|
"'JE PRONG!'"
|
307
|
|
"'OON PAIR DE GONG BLONG'"
|
311
|
|
GECKO
|
315
|
|
"AU CLAIR DE LA LUNE"
|
319
|
|
"OUVRE-MOI TA PORTE POUR L'AMOUR DE DIEU!"
|
322
|
|
"MALBROUCK S'EN VA-T'EN GUERRE"
|
325
|
|
"AUX NOUVELLES QUE J'APPORTE, VOS BEAUX YEUX VONT PLEURER!".
|
329
|
|
UN IMPROMPTU DE CHOPIN
|
331
|
|
"AND THE REMEMBRANCE OF THEM—HAND IN HAND"
|
338
|
|
"'I BELIEVE YOU, MY BOY!'"
|
341
|
|
"MAMAN DUCHESSE"
|
351
|
|
THE CUT DIRECT
|
354
|
|
"PETIT ENFANT, J'AIMAIS D'UN AMOUR TENDRE. … "
|
358
|
|
"'VITE! VITE! UN COMMISSAIRE DE POLICE!'"
|
363
|
|
"I SUPPOSE YOU DO ALL THIS KIND OF THING FOR MERE AMUSEMENT, MR. WYNNE?"
|
367
|
|
THE FIRST VIOLIN LOSES HIS TEMPER
|
373
|
|
"HAST THOU FOUND ME, O MINE ENEMY?"
|
375
|
|
"'OH, DON'T YOU REMEMBER SWEET ALICE, BEN BOLT?'"
|
377
|
|
"THE LAST THEY SAW OF SVENGALI"
|
383
|
|
"'THREE NICE CLEAN ENGLISHMEN'"
|
386
|
|
"PŒNA PEDE CLAUDO"
|
389
|
|
"THE OLD STUDIO"
|
391
|
|
"'ET MAINTENANT DORS, MA MIGNONNE!'"
|
395
|
|
"TAFFY WAS ALLOWED TO SEE GECKO"
|
400
|
|
A FAIR BLANCHISSEUSE DE FIN
|
403
|
|
A THRONE IN BOHEMIA
|
407
|
|
"'OH, MY POOR GIRL! MY POOR GIRL!'"
|
410
|
|
"'AH, POOR MAMMA! SHE WAS EVER SO MUCH PRETTIER THAN THAT!'"
|
416
|
|
"'TO SING LIKE THAT IS TO PRAY!'"
|
422
|
|
"'THE REMEMBRANCE OF THAT PALM SUNDAY!'"
|
425
|
|
FOR GECKO
|
431
|
|
"OUT OF THE MYSTERIOUS EAST"
|
432
|
|
"'SVENGALI! … SVENGALI! … SVENGALI! … '"
|
437
|
|
"TOUT VIENT À POINT, POUR QUI SAIT ATTENDRE!"
|
439
|
|
"I, PETE COELESTES. … "
|
441
|
|
"PETITS BONHEURS DE CONTREBANDE"
|
447
|
|
ENTER GECKO
|
451
|
|
"'WE TOOK HER VOICE NOTE BY NOTE'"
|
455
|
|
THE NIGHTINGALE'S FIRST SONG
|
459
|
|
"'ICH HABE GELIEBT UND GELEBET!'"
|
461
|
|
TAIL-PIECE
|
464
|
TRILBY
Table of Contents
Part First
Table of Contents
"Mimi Pinson est une blonde,
Une blonde que l'on connaît;
Elle n'a qu'une robe au monde,
Landérirette! et qu'un bonnet!"
IT was a fine, sunny, showery day in April.
The big studio window was open at the top, and let in a pleasant breeze from the northwest. Things were beginning to look shipshape at last. The big piano, a semi-grand by Broadwood, had arrived from England by "the Little Quickness" (la Petite Vitesse, as the goods trains are called in France), and lay, freshly tuned, alongside the eastern wall; on the wall opposite was a panoply of foils, masks, and boxing-gloves.
A trapeze, a knotted rope, and two parallel cords, supporting each a ring, depended from a huge beam in the ceiling. The walls were of the usual dull red, relieved by plaster casts of arms and legs and hands and feet; and Dante's mask, and Michael Angelo's altorilievo of Leda and the swan, and a centaur and Lapith from the Elgin marbles—on none of these had the dust as yet had time to settle.
There were also studies in oil from the nude; copies of Titian, Rembrandt, Velasquez, Rubens, Tintoret, Leonardo da Vinci—none
