word) less and less. Since her performance at Carnegie Hall several
years ago of the _Liebestod_ from _Tristan_, which Walter Damrosch
hailed as an extremely interesting experiment, she has attempted to
express something more than the joy of melody and rhythm. Indeed on at
least three occasions she has danced a Requiem at the Metropolitan
Opera House.... If the new art at its best is not dancing, neither is
it wholly allied to the art of pantomime. It would seem, indeed, that
Isadora is attempting to express something of the spirit of sculpture,
perhaps what Vachell Lindsay describes as "moving sculpture." Her
medium, of necessity, is still rhythmic gesture, but its development
seems almost dream-like. More than the dance this new art partakes of
the fluid and unending quality of music. Like any other new art it is
not to be understood at first and I confess in the beginning it said
nothing to me but eventually I began to take pleasure in watching it.
Now Isadora's poetic and imaginative interpretation of the symphonic
interlude from Cesar Franck's _Redemption_ is full of beauty and
meaning to me and during the whole course of its performance the
interpreter scarcely rises from her knees. The neck, the throat, the
shoulders, the head and arms are her means of expression. I thought of
Barbey d'Aurevilly's phrase, "_Elle avait l'air de monter vers Dieu
les mains toutes pleines de bonnes oeuvres._"
* * * * *
Isadora's teaching has had its results but her influence has been
wider in other directions. Fokine thanks her for the new Russian
Ballet. She did indeed free the Russians from the conventions of the
classic ballet and but for her it is doubtful if we should have seen
_Scheherazade_ and _Cleopatre_. _Daphnis et Chloe_, _Narcisse_, and
_L'Apresmidi d'un Faune_ bear her direct stamp. This then, aside from
her own appearances, has been her great work. Of her celebrated school
of dancing I cannot speak with so much enthusiasm. The defect in her
method of teaching is her insistence (consciously or unconsciously) on
herself as a model. The seven remaining girls of her school dance
delightfully. They are, in addition, young and beautiful, but they are
miniature Isadoras. They add nothing to her style; they make the same
gestures; they take the same steps; they have almost, if not quite,
acquired a semblance of her spirit. They vibrate with intention; they
have force; but constantly they suggest just what they are ...
imitations. When they dance alone they often make a very charming but
scarcely overpowering effect. When they dance with Isadora they are
but a moving row of shadow shapes of Isadora that come and go. Her own
presence suffices to make the effect they all make together.... I have
been told that when Isadora watches her girls dance she often weeps,
for then and then only she can behold herself. One of the griefs of an
actor or a dancer is that he can never see himself. This oversight of
nature Isadora has to some extent overcome.
Those who like to see pretty dancing, pretty girls, pretty things in
general will not find much pleasure in contemplating the art of
Isadora. She is not pretty; her dancing is not pretty. She has been
cast in nobler mould and it is her pleasure to climb higher mountains.
Her gesture is titanic; her mood generally one of imperious grandeur.
She has grown larger with the years--and by this I mean something more
than the physical meaning of the word, for she is indeed heroic in
build. But this is the secret of her power and force. There is no
suggestion of flabbiness about her and so she can impart to us the
soul of the struggling moujik, the spirit of a nation, the figure on
the prow of a Greek bark.... And when she interprets the
_Marseillaise_ she seems indeed to feel the mighty moment.
_July 14, 1917._
IV
Margaret Anglin Produces
_As You Like It_
Of all the comedies of Shakespeare _As You Like It_ is the one which
has attracted to itself the most attention from actresses. No feminine
star but what at one time or another has a desire to play Rosalind.
Bernard Shaw says, "Who ever failed or could fail as Rosalind?" and I
am inclined to think him right, though opinions differ. It would seem,
however, that Rosalind is to the dramatic stage what Mimi in _La
Boheme_ is to the lyric, a role in which a maximum of effect can be
gotten with a minimum of effort.
