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)
devoted to the personality of the devil, to his corporeal existence,
to his daily presence in the marts of mankind; and so constant was his
harping on this theme that Father Oelschlager had to forbid him the
subject. “It is so warm, my son! Why, then, do you hold forth on hell?
Let the poor people hear more of the crystal rivers, the green meads
of the New Jerusalem. It would be more seasonable.” Moreau frowned, but
obeyed his superior.
With the autumn and winter his habits became more secretive, his visits
to me less frequent, and his air of detachment most melancholy. Advent
saw him a mere wraith of a man, worn by speculation, devoured by an
interior flame, a flame that was wasting his very soul to despair.
He seldom conversed with me, although I watched him anxiously and
occasionally interrogated him regarding his health. At last I spoke to
his associate, but encountered an easy-going philosophic spirit, which
assured me Father Moreau was going through what most young priests
should. He was at the period of unfaith, was nettled by doubt, and
after he had wrestled with Satan, and won the good fight, he would
again become normal. This seemed consoling though vague.
The day before Christmas I promised that I would not send a substitute
to play the midnight mass at the church. Our church was the only one in
the city where the old-fashioned mass at twelve o’clock on Christmas
Eve was celebrated. It is located near the river, and my journey was
a long one, for I lived up-town. I ate a six o’clock supper and went
to bed, telling them to arouse me at a quarter before eleven. I wished
to be fresh for the early service. By eleven I was out on the street,
and took a car bound south. I reached the church in time, and soon
the solemn high mass began. My choir had with elaborate care prepared
Cherubini’s mass, and despite the poor organ, the extra chorus and
much enthusiasm made some effect. The congregation was attentive, and
Father Oelschlager delivered a short, happy sermon, urging his flock to
rejoice at the birth of the Babe of Bethlehem, Jesus the Infant Christ,
uncrucified, but newly born into a world of toil and sin for our
redemption. At the consecration of the host the good rector’s beaming
faith was most edifying. He was served by Father Moreau, a melancholy
deacon, indeed. “Ite Missa Est” pronounced, the faithful dismissed,
I was overjoyed at the release, for I was tired. The choir chatted
about the service, the singing, and at last I was alone. I placed the
music-books back in the tall Gothic cupboard, closed the manuals of my
instrument, and put on my overcoat. It must have been half past one,
perhaps quarter of two, and I relished the prospect of my arrival home,
where a warm breakfast would be awaiting me, and then once more to bed,
for I had to play the regular half past ten o’clock Christmas mass for
the benefit of the sleepy ones, who loved their couch better than their
Christ.
Public-domain text, read in full here on John Shaqi.
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