Chapter 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

Homer, 76, 86

Hopper, De Wolf, 107, 221

Hopwood, Avery, 101, 236 _et seq._

Horace, 76

Howells, W. D., 74, 191

Hubbard, Elbert, 39, 48

Hughes, Rupert, 198, 199

Hugo, Victor, 52, 55, 76, 87, 105

Humperdinck, Engelbert, 24, 29, 173, 329

Huneker, James, 33, 38, 55, 153, 154, 164, 173

Huss, Henry Holden, 199, 202

Huysmans, J. K., 43, 53, 70, 76, 80, 87, 151, 191, 308

Ibsen, 302

Incest, 60, 74, 84

d'Indy, Vincent, 200

Irving, Sir Henry, 294, 302

Irwin, May, 110

Ivan the Terrible, 79

Jackson, Holbrook, 44, 63

James, Henry, 59, 68, 231

Janis, Elsie, 110, 222

Jansen, Marie, 219, 222

Jefferson, Joseph, 303, 304

Jehovah, 82

Jensen, Adolph, 24

Jew, 58, 71, 152

Joachim, Joseph, 156

Jolson, Al, 110, 222

Jones, Henry Arthur, 234

Joseffy, Rafael, 155

Judic, 220

Jupiter, 82

Kaiser, The, 79

Kapila, 57

Keane, Doris, 13

Kellogg, Clara Louise, 166, 268, 269

Kellow, Lottie A., 203, 204

Kelly, Michael, 159, 160, 161, 170, 256

Kendal, Mrs., 318

Kenton, Edna, 41, 53

Ker, Ann, 74

Kern, Jerome, 23, 222

Korngold, Erich, 329

Koven, Reginald de, 216, 221

Krehbiel, H. E., 100, 153, 155

Krishna, 83

Labatt, 104

Lablache, Luigi, 163

Laforgue, Jules, 43

Laguerre, Mme., 260

La Harpe, 260

Lalo, Pierre, 33

Lampridius, 70, 72

Lavignac, Albert, 173

Lecocq, Charles, 173, 216

Lehar, Franz, 216

Lehmann, Lilli, 100, 107, 155, 269, 270, 274

Leoncavallo, Ruggiero, 32, 149

Lesbian, 75

Lessing, Madge, 219

Levey, Ethel, 110

Lewes, George Henry, 294, 301

Lienau's, 154

Lind, Jenny, 248, 253, 265 _et seq._, 298

Lindsay, Vachell, 314

Lippincott's Magazine, 63

Lisle, Leconte de, 57, 76

Liszt, 25, 32, 240

Lombard, Jean, 69

Lombroso, 308

Loomis, Harvey W., 200

Louis XIV, 135, 137

Louis XV, 12

Love, 81, 82

Loy, Mina, 188

Lucca, Pauline, 269

Lulli, 172

Lumley, Benjamin, 162, 285, 286

MacDowell, Edward, 25

Macdonald, John Z., 208

MacGill, Patrick, 299

MacKaye, Percy, 235

McCutcheon, George Barr, 296

McIntosh, Nancy, 219

Macy, John, 38

Maeterlinck, Maurice, 117

Mahler, Gustav, 28

Male sopranos, 94

Malibran, Maria, 164, 165, 166, 253

Mallarme, Stephane, 43, 301

Manet, 61, 289, 308

Mapleson, J. H., 159, 284

Mara, Gertrude Elisabeth, 255 _et seq._

Marchesi, Mathilde, 102, 149, 252, 297

Marco, Maria, 108, 288

Marie Antoinette, 259, 260

Marinetti, 282

Mario, 102

Marion, George, 28

Marlowe, Julia, 319, 321

Marnold, Jean, 32

Marseillaise, 310 _et seq._

Martyn, Edward, 192, 294

Mary Magdalen, 66, 67, 68

Mascagni, Pietro, 28, 275, 301

Massenet, 27, 28, 116, 117, 119, 120, 151, 275

Matisse, 19

Maurel, Victor, 107, 120, 246

May, Edna, 219

Mayhew, Stella, 110

Mazantinita, 287

Mazarin, Mariette, 114

Mazzoleni, 166

Melba, Nellie, 102, 104, 107, 108, 114, 155, 156, 187, 271 _et seq._,
297

Mellish, Fuller, 323

Melody, 29, 93

Mencken, H. L., 59, 65, 153, 197, 198, 202, 203, 212

Mendelssohn, 23, 24, 26, 171, 202

Mendes, Catulle, 43

Meredith, George, 187

Merimee, Prosper, 58, 87, 131, 142

Meyerbeer, Giacomo, 28, 29, 102, 157, 164, 252

Michael Angelo, 227, 312

Michelet, 76

Milton, 257

Mirbeau, Octave, 229, 230, 231, 232, 233

Mitchell, Julian, 281

Mitchell, Langdon, 303

Modern Orchestra, 98

Modulation, 30

Moeller, Philip, 26, 236, 238 _et seq._

Moliere, 225, 230, 231, 298, 302

Monbelli, 256

Monkshood, G. F., 39, 54

Montaigne, 150

Montemezzi, Italo, 24, 330

Montes, 189

Monteverde, 102

Montmartre, 126 _et seq._

Monvel, Boutet de, 142

Moore, George, 67, 134, 184 _et seq._, 231, 232, 294, 295, 307, 318,
320, 324

Moors, The, 65

Moreau, Gustave, 44, 61, 89, 191

"Morrill, Higgins, and Co.," 71

Moulin de la Galette, 133, 134

Mount Edgcumbe, Earl of, 93, 94, 253, 254, 255

Moussorgsky, 23, 152

Mozart, 23, 24, 27, 28, 29, 31, 54, 88, 97, 101, 108, 119, 161, 173,
174, 205, 234, 248, 268, 269, 270, 275, 276, 289, 298, 300, 305