Opinions differ however. Stung to fury by Mrs. Kendal's playing of the
part, George Moore says somewhere, "Mrs. Kendal nurses children all
day and strives to play Rosalind at night. What infatuation, what
ridiculous endeavour! To realize the beautiful woodland passion and
the idea of the transformation a woman must have sinned, for only
through sin may we learn the charm of innocence. To play Rosalind a
woman must have had more than one lover, and if she has been made to
wait in the rain and has been beaten she will have done a great deal
to qualify herself for the part." Still another critic considers the
role a difficult one. He says: "With the exception of Lady Macbeth no
woman in Shakespeare is so much in controversy as Rosalind. The
character is thought to be almost unattainable. An ideal that is lofty
but at the same time vague seems to possess the Shakespeare scholar,
accompanied by the profound conviction that it never can be fulfilled.
Only a few actresses have obtained recognition as Rosalind, chief
among them being Mrs. Pritchard, Peg Woffington, Mrs. Dancer, Dora
Jordan, Louisa Nesbitt, Helen Faucit, Ellen Tree, Adelaide Neilson,
Mrs. Scott-Siddons and Miss Mary Anderson."
Of those who have recently played Rosalind perhaps Mary Anderson, Ada
Rehan, Henrietta Crosman and Julia Marlowe will remain longest in the
memory, although Marie Wainwright, Mary Shaw, Mrs. Langtry and Julia
Neilson are among a long list of those who have tried the part. Miss
Rehan appeared in the role when Augustin Daly revived the comedy at
Daly's Theatre, December 17, 1889. We are told that an effort was made
in this production to emphasize the buoyant gaiety of the piece. The
scenery displayed the woods embellished in a springtime green, and
the acting did away as much as possible with any of the underlying
melancholy which flows through the comedy.
William Winter frankly asserts--perhaps not unwittingly giving a
staggering blow to the art of acting in so doing--that the reason
Rosalind is not more often embodied "in a competent and enthralling
manner is that her enchanting quality is something that cannot be
assumed--it must be possessed; it must exist in the fibre of the
individual, and its expression will then be spontaneous. Art can
accomplish much, but it cannot supply the inherent captivation that
constitutes the puissance of Rosalind. Miss Rehan possesses that
quality, and the method of her art was the fluent method of natural
grace."
Fie and a fig for Mr. Moore's theory about being beaten and standing
in the rain, implies Mr. Winter!
To Mr. Winter I am also indebted for a description of Mary Anderson in
_As You Like It_: "Miss Anderson, superbly handsome as Rosalind,
indicated that beneath her pretty swagger, nimble satire and silver
playfulness Rosalind is as earnest of Juliet--though different in
temperament and mind--as fond as Viola and as constant as Imogen."
Miss Marlowe's Rosalind, somewhat along the same lines as Miss
Anderson's, and Miss Crosman's, a hoydenish, tomboy sort of creature,
first cousin to Mistress Nell and the young lady of _The Amazons_,
should be familiar to theatregoers of the last two decades.
Last Monday evening Margaret Anglin exposed her version of the comedy.
As might have been expected, it has met with some unfavourable
criticism. Preconceived notions of Rosalind are as prevalent as
preconceived notions of Hamlet. And yet if _As You Like It_ had been
produced Monday night as a "new fantastic comedy," just as _Prunella_
was, for instance, I am inclined to think that everybody who dissented
would have been at Miss Anglin's charming heels.
The scenery has been given undue prominence both by the management and
by the writers for the newspapers. Its most interesting feature is the
arrangement by which it is speedily changed about. There were no long
waits caused by the settings of scenes during the acts. To say,
however, that it has anything to do with the art of Gordon Craig is to
speak nonsense. The scenes are painted in much the same manner as that
to which we are accustomed and inured. There is a certain haze over
the trees, caused partially by the tints and partially by the
lighting, which produces a rather charming effect, but the outlines of
the trees are quite definite; no impressionism here.
The acting is quite a different matter. _As You Like It_ is one of the
most modern in spirit of the Shakespeare plays. This air of modernity
is still further emphasized by the fact that the play, for the most
part, is written in prose. I feel certain that Bernard Shaw derived
part of his inspiration for _Man and Superman_ from _As You Like It_.
Only in Shakespeare's play Ann Whitefield (Rosalind) pursues Octavius
(Orlando) instead of Jack Tanner. I am inclined to believe that Shaw's
psychology in this instance is the more sound. It seems incredible
that a girl so witty, so beautiful, and so intelligent as Rosalind
should waste so much time on that sentimental, uncomprehending
creature known as Orlando. Every line of Orlando should have sounded
the knell of his fate in her ears. However, it must be remembered that
Orlando was young and good-looking, and that, at least in the play,
men of the right stamp seemed to be scarce. Of course, it is out of
Touchstone that Shaw has evolved his Jack Tanner.
