Kitabı oku: «The Smart Set: Correspondence & Conversations», sayfa 4

A Letter of Introduction

I

Letter from Mrs. Joslyn of New York to Mrs. Lemaire of Washington, unsealed and unstamped

Friday.

My Dear Mrs. Lemaire:

I am very happy to introduce to you Mr. Hamilton-Locks, of London, a friend of mine, who goes to Washington for the first time. I know I am giving you both a pleasure in bringing you together, and any courtesy you may be able to extend to Mr. Hamilton-Locks will be as if shown to me also.

Always sincerely,

Emily Joslyn.

II

A second Letter from Mrs. Joslyn to Mrs. Lemaire, sent with a special delivery stamp

Friday.

My Dear Mrs. Lemaire:

I gave a letter of introduction to you to a young Englishman this morning. I hasten to write, and beg you, as far as I am concerned, to pay no attention whatever to it. He was sent over to us by Lady Heton, a traveling acquaintance, whom we know really nothing of, and it's been a great bother trying to be civil and everything else to him. I felt obliged to give him the letter, but you will understand by this that you are to ignore it quite as much as you like. He is no friend of ours whatever, merely an acquaintance that has been forced upon us.

We hear you are having such a gay season in Washington. We think of taking a house there for next winter. Can you manage to keep out of the political set if you want to? I don't mind ambassadors, but I should think all the other people would be most ordinary. I suppose you will come on for the Makeway Ball; won't you? If so, do lunch with me the day after; don't forget.

Yours, ever sincerely,

Emily Joslyn.

III

Letter from Mrs. Lemaire to Mrs. Joslyn

Wednesday.

My dear Mrs. Joslyn:

Where is your young Englishman? I adore young Englishmen, and why doesn't yours come to see me? Did you give him the letter? He has been in Washington a week, is constantly at the P – 's, and all the diplomatic corps are entertaining him. The women are mad about him, he's so awfully good-looking.

If you want a house in Washington next winter why not rent ours? We are going to Rome in December.

Yours, always cordially,

Gertrude Lemaire.

IV

Letter from Mr. Hamilton-Locks to the Hon. Forbes Redding

Washington, January, '97.

My dear Old Chap:

This place is a very good sort, rather like a little English Paris; more cosmopolitan than Boston, I mean, tho' no other city here seems quite so lively as New York. The embassy is giving me no end of a good time. I'm sure I'm more than grateful to your uncle. I find society in this place is more like European without trying to be, while in New York they try more, and aren't. New York society has an air of its own, and, I must say, it's a damn fine air, too. Of course, like other places, it has some frumps, and what Blanche Heton meant by giving me a letter to a Mrs. Joslyn is more than meets the eye. But we are not burnt twice by the same flame. The lady gave me in turn a letter to some one here, and I was so afraid I'd forget and use it by mistake, or leave it at the woman's door one day when I'd been drinking a good many whiskeys and sodas and didn't care what I did, that I tore it into bits and dropped them in an umbrella stand in Mrs. Joslyn's hall five minutes after she gave it to me. There's no use in running any risks. And when a woman over here is stupid she's damn stupid. So is she superlatively fetching when she is charming. And, by Jove! but they know how to draw the line – all but Mrs. Joslyn.

People over on this side think every Englishman comes over after a wife, and at first they pretend to be very haughty and independent, and then if they find out he is not after a wife after all, like your humble servant, they are quite angry about it.

I hope you're keeping an eye on my dogs for me. Love to Millicent.

Yours,

Ted.

Wagner, 1897

A Letter from Lady Aires to the Countess of Upham, at Homburg

Bayreuth, Aug., 1897.