Mullin, W. T., 204 _et seq._

Murillo, 190

Murphy, Agnes G., 155

Murska, Ilma de, 269

Musset, Alfred de, 239, 240, 252

Musette, 135

Nachbaur, Franz, 164

Names, Theory of, 49, 50, 56, 76

Napoleon, 79, 192

Naldi, Giuseppe, 160

Nathan, George Jean, 283, 295

Nazimova, Alla, 283, 305

Negro Players, 283

Newman, Ernest, 32, 150

Niemann, Albert, 164

Nero, 69, 71, 72

Nerval, Gerard de, 31

New York Times, The, 233

Nicolai, Carl, 173

Nicolini, 95

Nielsen, Alice, 219

Nijinsky, Waslav, 112, 183, 285, 301

Nillson, Carlotta, 237

Nilsson, Christine, 268, 269

Nordica, Lillian, 270

Offenbach, 216, 219

Opera-Comique, Paris, 131

Orleneff, Paul, 283, 305

Ornstein, Leo, 30, 104, 121, 298, 329

Oysters, American, 158

Pacchierotti, 93, 94, 95

Pachmann, Vladimir de, 301

Paganini, 172

Palmer, Delmar G., 210, 211

Pan, Peter, 137

Parke, W. T., 171, 172, 256, 257, 258

Parker, Horatio W., 23, 197, 212

Pasta, Giuditta, 97, 249 _et seq._

Pater, Walter, 70, 72, 137, 190, 307

Pattee, Fred Lewis, 38

Patti, Adelina, 101, 102, 104, 115, 153, 253, 269, 288, 298

Payton, Corse, 304

Peacock, Thomas Love, 301

Peladan, Josephin, 43

Persian miniatures, 19

Pessimism, 56, 60, 61, 65

Petrarch, 76

Pfitzner, Hans, 200

Perfumes, 79

Phelps, William Lyon, 38

Pheme, 86

Philip II, 79

Philistine, The, 39

Philosophy of Edgar Saltus, 54, 56

Picasso, Pablo, 19, 183

Piccinni, Niccola, 24, 258

Pinero, Arthur Wing, 234, 295, 302, 303, 321

Pinto, Mrs., 257

Pischek, Johann, 173

Pistocchi, Francesco, 99

Plagiarism, 79

Poe, Edgar Allan, 44, 87

Pogliani, Giacomo, 157

Poiret, Paul, 154, 222

Poisons, 51, 52, 59, 64, 76

Pollard, Percival, 48

Pompadour, Mme. de, 260

Ponchielli, Amilcare, 175

Popular music, 23

Porpora, 95, 96, 99

Pougy, Liane de, 201

Pratella, Balilla, 329

Puccini, Giacomo, 24, 26, 29, 100, 103, 108, 113, 157, 173, 175, 318,
329

Puchol, Luisita, 288

Puente, del, 159

Purcell, Henry, 152

Puritanism, 65

Pyrrhonist, 179

Quincy, de, 31

Quinlan, Gertrude, 219

Rabusson, 63

Rachel, 250, 301, 302, 310

Radcliffe, Mrs., 74

Raff, Joseph Joachim, 23

Ragtime, 110, 152, 290

Rankin, Phyllis, 219

Ravel, Maurice, 200, 315, 329

Realism in fiction, 56, 77, 88

Realistic acting, 105, 111

Reeves, Sims, 263

Reger, Max, 27, 29

Rehan, Ada, 319, 320

Reicher, Frank, 300

Reinhardt, Max, 282

Renan, 76

Renaud, Maurice, 107, 246

Repplier, Agnes, 9, 38, 69

Reszke, Jean de, 100

Retz, Gille de, 80

Rimbaud, Arthur, 43

Rimsky-Korsakov, 157, 299, 315

Ring, Blanche, 110

Ristori, 302

Rives, Mme. Amelie, 48