Whether Miss Anglin had this idea in mind or not when she produced the
comedy I have no means of ascertaining. It is not essential to my
point. At least she has emphasized it, and she has done the most
intelligent stage directing that I have observed in the performance of
a Shakespeare play for many a long season. There is consistency in the
acting. Rosalind, Jaques, Touchstone, Celia, Oliver, the dukes,
Charles, Sylvius, the whole lot, in fact, are natural in method and
manner. There is no striving for the fantastic. Let that part of the
comedy take care of itself, undoubtedly suggested Miss Anglin.
Jaques, finely portrayed by Fuller Mellish, delivers that arrant bit
of nonsense "The Seven Ages of Man" in such a manner as a man might
tell a rather serious story in a drawing room. "The Seven Ages of
Man," of course, is just as much of an aria as _La Donna e Mobile_. It
always awakens applause, but this time the applause was deserved. Mr.
Mellish emphasized the cynical side of the role. He smiled in and out
of season, and his most "melancholy" remarks were delivered in such a
manner as to indicate that they were not too deeply felt. Jaques was a
little bored with the forest and his companions, but he would have
been quite in his element at Mme. Recamier's. Such was the impression
that Fuller Mellish gave. Bravo, Mr. Mellish, for an impression!
Similarly the Touchstone of Sidney Greenstreet. We are accustomed to
more physically attractive Touchstones, fools with finer bodies, and
yet this keen-minded, stout person spoke his lines with such pertness
and spontaneity that they rarely failed of their proper effect. As for
Orlando, it seemed to me that Pedro de Cordoba was a little too
rhetorical at times to fit in with the spirit of the performance, but
Orlando at times does not fit into the play. For instance, when he
utters those incredible lines:
"If ever you have looked on better days,
If ever been where bells have knolled to church,
If ever sat at any good man's feast,
If ever from your eyelids wiped a tear...."
I do not know whether Miss Anglin is a disciple of George Moore or
William Winter in her acting of Rosalind. How she acquired her charm
is not for us to seek into. It is only for us to credit her with
having it in great plenty. A charming natural manner which made the
masquerading lady seem more than a fantasy. Her warning to Phebe,
"Sell when you can; you are not for all markets,"
was delicious in its effect. I remember no Rosalind who wooed her
Orlando so delightfully. For Rosalind, as Woman the Pursuer, driven
forward by the Life Force, is convincingly Miss Anglin's conception--a
conception which fits the comedy admirably.
As to the objections which have been raised to Miss Anglin's
assumption of the masculine garments without any attempt at
counterfeiting masculinity, I would ask my reader, if she be a woman,
what she would do if she found it necessary to wear men's clothes. If
she were not an actress she would undoubtedly behave much as she did
in women's, suppressing unnecessary and telltale gestures as much as
possible, but not trying to imitate mannish gestures which would
immediately stamp her an impostor. There is no internal evidence in
Shakespeare's play to prove that Rosalind was an actress. She might
have appeared in private theatricals at the palace, but even that is
doubtful. Consequently when she donned men's clothes it became evident
to her that many men are effeminate in gesture and those that are do
not ordinarily affect mannish movements. Her most obvious concealment
was to be natural--quite herself. This, I think, is one of the most
interesting and well-thought-out points of Miss Anglin's
interpretation.
_March 20, 1914._
The Modern Composers at a Glance
The Modern Composers at a Glance
An Impertinent Catalogue
IGOR STRAVINSKY: Paul Revere rides in Russia.
CYRIL SCOTT: A young man playing Debussy in a Maidenhead villa.
BALILLA PRATELLA: Pretty noises in funny places.
ENGELBERT HUMPERDINCK: His master's voice.
LEO ORNSTEIN: A small boy upsetting a push-cart.
GIACOMO PUCCINI: Pinocchio in a passion.
ERIK SATIE: A mandarin with a toy pistol firing into a wedding cake.
PAUL DUKAS: A giant eating bonbons.