My dear Rose:

Our stay at Bayreuth is nearly over – the last opera to-morrow; and, to be frank, I am extremely glad, although of course it has been perfectly charming. First we heard Parsifal and the Ring; which is four operas, you know. Why they call them a "Ring" I can't see yet; and I don't like to ask, it gives the musical people who really know the chance to be so superior, and they are conceited enough as it is, goodness knows. Anyone would think it was a disgrace not to have been lullabyed to sleep when a baby by a symphony orchestra! I'm sure it isn't my fault if I don't know which is Schumann and which is Schubert; and what's the difference? (Between you and me I don't care. Of course I adore music, but it's like a great many other things – you mustn't ask too many questions!) Well the first day was "Parsifal." It's a dear! Beautiful, perfectly beautiful! I wore my white mulle with my green and white hat, and if I do say it (and I must, for I'm sure no one else will say it for me), women are such jealous cats about frocks. I didn't see a better turned out woman. Such a tremendous lot of smart people as are here, too. Really you ought to have come. I'm sure you would have enjoyed it. Between the acts it's quite like Sunday in the park. The entre-acts are very long, giving us a chance to shake out our frocks and wake up and amuse ourselves. Some people go up a little hill, or into some pine woods; but that's rather dull, for you don't meet half so many others – most everyone stays in front of the theatre. But I must tell you about "Parsifal." In the first place it is awfully long. And Parsifal himself is entirely too fat! I am sure such a very good young person as Parsifal shouldn't have a stomach! There are a lot of sort of monks in rather fetching pink red cloaks, with pale bluey gray skirts underneath. (Not at all a bad combination, and gave me an idea for a costume for up the river.) Their chief is ill, and almost always in great pain, but it does not prevent his singing the longest of speeches. Parsifal kills a lovely swan – it flies in so naturally. Really Wagner was a most wonderful man! Then there is a Gypsy girl; a sort of snake charmer, who has bottles of things all through the play. I couldn't make out quite if she were Parsifal's mother or what. But she is quite mad, and wears only a very uninteresting old brown dress. I must make this criticism of Wagner: You don't see many pretty dresses in his operas. Then everyone goes to a banqueting hall, which is also partly a church. The scenery moves along in a most miraculous way and the hall is really very lovely. There are children in this scene, and they lift the chalice, and it glows – an electric light in it you know, but it's really lovely. And the music is simply heavenly. I assure you I cried like a baby at this part; I couldn't tell you why, unless it's the poor wretched creature (Am – something his name is; I can't find my programme). He's very handsome. I intend to buy his photograph. He has to lift the holy cup, and he feels he is unfit to do it. He is a sinner and wishes he were dead, and somehow or other you feel awfully sympathetic with him. I know the times I've been to church and knelt down so ashamed I couldn't lift my head, thinking of some of the beastly wicked things I've done in my life. And that's just what the second act is. A crowd of women try to seduce Parsifal, but they are all German chorus women, and it really doesn't seem such a great temptation.

But then the girl who was ugly in the other act comes on very beautiful (but hideously dressed, why don't they get Worth or Doucet, I wonder, to help them?) and she sings a great deal and very loud, and kisses Parsifal, and then everything goes suddenly to wrack and ruin. I shall never dare kiss any very good young man again – not after that! In the last act, this same creature, looking more like Act I., washes Parsifal's feet. I should hate to play that part, but it's all very pretty and affecting, and the music – well there are no words to describe it. And the whole rest of the act is too wonderful! Really you have to cry. Of course, it's too long, and you're awfully hungry, but there is a rather smart restaurant now, where everybody goes afterward to get their spirits back; which reminds me that Mrs. Gordon turned up yesterday and appeared at the restaurant at night, affording us a good deal of amusement. First she started to courtesy to the Royalties, who don't want to be noticed. This she perceived in the middle of her courtesy, and cut it short in a quick way, which made her look exactly as if something important in her toilet had burst or broken. Then she flew all over from room to room, trying to find a table that suited her, disturbing the whole atmosphere, like meteors are said to do in the skies, and creating the impression, or trying to, that she owned the entire place. She won't be happy here, for it isn't easy for anyone else to own anything where Frau Wagner is installed; which reminds me to stop this gossip and tell you seriously about the other operas.

