the ways of men(人们的手段)-第17章
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。 。 。 EPOUVANTES … CRAIGNANT EGALEMENT SA BROSSE ET
SON EPEE。
This allusion to his proficiency in fencing was considered particularly
neat； and became the favorite song of the studio； to be howled in and out
of season。
Curiously enough； there is always something in Carolus…Duran's
attitude when at work which recalls the swordsman。 With an enormous
palette in one hand and a brush in the other； he has a way of planting
himself in front of his sitter that is amusingly suggestive of a duel。 His
lithe body sways to and fro； his fine leonine face quivers with the intense
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study of his model； then with a sudden spring forward； a few rapid touches
are dashed on the canvas （like home strokes in the enemy's weakest spot）
with a precision of hand acquired only by long years of fencing。
An order to paint the king and queen of Portugal was the next step on
the road to fame； another rung on the pleasant ladder of success。 When this
work was done the delighted sovereign presented the painter with the
order of 〃Christ of Portugal；〃 together with many other gifts； among which
a caricature of the master at work； signed by his sitter； is not the least
valued。
When the great schism occurred several years ago which rent the art
world of France； Carolus…Duran was elected vice… president of the new
school under Meissonier； to whose office he succeeded on that master's
death； and now directs and presides over the yearly exhibition known as
the SALON DU CHAMP DE MARS。
At his chateau near Paris or at Saint Raphael； on the Mediterranean；
the master lives； like Leonardo of old； the existence of a grand seigneur；
surrounded by his family； innumerable guests； and the horses and dogs he
loves； … a group of which his ornate figure and expressive face form the
natural centre。 Each year he lives more away from the world； but no more
inspiriting sight can be imagined than the welcome the president receives
of a 〃varnishing〃 day； when he makes his entry surrounded by his pupils。
The students cheer themselves hoarse； and the public climbs on everything
that comes to hand to see him pass。 It is hard to realize then that this is the
same man who； not content with his youthful progress； retired into an
Italian monastery that he might commune face to face with nature
undisturbed。
The works of no other painter give me the same sensation of quivering
vitality； except the Velasquez in the Madrid Gallery and； perhaps； Sargent
at his best； and one feels all through the American painter's work the
influence of his first and only master。
〃TOUT CE QUI N'EST PAS INDISPENSABLE EST NUISIBLE；〃 a
phrase which is often on Carolus…Duran's lips； may be taken as the
keynote of his work； where one finds a noble simplicity of line and color
scheme； an elimination of useless detail； a contempt for tricks to enforce
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an effect； and above all a comprehension and mastery of light； vitality； and
texture … those three unities of the painter's art … that bring his canvases
very near to those of his self…imposed Spanish master。
Those who know the French painter's more important works and his
many splendid studies from the nude； feel it a pity that such masterpieces
as the equestrian portrait of Mlle。 Croisette； of the Comedie Francaise； the
REVEIL； the superb full length of Mme。 Pelouse on the Terrace of
Chenonceau； and the head of Gounod in the Luxembourg； could not be
collected into one exhibition； that lovers of art here in America might
realize for themselves how this master's works are of the class that typify a
school and an epoch； and engrave their author's name among those
destined to become household words in the mouths of future generations。
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CHAPTER 15 … The Grand Opera
Fad
WITHOUT being more curious than my neighbors； there are several
social mysteries that I should like to fathom； among others； the real
reasons that induce the different classes of people one sees at the opera to
attend that form of entertainment。
A taste for the theatre is natural enough。 It is also easy to understand
why people who are fond of sport and animals enjoy races and dog shows。
But the continued vogue of grand opera； and more especially of Wagner's
long…drawn…out compositions； among our restless； unmusical compatriots；
remains unexplained。
The sheeplike docility of our public is apparent in numberless ways； in
none； however； more strikingly than in their choice of amusements。 In
business and religion； people occasionally think for themselves； in the