RICCARDO ZANDONAI: Brocade dipped in garlic.
ERICH KORNGOLD: The white hope.
ARNOLD SCHOENBERG: Six times six is thirty-six--and six is ninety-two!
MAURICE RAVEL: Tomorrow ... and tomorrow ... and tomorrow....
CLAUDE DEBUSSY: Chantecler crows _pianissimo_ in whole tones.
RICHARD STRAUSS: An ostrich _not_ hiding his head.
SIR EDWARD ELGAR: The footman leaves his accordion in the bishop's
carriage.
ITALO MONTEMEZZI: Three Kings--but no aces.
PERCY ALDRIDGE GRAINGER: An effete Australian chewing tobacco.
_August 8, 1917_.
* * * * *
FOOTNOTES:
[Footnote 1: One evidence of this is that his works are eagerly sought
after and treated tenderly by the second-hand book-sellers. Some of
them command fancy prices.]
[Footnote 2: For an account of Peladan see my essay on Erik Satie in
"Interpreters and Interpretations."]
[Footnote 3: You will find an account of Balzac's interesting theory
regarding names and letters, which may well have had a direct
influence on Edgar Saltus, in Saltus's "Balzac," p. 29 _et seq._ For a
precisely contrary theory turn to "The Naming of Streets" in Max
Beerbohm's "Yet Again."]
[Footnote 4: "Wit and Wisdom from Edgar Saltus" by G. F. Monkshood and
George Gamble, and "The Cynic's Posy," a collection of epigrams, the
majority of which are taken from Saltus, may be brought forward in
evidence.]
[Footnote 5: Certain books by Edgar Saltus have been announced from
time to time but have never appeared; these include: "Annochiatura,"
"Immortal Greece," "Our Lady of Beauty," "Cimmeria," "Daughters of
Dream," "Scaffolds and Altars," "Prince Charming," and "The Crimson
Curtain."]
[Footnote 6: Houghton, Mifflin and Co,; 1884. Reprinted 1887 and
1890.]
[Footnote 7: Houghton, Mifflin and Co.; 1885. Reprinted by the Belford
Co.]
[Footnote 8: George J. Coombes; 1886. Reprinted by Brentano's.]
[Footnote 9: Scribner and Welford; 1887. Revised edition, Belford,
Clarke and Co.; 1889.]
[Footnote 10: Brentano's; 1887.]
[Footnote 11: Benjamin and Bell; 1887.]
[Footnote 12: Belford Co.; 1888.]
[Footnote 13: Belford, Clarke and Co.; 1888.]
[Footnote 14: Belford Co.; 1889.]
[Footnote 15: Belford Co.; 1889.]
[Footnote 16: Belford, Clarke and Co.; 1889.]
[Footnote 17: Belford Co.; 1890.]
[Footnote 18: Belford Co.; 1891.]
[Footnote 19: Belford Co.; 1891. Reprinted by Mitchell Kennerley;
1906.]
[Footnote 20: P. F. Collier; 1892; "Written especially for 'Once a
Week Library.'"]
[Footnote 21: Morrill, Higgins and Co;. 1893. Reprinted by Mitchell
Kennerley; 1906.]
[Footnote 22: F. Tennyson Neely; 1893.]
[Footnote 23: Tudor Press: 1894.]
[Footnote 24: The Transatlantic Publishing Co.; 1895.]
[Footnote 25: Ainslee; 1903.]
[Footnote 26: A. Wessels Co.; 1905.]
[Footnote 27: Mitchell Kennerley; 1906.]
[Footnote 28: J. B. Lippincott Co.; 1906.]
[Footnote 29: Mitchell Kennerley; 1907.]
[Footnote 30: Mitchell Kennerley; 1907.]
[Footnote 31: Mitchell Kennerley; 1909.]
[Footnote 32: Pulitzer Publishing Co.; 1912.]
[Footnote 33: In an essay entitled "The Great American Composer" in my
book, "Interpreters and Interpretations."]