The first of the Ring is the Valkyrie; you can remember it because of Lord Dunraven's yacht. And they swim around in the water; which is, I suppose, why he called it so. But no; on second thoughts, that isn't it at all. The first opera is Rheingold, and it's the Rhine maidens that go swimming about. How absurd of Dunraven to have made such a mistake. I like the Rheingold awfully. The first act looks just like water, and the music is so pretty. Then, in the second act, there are two splendid big men – one in white, the other in black bear skins – who are rather fetching. The Rheingold is the least sociable of the operas, as there is no entre-act. But it is fortunately a great deal the shortest. I think it is one of my favorites. I seem to know more what Wagner is about in it. I don't believe he knows himself what he is about some of the time in the Valkyrie. This second opera is awfully long. However, it has two good entre-acts, when you can walk around and talk to everybody; and I can assure you we have plenty to say after having been kept quiet for over an hour in the dark theatre. The chairs are so uncomfortable, and if you move somebody hisses. There is not much politeness in Bayreuth. We don't get as good a view of the stage as some people, but we have splendid places; the Countess of – is in front of us, her sister right beside me, and behind are the – s, and near by Lady – . So you see we couldn't possibly have better seats.

For the Valkyrie I wore a new mauve and pale green frock. I don't think you've seen it. The bill was atrocious. I sha'n't pay it; but the costume is a great success. Portions of this second opera are awfully tiresome, first one couple and then another, going on for hours about nothing, but there are some exquisite clouds that move and grow and scatter exactly like nature, only more so, and make up a little for the dull people. I notice one thing: all the gods and goddesses have always such troubles. There isn't a single happy creature among them, not even Wotan, who is god of them all, and wears a silly gold curl over one eye. I think it lowers his whole dignity; but they make a great many mistakes like that. Of course, one oughtn't to think of these things, but should simply listen to and enjoy the beautiful music, but my nature is so sensitive I can't help it. There are a lot of Valkyrie, you know, who wear a sort of antique dress-reform costume, not pretty, and ride through the air on deliciously funny-looking horses. And Brunhilde, the leader of them, a rather nice person, behaves quite like a human being in "Siegfried," the next opera, which I will tell you about later. In "Valkyrie" you think she is going to be burnt up, but in "Siegfried" she is saved after all. I suppose there is some sort of Biblical idea about hell. You recognized the Bible very often in "Parsifal." I much prefer Siegfried as a person to Parsifal. He's not such a very good boy. There's more an air of athletics, football, rowing, and all that about Siegfried, while Parsifal smacks just a little, I think, of the Young Men's Christian Association. You can kiss Siegfried with impunity, too; in fact, it saved Brunhilde's life, and I wouldn't mind running a few risks myself to be saved in the same way! You get perfectly drunk with this music of the last act of Siegfried. Of course, my dear, you know I am now writing about the third opera, "Siegfried." You must follow me closely, for it's very easy to get confused about them. "Siegfried" is awfully long, too, and the first act – well, I don't mind telling you I slept a good deal. You see, the theatre gets so stuffy, and then one is digesting one's luncheon, and the stage is so dark, and I maintain that the music soothes you. I wore, of course, another dress, something quiet, as it was rainy, but I saw no one who looked any better. Between the first and second acts I managed to get a bow and a hand-shake from the Prince, to the visible envy of Mrs. Gordon. I wish you could see the dear beast. She flutters around the royalties every minute, like a nervous bird, and as if they were her nest of eggs and a bad little boy was in the neighborhood. I hate snobs; don't you? I am lunching, by the way, with Mrs. G. to-morrow. Quite a big, smart party of us, I hear.

That funny dragon comes in "Siegfried," you know, and of course it is much more amusing here than in Covent Garden or New York. But it's the last act that I love! Such passionate music! Brunhilde falls madly in love with Siegfried, who is, of course, ever so many years younger than she. But it's just like us women, especially when we are Brunhilde's age. For I suppose she's forty something, as she was grown up and went to sleep before Siegfried was born, and when he kisses her he seems to be quite a man! By the way, Brunhilde was put to sleep for interfering somehow or other in the love affairs of Siegfried's mother and father, who are really sister and brother. If you think of it, the story is extremely indecent, but operatic things never seem to be shocking; music, apparently, covers a multitude of naughtiness, like charity is reported to do. Very likely that's why Mrs. – is always doing so much for institutions and what not – for her sins, I suppose. I always thought she was a naughty old hypocrite! By the way, there is a comic character in "Siegfried," and in one of the others, I forget which, called Mime – a funny little dwarf, the sort of thing they put in a Christmas pantomime to amuse the children.

