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)
After the introductions Oswald again admired the girl he had seen the
previous night. She had accompanied the fraternal pair much against
the wish of her guardian to a ball in the Quarter and she had not,
she said, found it wonderfully diverting. The color of her eyes was
hazel--they were wide with golden flecks in them, the same curious gold
as her hair--and her little ears and nose with its tiny nostrils, that
became inflated when she was interested, held the gaze of the young
man. Under his dyed eyebrows Count Van Zorn regarded the company. It
was not quite to his liking, the Hollin brothers soon discovered, so
they engaged him in conversation and paid him exaggerated compliments.
His bird-like profile, with the dull, prominent eyes, moved slowly from
one brother to the other.
“Who’s your friend?” he finally asked. He was told all sorts of
impossible things; Invern was the coming composer; he had not arrived
yet, but--! The Count grunted. He had heard this blague before. In
Paris all your artistic friends are just about to, but never do,
arrive. Miss Tilney spoke to Invern.
“It is charming to think of an American giving up his great country
for the sake of music--preferring notes to gold.” He made a gesture of
disapproval.
“Ah, don’t play the modest genius,” she gayly cried. “You know, I am
very sensitive to genius. I’ve never heard your music, yet I’m sure you
are doomed to greatness--or sorrow.” She added these last two words
under her breath. Oswald heard them. He started and looked into her
eyes, but he might as well have questioned two pools of light; they
reflected no sentiment, nor did they directly return his glance. Across
the table the Count made a motion and she colored; he summoned at the
same time the attention of the young composer.
“You write music, do you?” he asked in a grating voice. “I am a
composer myself. I studied with a great Russian musician, now dead.
I----”
“Tell us about _Sar_ Merodack Péladan,” interrupted the vivacious
Willy; “tell us if you ever witnessed his incantations.” Every one but
the Count and Invern laughed. The girl rapidly said something to her
guardian. It must have been in Russian. He shook his head.
“Not to-day,” he answered in French.
Public-domain text, read in full here on John Shaqi.
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