* * * * *
Index
Abbott, Emma, 220
Academy of Arts and Letters, 80, 225, 227
Acting, 111, 113, 119, 120, 272, 283, 293 _et seq._
Adam, Villiers de l'Isle, 48, 49
Adams, Maude, 295
Adams, Oscar Fay, 38
AEschylus, 103, 303
Agrippina, 69
Aguglia, Mimi, 284, 304, _et seq._
Ainslee's Magazine, 75
Alary, Signor, 248
Alboni, Marietta, 169
Alchemy, 76
Allegranti, Maddalena, 254, 255
Alma Tadema, 296
Alvary, Max, 99
Anderson, Mary, 319, 320
Anfossi, Pasquale, 169
Anglin, Margaret, 321 _et seq._
d'Annunzio, G., 284, 305
Apaches, 126, 135, 138, 140, 141 _et seq._, 182
Apthorp, W. F., 99, 168
Arabanek, 164
Archilei, 94
Arditi, Luigi, 288
Argentina, La, 284, 287
Argus, The, 54
Aristotle, 291
Arne, 257
Arnould, Sophie, 82, 96, 259 _et seq._
Astor, J. J., 227
Atilla, 79
Audran, 216
Augustus, 69, 70
d'Aurevilly, Barbey, 43, 63, 66, 87, 315
Ayres, Frederick, 200
Bach, 24, 28, 150, 199
Badarzewska, Thecla, 23
Baedeker, 58
Bag-pipe, 135, 136, 137
Bahamas, 136
Baker, J. Duncan, 211
Baker, Prof., 298
Bakst, Leon, 16
Bal des Gravilliers, 141 _et seq._
Balfe, Michael William, 27, 165
Bal musette, 125, 134 _et seq._
Balzac, 43, 50, 55, 56, 57, 63, 76, 86, 187, 225
Banti, Brigitta, 93, 164
Bara, Theda, 80
Barnabee, Henry Clay, 221
Barnet, R. A., 216
Barrison, Mabel, 219
Barry, Mme. du, 260
Bassoonists, 157
Bataille, Henry, 228, 230, 232
Bates, Katherine Lee, 38
Battistini, 102
Baudelaire, Charles, 43, 52, 131
Baumgarten, C. F., 171
Bayes, Nora, 110
Beardsley, Aubrey, 45
Becque, Henry, 230
Beerbohm, Max, 45, 50, 177, 238
Beethoven, 24, 27, 28, 32, 98, 150, 151, 170, 175, 200, 219, 298, 300
Begue, Bernard, 156
Belasco, David, 294
Bel canto, 97, 101, 105
Belford's Magazine, 37
Bell, Digby, 222
Bellini, Vincenzo, 24, 25, 77, 79, 97, 100, 101, 114, 175, 248, 267,
270, 273
Bel-Marduk, 82
Bergstrom, Hjalmar, 90
Berlin, Irving, 25, 222, 234
Berlioz, Hector, 27, 104
Bernacchi, Antonio, 99
Bernhardt, Sarah, 106, 222, 227, 245, 295, 297, 302
Bernstein, Henry, 228, 230, 232, 302
Bible, The, 67
Bichara, 15
Bilbao, 287
Billington, Mrs., 172
Bizet, Georges, 108, 113, 275
Blanche, Jacques, 183, 184
Blei, Franz, 69, 78, 259
Bocklin, Arnold, 89
Bonci, Alessandro, 102
Booth, Edwin, 111, 302, 305
Bouguereau, 61, 293
Bourget, Paul, 76
Boyden, Frank L., 203
Boynton, Henry Walcott, 38
Brahma, 82
Brahms, 25, 274
Brann-Brini, Mlle., 164
Branscombe, Gena, 200, 202
Brenon, Algernon St. John, 162
Breton, Tomas, 113
Brian, Donald, 217
Brice, Fannie, 110
Brieux, 230
Brignoli, Pasquale, 155
Broadhurst, George, 302
Bromley, Eliza, 74
Brothers of the Book, 85
Browning, Robert, 307
Bunn, Alfred, 165
Burke, Billie, 295
Burney, Dr., 258
Butler, Samuel, 21
Byzance, 80
Cabanel, 61
Caesar, Julius, 69
Caffarelli, 95, 96, 112
Cahill, Marie, 110
Cairns, William B., 38
Caligula, 51, 69, 79
