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)
We walked slowly for ten minutes until we arrived in front of a
sad-looking church, and then I stopped: “The place is not open yet;
they do not have Christmas service until five o’clock.” For the last
time my companion whispered, “Will you come with me?” and, pushing
past me, struck three times on the big doors. A small postern gate
opened at once and we entered the vaulted passageway. I trembled at
the strangeness of the adventure, and held fast to Moreau, for it was
pitch black, and while I heard soft footfalls beside me--the footfalls
of an unknown man--I could not see my hand before my face. We must have
traversed a long yard, for the wind blew freely about me; I heard it
playing on the housetops like a balloon in distress. Yet it felt as
if issuing from a sepulchre, and my heart went to my empty stomach.
Even in my growing terror I craved for coffee; its aroma would have
made me stronger for this inhuman cruise. We went down eleven steps--I
counted them--my conductors on either side of me. Dampness and malodors
warned me of our proximity to some ancient cellarage, some forgotten
catacombs, wherein Father Moreau expected to give me a sacerdotal
surprise, a revival perhaps of an antique and early Christian ritual.
I feebly applauded his intentions, but wished he had chosen some other
time and that the surroundings had been less sinister.
At last we paused and descended another flight of steps--this time I
didn’t number them, for the cold was intense, and it was with relief
that we suddenly arrived in a dimly lighted and warm chapel. It was
empty, devoid of pews, of chairs, of furnishings of any sort, except,
at the upper end, a small votive altar. Before it swung a lamp of
Byzantine workmanship, in which burned a solitary tongue of yellow
flame. The lamp swayed rhythmically, and on the altar were two tall
tapers, lighted and perfumed. And then my eyes rested on the spot where
should have been the tabernacle, surmounted by the gold cross. Judge
of my consternation when I saw, saw as distinctly as I see the pen
which traces these letters, a huge bronze serpent, with overlapping,
glistening, metallic scales. The eyes of this python were almost
feminine, and their regard gentle, reproachful, and voluptuous. My
knees bent beneath me and my face was wet with fright.
Public-domain text, read in full here on John Shaqi.
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