Rodin, Auguste, 129, 227, 228, 312

Rome, 70, 71

Ronalds, Lorillard, 69

Ronconi, Giorgio, 97, 98, 246

Ronsard, 76

Roosevelt, Theodore, 120, 209

Rops, Felicien, 312

Rorer, Mrs., 149

Rossini, Gioacchino, 25, 26, 28, 31, 33, 61, 97, 101, 102, 103, 142,
149, 168, 169, 248, 273, 288

Rostand, 228

Rowland, Adele, 222

Rubgam, 164

Rubini, Giovanni Battista, 163

Rubinstein, Anton, 24, 112

Runciman, J. F., 32, 234

Russell, Lillian, 160, 220

Russian Ballet, 282, 288, 315

Rutherford, John S., 63

Sacre-Coeur, Church of, 126, 130

Sagan, Princesse de, 84

St. Giorgio, Signor, 159, 160

St. Paul's School, 42

Salieri, Antonio, 170

Salome, 66, 67, 86, 287

Saltus, Edgar, 37 _et seq._, 117, 154, 187, 191, 225

Saltus, Francis, 42

Sanborn, Pitts, 118

Sand, George, 26, 239, 240, 252

Sanderson, Julia, 217

Santley, Charles, 158, 167, 174, 264

Sappho, 76, 82

Sardou, 302, 303

Satan, 58, 78, 286, 287

Satie, Erik, 30, 329

Saturday Review, The, 18

Savoyarde, restaurant, 125, 126, 130, 131

Scharwenka, Xaver, 155

Scheherazade, 82

Schillings, Max, 150

Schoenberg, Arnold, 30, 32, 121, 329

Schopenhauer, 43, 56

Schroeder, Edwin Albert, 71

Schroeder-Devrient, Wilhelmine, 99

Schubert, 24, 27, 28, 33, 170, 205, 305, 310

Schumann, 111, 274

Scott, Cyril, 29, 329

Scotti, Antonio, 107

Scriptores Historiae Augustae, 70

Seidl, Anton, 155

Sembrich, Marcella, 104, 107, 108, 114, 115, 153, 271, 273 _et seq._

Senesino, 95

Shakespeare, 73, 76, 98, 147, 284, 298, 302, 305, 318 _et seq._

Sharp, Cecil J., 30, 109

Shaw, George Bernard, 42, 234, 235, 239, 318, 322

Shepherd, Arthur, 200

Sherwin, Louis, 222, 291, 293, 295

Shield, William, 171, 172

Siddons, Mrs., 18, 302, 303

Simonds, W. E., 38

Singing, 93 _et seq._

Smith, Harry B., 222

Snob, 50

Socrates, 117

Solomon, 19, 80, 82

Sonata form, 33

Sontag, Henrietta, 246 _et seq._

Sophocles, 103, 302

Sorbonne, 43

Sousa, John Philip, 202, 209, 216

Southeim, 164

Spain, 19, 59, 62, 94, 100, 106, 142, 189, 190, 281 _et seq._

Spiritualism, 43

Spohr, Louis, 24

Stanislavski, 283

Stanton, Theodore, 38

Starr, Hattie, 202

Starr, Muriel, 253

Steger, 164

Stein, Gertrude, 19, 79, 229

Steinlen, 139

Steinway, William, 154

Stevenson, R. L., 58, 74

Stigelli, 166

Stillman-Kelley, Edgar, 199, 202

Straus, Oskar, 216

Strauss, Johann, 25, 139, 216

Strauss, Richard, 25, 30, 31, 32, 33, 100, 104, 113, 114, 120, 175, 330

Stravinsky, Igor, 32, 100, 104, 114, 121, 152, 329

Stuck, Franz von, 89

Style in Singing, 98, 106, 107, 108, 109, 110, 116, 117, 118, 119,
245, 246, 249, 250, 251, 270, 273, 274, 276