Later

I have just come from the "Götterdämmerung," the last opera, and I am completely exhausted. I am as if I were in a dream, and can only think and feel and write of this beautiful, beautiful music and scenery. I am absolutely absorbed in it. Some people took the train for Nuremberg right after the performance. I am sure I never could have. I really can't believe they felt the thing. Our train goes at 1:45. Such a nice hour; one doesn't have to hurry in the morning, and can have one's hair done properly. I have a charming new way of doing the hair. I got it from a Frenchwoman who sat just in front of me in the theatre to-day, and when it was light enough I studied the arrangement till I got it by heart. You want something like that to do during the long duets. Otherwise your attention is apt to wander from the opera, or you get sleepy. To go back to the opera, it began with the same scene that Siegfried finished with, which was rather disappointing, but a real horse came on and behaved as quiet as a lamb, with Brunhilde screaming like mad all about him. I suppose they put cotton in his ears, or something. The scene changed (without letting us go out for a rest, which I thought something of a sell) to the house, where Siegfried falls in love with another woman (Oh, these men!) I forgot to tell you, my mind is so full of the music, that I wore my new Russell & Allen winter frock, and I caught lots of people taking it in. But, dear me, how badly the German women dress! I haven't seen a single chic one among them since I've been here, I don't believe I shall come to Bayreuth again. Besides, the music is too wearing. The Rhine maidens come back in this act! It is most wonderful the way they swim about! But, as far as I can gather, they are rather nasty cats. One thing I will say, though: I think Wagner's on the side of the women; for, in spite of Brunhilde's being in love with little more than a boy, she has all your sympathies. So has Siegfried, too; which is odd. I really sobbed when he died, he was so good-looking, and seemed so sad. This whole opera is very depressing. We reach Munich to-morrow night at 7; and I propose going to the Residenz Theatre there, and seeing a light opera just for contrast. But how bad the shops are at Munich. I believe there are some good pictures, but I think one sees so many pictures in Europe; don't you?

I presume you know Brunhilde behaves rather like Dido in the end: nearly everybody, more or less, is murdered off, and there is a sort of Madame Tussaud exhibition in the clouds at the curtain. Of course, I haven't really given you any sort of an idea about it at all. There are no words that will adequately describe it, only I promised to give you a detailed personal account; and I have done so. The reason we are going to Munich is we can't get a sleeper yet, everything is so crowded. Isn't it disgusting. This last opera is rather too noisy at times, and awfully long – longer than the others. But there's a men's ballet in it that is rather nice; not dancing, you know, but singing and posing and walking about, with imitation bare legs, most of them. But I think the best thing about the opera is it leaves you in such an exalted mood. I know I won't be able to think of small or worldly things for weeks, much less write about them. Before I forget it, be sure and write me if it's true that Mrs. – and Sir George – are both at Homburg, at the same hotel. I hear they are, and there's no end of talk about it. But then I find there's no end of talk about everything and everybody. It is not that people mean badly, but one has to pass the time somehow. I think I love best of all the Rheingold music. It is like a jeweller's shop window in Bond street; it seems to shine and glitter and sparkle. You see very few jewels here in Bayreuth; of course, there's very little chance to display them. Women wear the usual small string of pearls. That's about all. As most everyone wore one I wear two, with a different pendant each day. I like to be just a little original, and keep my own individuality.

Well, now I must tumble into bed or I shall lose my beauty sleep. I'd hate to have my figure get like these German singers. I wonder why! I'd have myself strapped between boards – I'd do something. Good-bye, my dear. Write me all the gossip you can get a hold of. I haven't sent you any in this, but that you couldn't expect. It was impossible that this letter should be anything but Wagner, Wagner, Wagner. I wish you could have been here with me – you'd have seen heaps of your friends. Of course I ought to tell you one thing, because I felt it myself: there's nothing catchy about the music.

Lovingly,

Fanny.