selection of entertainments； never！ but are apparently content to receive
their opinions and prejudices ready…made from some unseen and
omnipotent Areopagus。
The careful study of an opera audience from different parts of our
auditorium has brought me to the conclusion that the public there may be
loosely divided into three classes … leaving out reporters of fashionable
intelligence； dressmakers in search of ideas； and the lady inhabitants of
〃Crank Alley〃 （as a certain corner of the orchestra is called）； who sit in
perpetual adoration before the elderly tenor。
First … but before venturing further on dangerously thin ice； it may be
as well to suggest that this subject is not treated in absolute seriousness；
and that all assertions must not be taken AU PIED DE LA LETTRE。 First；
then； and most important； come the stockholders； for without them the
Metropolitan would close。 The majority of these fortunate people and their
guests look upon the opera as a social function； where one can meet one's
friends and be seen； an entertaining antechamber in which to linger until
it's time to 〃go on；〃 her Box being to… day as necessary a part of a great
lady's outfit as a country house or a ball…room。
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Second are those who attend because it has become the correct thing to
be seen at the opera。 There is so much wealth in this city and so little
opportunity for its display； so many people long to go about who are asked
nowhere； that the opera has been seized upon as a centre in which to air
rich apparel and elbow the 〃world。〃 This list fills a large part of the closely
packed parquet and first balcony。
Third； and last； come the lovers of music； who mostly inhabit greater
altitudes。
The motive of the typical box…owner is simple。 Her night at the opera
is the excuse for a cosy little dinner； one woman friend （two would spoil
the effect of the box） and four men； without counting the husband； who
appears at dinner； but rarely goes further。 The pleasant meal and the
subsequent smoke are prolonged until 9 or 9。30； when the men are finally
dragged murmuring from their cigars。 If she has been fortunate and timed
her arrival to correspond with an ENTR'ACTE； my lady is radiant。 The
lights are up； she can see who are present； and the public can inspect her
toilet and jewels as she settles herself under the combine d gaze of the
house； and proceeds to hold an informal reception for the rest of the
evening。 The men she has brought with her quickly cede their places to
callers； and wander yawning in the lobby or invade the neighboring boxes
and add their voices to the general murmur。
Although there is much less talking than formerly； it is the toleration of
this custom at all by the public that indicates （along with many other
straws） that we are not a music…loving people。 Audible conversation
during a performance would not be allowed for a moment by a Continental
audience。 The little visiting that takes place in boxes abroad is done during
the ENTR'ACTES； when people retire to the salons back of their LOGES
to eat ices and chat。 Here those little parlors are turned into cloak…rooms；
and small talk goes on in many boxes during the entire performance。 The
joke or scandal of the day is discussed； strangers in town； or literary and
artistic lights … 〃freaks；〃 they are discriminatingly called … are pointed out；
toilets passed in review； and those dreadful two hours passed which； for
some undiscovered reason； must elapse between a dinner and a dance。 If a
favorite tenor is singing； and no one happens to be whispering nonsense
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over her shoulder； my lady may listen in a distrait way。 It is not safe；
however； to count on prolonged attention or ask her questions about the
performance。 She is apt to be a bit hazy as to who is singing； and with the
exception of FAUST and CARMEN； has rudimentary ideas about plots。
Singers come and go； weep； swoon； or are killed； without interfering with
her equanimity。 She has； for instance； seen the HUGUENOTS and the
RHEINGOLD dozens of times； but knows no more why Raoul is brought
blindfolded to Chenonceaux； or what Wotan and Erda say to each other in
their interminable scenes； than she does of the contents of the Vedas。 For
the matter of that； if three or four principal airs were suppressed from an
opera and the scenery and costumes changed； many in that chattering
circle would； I fear； not know what they were listening to。
Last winter； when Melba sang in AIDA； disguised by dark hair and a
brown skin； a lady near me vouchsafed the opinion that the 〃little black
woman hadn't a bad voice；〃 a gentleman （to whom I remarked last week
〃that as Sembrich had sung Rosin
