of the Cardinal.
Public-domain text, read in full here on John Shaqi.
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