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)
In an ecstasy of faith, of awe, I plunged on my face and adored and
wept, and a mighty wind swept from the altar with strange moanings and
lamentings, and the lights were extinguished; yet there was a luminous
fog, that enfolded us, and in it I saw the great serpent, symbol of
wisdom, symbol of eternity, rear spirally aloft, and beneath it--oh,
beneath it!--was the Beatific Vision. In swelling nimbus of flame
was a counterfeit Mother of God, and holding the hand of Him, of the
Infant, Jesus, born but three hours, and--oh, the horror of it!--not
_my_ Christ, not _our_ Christ, not the Christ of the Christians, but an
Antichrist from some fetid hell, sent to seduce us, curse us, destroy
us! My eyes almost burst from their sockets, and the humming of hell’s
loom roared about me as I met the gaze--of the Woman. And now her eyes
were the serpent’s eyes, and on her head was the crown of hell and its
multiple kingdoms. She was naked, and set against her breasts were
sharp swords. She was Mater Malorum, and her breath sowed discord,
lust, and cruel murder. I yearned to pronounce the name of the true
Mother of God, to bid this blinding vision, this damnable vision,
vanish, but my tongue was like wet twine and my sight blistered by
the pageantry of Satan, of Satan and his Dam. And as I struggled the
silvery little bell tapped once more, and in a fading perspective I saw
the Madonna and the Child give me such a sweet, beseeching glance that
my heart dissolved within me, and I cried aloud, my tongue snapping in
the roof of my mouth:
“Mary, Mother of God, preserve us from the Devil and all his works!”
A withering streak of light struck my eyeballs, and I glimpsed the
serpent falling to earth with distended jaws, as two priestly figures
reeled off the altar-steps, and in the brassy clangor of despair
we fell, all three, and swooning blackness shut down upon us like
smothering velvet.
It was still dark when solicitous hands lifted me to my feet: my coat
was thrown about my shoulders, and I was hurried in shivering gloom to
the street. The other one disappeared at the little postern gate, and,
parting outside, with damp, hot hands, and face plastered with hideous
passion, the mad priest said to me, in a cracked voice:
“You have seen _my_ God, the only true God of hell--heaven and earth.”
BOOKS BY JAMES HUNEKER
_What some distinguished writers have said of them_:
Maurice Maeterlinck wrote, May 15, 1905: “Do you know that
‘Iconoclasts’ is the only book of high and universal critical worth
that we have had for years--to be precise, since Georg Brandes. It is
at once strong and fine, supple and firm, indulgent and sure.”
And of “Ivory Apes and Peacocks” he said, among other things: “I have
marvelled at the vigilance and clarity with which you follow and judge
the new literary and artistic movements in all countries. I do not know
of criticism more pure and sure than yours.” (October, 1915.)
Public-domain text, read in full here on John Shaqi.
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