Zenobia, they tell us, was a leader born and bred;
Of any sort of enterprise she'd fitly take the head.
The biggest, burliest buccaneers bowed down to her in awe;
To Warriors, Emperors or Kings, Zenobia's word was law.
Above her troop of Amazons her helmet plume would toss,
And every one, with loud accord, proclaimed Zenobia's boss.
The reason of her power (though the part she didn't look),
Was simply that Zenobia had once lived out as cook.
Xantippe was a Grecian Dame—they say she was the wife
Of Socrates, and history shows she led him a life!
They say she was a virago, a vixen and a shrew,
Who scolded poor old Socrates until the air was blue.
She never stopped from morn till night the clacking of her tongue,
But this is thus accounted for: You see, when she was young—
(And 'tis an explanation that explains, as you must own),
Xantippe was the Central of the Grecian telephone.
Old Grimes is dead, that good old man
We never shall see more:
He used to wear a long black coat
All button'd down before.
His heart was open as the day,
His feelings all were true;
His hair was some inclined to gray—
He wore it in a queue.
Whene'er he heard the voice of pain,
His breast with pity burn'd;
The large, round head upon his cane
From ivory was turn'd.
Kind words he ever had for all;
He knew no base design:
His eyes were dark and rather small,
His nose was aquiline.
He lived at peace with all mankind,
In friendship he was true;
His coat had pocket-holes behind,
His pantaloons were blue.
Unharm'd, the sin which earth pollutes
He pass'd securely o'er,
And never wore a pair of boots
For thirty years or more.
But good old Grimes is now at rest,
Nor fears misfortune's frown:
He wore a double-breasted vest—
The stripes ran up and down.
He modest merit sought to find,
And pay it its desert:
He had no malice in his mind,
No ruffles on his shirt.
His neighbors he did not abuse—
Was sociable and gay:
He wore large buckles on his shoes,
And changed them every day.
His knowledge hid from public gaze,
He did not bring to view,
Nor made a noise town-meeting days,
As many people do.
His worldly goods he never threw
In trust to fortune's chances,
But lived (as all his brothers do)
In easy circumstances.
Thus undisturb'd by anxious cares,
His peaceful moments ran;
And everybody said he was
A fine old gentleman.
She is hotfoot after Cultyure;
She pursues it with a club.
She breathes a heavy atmosphere
Of literary flub.
No literary shrine so far
But she is there to kneel;
And—
Her favorite bunch of reading
Is O. Meredith's "Lucile."
Of course she's up on pictures—
Passes for a connoisseur;
On free days at the Institute
You'll always notice her.
She qualifies approval
Of a Titian or Corot,
But—
She throws a fit of rapture
When she comes to Bouguereau.
And when you talk of music,
Why, she's Music's devotee.
She will tell you that Beethoven
Always makes her wish to pray,
And "dear old Bach!" his very name,
She says, her ear enchants;
But—
Her favorite piece is Weber's
"Invitation to the Dance."
"Have I told you the name of a lady?
Have I told you the name of a dear?
'Twas known long ago,
And ends with an O;
You don't hear it often round here.
Have I talked of the eyes of a lady?
Have I talked of the eyes that are bright?
Their color, you see,
Is B-L-U-E;
They're the gin in the cocktail of light.
Have I sung of the hair of a lady?
Have I sung of the hair of a dove?
What shade do you say?
B-L-A-C-K;
It's the fizz in the champagne of love.
Can you guess it—the name of the lady?
She is sweet, she is fair, she is coy.
Your guessing forego,
It's J-U-N-O;
She's the mint in the julep of joy."
'Twas a Funny Little Fellow
Of the very purest type,
For he had a heart as mellow
As an apple over-ripe;
And the brightest little twinkle
When a funny thing occurred,
And the lightest little tinkle
Of a laugh you ever heard!
His smile was like the glitter
Of the sun in tropic lands,
And his talk a sweeter twitter
Than the swallow understands;
Hear him sing—and tell a story—
Snap a joke—ignite a pun,—
'Twas a capture—rapture—glory,
And explosion—all in one!
Though he hadn't any money—
That condiment which tends
To make a fellow "honey"
For the palate of his friends;
Sweet simples he compounded—
Sovereign antidotes for sin
Or taint,—a faith unbounded
That his friends were genuine.
He wasn't honored, may be—
For his songs of praise were slim,—
Yet I never knew a baby
That wouldn't crow for him;
I never knew a mother
But urged a kindly claim
Upon him as a brother,
At the mention of his name.
The sick have ceased their sighing,
And have even found the grace
Of a smile when they were dying
As they looked upon his face;
And I've seen his eyes of laughter
Melt in tears that only ran
As though, swift dancing after,
Came the Funny Little Man.
He laughed away the sorrow,
And he laughed away the gloom
We are all so prone to borrow
From the darkness of the tomb;
And he laughed across the ocean
Of a happy life, and passed,
With a laugh of glad emotion,
Into Paradise at last.