Calve, Emma, 106, 275
Camargo, 258, 259
Campanari, Giuseppe, 161, 162
Campbell, Mrs. Patrick, 299
Caracalla, 79
Carestini, Giovanni, 95, 96
Carmencita, 285
Carnegie Hall, 25
Carre, Albert, 133
Carreno, Teresa, 153
Caruso, Enrico, 272
Cassive, Armande, 232
Catalani, Angelica, 93, 265 _et seq._
Cato, 69
Cats, 59, 69, 77, 102, 127, 131, 132, 233, 258, 259, 298
Cavalazzi, Malvina, 310
Cesare Borgia, 79
Cezanne, 301
Chabrier, Emmanuel, 285
Chadwick, George W., 197, 199, 212
Chambers, Robert W., 290
Chaliapine, Feodor, 114, 155
Charpentier, Gustave, 130, 131, 132, 133, 134, 173
Cherubini, 98
Cherubino's question, 54
Chinese plays, 103
Chopin, 23, 26, 55, 112, 239, 240, 301, 310
Chorley, Henry Fothergill, 98, 169, 247, 249, 261
Christ, 58, 67, 185, 191, 192
Christianity, 57, 68, 82, 83
Christy, Howard Chandler, 293
Churchill, Lady Randolph, 185
Cimarosa, Domenico, 255
Cinderella, 137
Cicisbeism, 82
Clairon, 96, 260, 302
Classical music, 23
Claudius, 69
Cleopatra, 82
Cline, Maggie, 107
Coerne, L. A., 199, 202
Cohan, George M., 288
Colles, Ramsay, 39
Colonne Orchestra, 310
Coloratura singing, 103, 104
Columbia University, 43
Comstock, Anthony, 59
Condamine, Robert de la, 183
Congreve, 303
Conrad, Joseph, 299
Conried, Henrich, 161, 162
Converse, Frederick, 212
Cooking, 26, 50, 78, 129, 130, 149 _et seq._
Cordoba, Pedro de, 324
Corneille, 104
Costa, Michael, 163
Cou-Cou Restaurant, 125 _et seq._, 183
Courts of Love, 65, 82
Cox, J. E., 165, 173, 264
Cox, Kenyon, 62
Craig, Gordon, 321
Critics, 24, 26, 30, 33, 34, 96, 97, 99, 100, 105, 111, 115, 228, 234
Crosman, Henrietta, 319, 321
Crowest, Frederick, 163, 164
Current Literature, 39
Cushman, Charlotte, 302
Cuzzoni, Francesca, 95, 258
Daly, Augustin, 319
Daly, Dan, 222
Damrosch, Walter, 157, 314
Dancing, 112, 113, 137 _et seq._, 281 _et seq._, 307 _et seq._
Dante, 76
Darby, W. D., 200
Davis, Cecilia, 253
Davis, Jessie Bartlett, 221
Davis, Owen, 93
Debussy, Claude, 30, 33, 96, 113, 116, 117, 118, 119, 121, 200, 315, 329
Decoration, Interior, 11 _et seq._
Delacroix, 19
Delibes, Leo, 108, 113
Deslys, Gaby, 222
Destinn, Emmy, 114, 155
Devi, Ratan, 109
Dickens, Charles, 187
Dolmetsch, Arnold, 192
Doloretes, 286, 287, 288
Donizetti, Gaetano, 61, 79, 88, 97, 101, 108, 113, 114, 166, 173, 247,
248, 249, 250, 251, 263
Doubleday, 203
Dreiser, Theodore, 202, 203
Dresser, Paul, 202, 203
Dressler, Marie, 222
Drew, John, 111, 295, 300
Duclos, 259
Duff-Gordon, Lady, 222
Dukas, Paul, 104, 113, 114, 329
Dumas, Alexandre, _fils_, 106, 205
Duncan, Isadora, 307 _et seq._
Duse, Eleanora, 277, 295, 303
Dussek, Johann Ludwig, 171
Dyer, Edward, 209
Eames, Emma, 275
Earle, Virginia, 219
Ehrhard, Auguste, 55
Elgar, Sir Edward, 329
Elizabethan plays, 51, 103
Ellis, Havelock, 281, 285, 286, 291