Style in Writing, 45, 46, 47, 48, 49, 53, 55, 56

Suetonius, 70, 72

Sullivan, Sir Arthur, 107, 169, 216, 220, 221

Swinburne, 76, 307

Symonds, J. A., 72

Symons, Arthur, 188, 232, 245, 293, 301, 303

Synge, J. M., 103

Tacitus, 72

Taggart, Lucy L., 209

Tamagno, Francesco, 120

Tasso, 62

Taste, 11 _et seq._

Tchekhov, 303

Tempest, Marie, 219, 252, 301

Temps, Le, 18

Terence, 302

Terry, Ellen, 301

Tetrazzini, Luisa, 102, 160

Thebes, Mme. de, 79

Thomas, Ambroise, 173

Thomas, Augustus, 235, 236, 295

Thomas, Olive, 223

Thomas, Theodore, 155

Tiberius, 69

Tichatschek, Joseph Aloys, 164

Tilzer, Harry von, 202

Tinney, Frank, 222

Tissot, 67

Toscanini, Arturo, 156

Tradition, 24, 97, 281

Troubetskoy, Prince, 157

Tschaikovsky, 59, 312

Turgeniev, 187, 252

Twain, Mark, 261, 265

Urban, Joseph, 222, 223

Vagaries of genius, 55

Valliere, Louise, de la, 13

Valverde, Joaquin, 284 _et seq._

Vaughn, Theresa, 219

Verelst, Myndart, 56, 58

Veiller, Bayard, 68

Velasquez, 16, 190

Verdi, Giuseppe, 120, 149, 173, 221, 270, 275, 298, 323

Verlaine, Paul, 43

Veronese, 16

Versatility in acting, 300

Vespasian, 69

Viafora, 157

Viardot, Pauline, 98, 250, 251, 252, 253

Victory of Samothrace, The, 17, 312

Vinci, Leonardo da, 190, 191, 301

Wachtel, Theodor, 164

Wagner, Richard, 23, 29, 32, 93, 96, 99, 100, 102, 104, 108, 113, 120,
150, 162, 173, 175, 270, 271, 274, 298, 301, 314

Walter, Eugene, 68

Walter, Gustav, 164

Warfield, David, 295

Wayburn, Ned, 281

Weber, 27, 31, 98, 175

Webster, 51

Weckerlin, J. B., 169

Weichsell, Carl, 172

Weichsell, Charles, 172

Weidley, David, 210

Wendell, Barrett, 38

Westminster Magazine, 39

Whitmer, T. Carl, 200, 202

Wilde, Oscar, 20, 43, 48, 55, 63, 64, 66, 70, 85, 86, 87, 187, 239,
282, 307

Winter, William, 320, 324

Wodehouse, P. G., 222

Women, Saltus's opinion of, 73

Wullner, Ludwig, 246

Yeats, W. B., 192

Yohe, May, 219

Zandonai, Riccardo, 329

Zeus, 82

Ziegfeld, Florenz, 283

Zuloaga, 290

* * * * *

TRANSCRIBER'S NOTES

Variations in spelling, hyphenation, and punctuation have been retained from the original book except for the following changes:

Table of Contents: Added listings for FOOTNOTES and INDEX.

Page 32: Used oe for the oe ligature in "oeuvre batarde".

Page 189: Changed "their's" to "theirs".

Page 227: Added "Young" to the chapter title, "Two Young American Playwrights," to match the Table of Contents and section title.

Page 259: Changed "Eightenth Century" to "Eighteenth Century".

Page 303: "Mrs. Siddone" might be a typo for "Mrs. Siddons". Retained.

Page 320: Capitalized "It" in "As You Like It" for consistency.

Page 331: (Index) Changed "Aeschylus" to "AEschylus" to match text.

Page 332: (Index) The reference for Bergstrom, Hjalmar, 90 was not found anywhere in the original book, and page 90 was a blank page.

Page 332: (Index) Changed page ref. 122 to 222 for Bernhardt, Sarah.

Page 332: (Index) Changed "Caesar, Julius," to "Caesar, Julius," to match text.

Page 338: (Index) Changed page ref. 176 to 76 for Michelet.

Page 339: (Index) Changed "Peladin, Josephin" to "Peladan, Josephin" to match text.

Page 341: (Index) Changed "Scriptores Historiae Augustae" to "Scriptores Historiae Augustae" to match text.