Ellis, Melville, 222
Elman, Mischa, 298
Elson, L. C., 198, 199
Elssler, Fanny, 55
Eltinge, Julian, 96
Emerson, Ralph Waldo, 43
Euripides, 103
Evertson, Admiral Kornelis, 42
Fall, Leo, 216
Fame, 42
Farinelli, 95
Farwell, Arthur, 200, 202
Faustina, 95, 96, 258
Fawcett, Edgar, 66
Fevrier, Henry, 113, 115, 118, 119, 120
Feydeau, Georges, 129, 229, 230, 231, 232, 233, 236, 237, 308
Finck, H. T., 24, 25, 30, 32, 58, 95, 99, 153, 272
Fischer, Johann Christian, 161
Fiske, Mrs., 297, 303
Fitzgerald, Percy, 296
Flaubert, Gustave, 66, 76, 87
Folk-song, 30, 33, 100, 106, 109, 152
Follies, The, 16, 222, 223
Foote, Arthur, 199, 202
Ford, Richard, 285, 291
Formes, Karl, 164
Forum, The, 87
Foster, Stephen, 29, 33, 152
Fox, Della, 217, 218, 219
Fox, Helen Kelsey, 208
Fragonard, 18
France, Anatole, 68, 185, 193
Franck, Cesar, 151, 315
Franz, Robert, 23, 26, 93, 111
Fremstad, Olive, 108, 156, 298, 300
Freud, 50
Frezzolini, Erminia, 261 _et seq._
Frohman, Charles, 85, 296
Gadski, Johanna, 155
Galli, Signora, 254
Galli-Curci, Amelita, 101, 102, 104, 114
Gamble, George, 39, 54
Ganne, Louis, 313
Garcia, Manuel, 160
Garcia, Manuel, _fils_, 252
Garden, Mary, 84, 114 _et seq._, 131, 133, 155
Gardiner, William, 267
Garrick, David, 96, 260, 302
Gautier, Theophile, 46, 58, 87, 131, 190, 225
German music, 150
Gerome, 61
Gerster, Etelka, 269
Giacosa, 284, 305
Giardini, Felice de, 164
Gibbons, Grinling, 19
Gilbert, W. S., 107, 216, 221
Giovannitti, Arturo, 305
Gipsy, 100, 286
Gizziello, 95
Glaser, Lulu, 219
Gluck, 29, 30, 96, 108, 135, 170, 232, 258, 259, 260, 310
Goncourt, Brothers de, 302
Goodrich, A. J., 199, 202
Goodwin, Nat, 295
Gosse, Edmund, 179
Gounod, 117, 151, 272, 273
Gourmont, Remy de, 48, 229
Goya, 59, 287
Grainger, Percy, 30, 330
Grau, Maurice, 161
Greek Plays, 103
Greenstreet, Sidney, 324
Greenwich Village, 16
Gregory, Lady, 192
Gretry, 170
Grieg, Edvard, 93
Grimm, 259
Grisi, Giulia, 166, 263 _et seq._
Grove, Sir George, 171, 202, 271
Guilbert, Yvette, 107, 113, 114, 277
Hadley, Henry, 197, 212
Hadrian, 69
Hale, Philip, 33
Halevy, Jacques, 248
Hall, Pauline, 219
Handel, George Frederick, 25, 95, 97, 102, 113, 119, 172, 254
Hanslick, Eduard, 102, 263
Harris, Charles K., 202
Harris, Frank, 55, 189, 190
Hartmann, Eduard von, 43, 56, 60
Hawthorne vases, 18
Hay, Reverend John Stuart, 72
Haydn, 28
Heidelberg, 43
Heifetz, Jascha, 287
Heine, Heinrich, 82, 240, 286, 287
Heinrich, Max, 107, 155, 246
Helen of Troy, 82
Heliogabolus, 68, 69, 72
Heloise, 82
Helvetius, 259
Henderson, W. J., 33, 115
Herbert, Victor, 155, 216
Hergesheimer, Joseph, 44, 153
Herodotus, 86
Hertz, Alfred, 155
Hervieu, Paul, 228
Heyse, Paul, 67
Hichens, Robert, 75, 81
Higginson, Thomas Wentworth, 38
Hirsch, Charles-Henry, 141
Hirsch, Louis A., 222
Hoff, Edwin, 221
Hollins, Mabel, 219