And I think the Angels knew him,
And had gathered to await
His coming, and run to him
Through the widely-opened Gate—
With their faces gleaming sunny
For his laughter-loving sake,
And thinking, "What a funny
Little Angel he will make!"
San Diego, July 10th, 1854.
As your valuable work is not supposed to be so entirely identified with San Franciscan interests as to be careless what takes place in other portions of this great kentry, and as it is received and read in San Diego with great interest (I have loaned my copy to over four different literary gentlemen, most of whom have read some of it), I have thought it not improbable that a few critical notices of the musical performances and the drama of this place might be acceptable to you, and interest your readers. I have been, moreover, encouraged to this task by the perusal of your interesting musical and theatrical critiques on San Francisco performers and performances; as I feel convinced that if you devote so much space to them you will not allow any little feeling of rivalry between the two great cities to prevent your noticing ours, which, without the slightest feeling of prejudice, I must consider as infinitely superior. I propose this month to call your attention to the two great events in our theatrical and musical world—the appearance of the talented Miss Pelican, and the production of Tarbox's celebrated "Ode Symphonie" of "The Plains."
The critiques on the former are from the columns of the Vallecetos Sentinel, to which they were originally contributed by me, appearing on the respective dates of June 1st and June 31st.
Miss Pelican.—Never during our dramatic experience has a more exciting event occurred than the sudden bursting upon our theatrical firmament, full, blazing, unparalleled, of the bright, resplendent and particular star whose honored name shines refulgent at the head of this article. Coming among us unheralded, almost unknown, without claptrap, in a wagon drawn by oxen across the plains, with no agent to get up a counterfeit enthusiasm in her favor, she appeared before us for the first time at the San Diego Lyceum last evening, in the trying and difficult character of Ingomar, or the Tame Savage. We are at a loss to describe our sensations, our admiration, at her magnificent, her super-human efforts. We do not hesitate to say that she is by far the superior to any living actress; and, as we believe that to be the perfection of acting, we cannot be wrong in the belief that no one hereafter will ever be found to approach her. Her conception of the character of Ingomar was perfection itself; her playful and ingenuous manner, her light girlish laughter, in the scene with Sir Peter, showed an appreciation of the savage character which nothing but the most arduous study, the most elaborate training could produce; while her awful change to the stern, unyielding, uncompromising father in the tragic scene of Duncan's murder, was indeed nature itself. Miss Pelican is about seventeen years of age, of miraculous beauty, and most thrilling voice. It is needless to say she dresses admirably, as in fact we have said all we can say when we called her, most truthfully, perfection. Mr. John Boots took the part of Parthenia very creditably, etc., etc.
Miss Pelican.—As this lady is about to leave us to commence an engagement on the San Francisco stage, we should regret exceedingly if anything we have said about her should send with her a prestige which might be found undeserved on trial. The fact is, Miss Pelican is a very ordinary actress; indeed, one of the most indifferent ones we have ever happened to see. She came here from the Museum at Fort Laramie, and we praised her so injudiciously that she became completely spoiled. She has performed a round of characters during the last week, very miserably, though we are bound to confess that her performance of King Lear last evening was superior to anything of the kind we ever saw. Miss Pelican is about forty-three years of age, singularly plain in her personal appearance, awkward and embarrassed, with a cracked and squeaking voice, and really dresses quite outrageously. She has much to learn—poor thing!
I take it the above notices are rather ingenious. The fact is, I'm no judge of acting, and don't know how Miss Pelican will turn out. If well, why there's my notice of June the 1st; if ill, then June 31st comes in play, and, as there is but one copy of the Sentinel printed, it's an easy matter to destroy the incorrect one; both can't be wrong; so I've made a sure thing of it in any event. Here follows my musical critique, which I flatter myself is of rather superior order:
The Plains. Ode Symphonie par Jabez Tarbox.—This glorious composition was produced at the San Diego Odeon on the 31st of June, ult., for the first time in this or any other country, by a very full orchestra (the performance taking place immediately after supper), and a chorus composed of the entire "Sauer Kraut-Verein," the "Wee Gates Association," and choice selections from the "Gyascutus" and "Pike-harmonic" societies. The solos were rendered by Herr Tuden Links, the recitations by Herr Von Hyden Schnapps, both performers being assisted by Messrs. John Smith and Joseph Brown, who held their coats, fanned them, and furnished water during the more overpowering passages.
"The Plains" we consider the greatest musical achievement that has been presented to an enraptured public. Like Waterloo among battles; Napoleon among warriors; Niagara among falls, and Peck among senators, this magnificent composition stands among Oratorios, Operas, Musical Melodramas and performances of Ethiopian Serenaders, peerless and unrivaled. Il frappe toute chose parfaitement froid.
"It does not depend for its success" upon its plot, its theme, its school or its master, for it has very little if any of them, but upon its soul-subduing, all-absorbing, high-faluting effect upon the audience, every member of which it causes to experience the most singular and exquisite sensations. Its strains at times remind us of those of the old master of the steamer McKim, who never went to sea without being unpleasantly affected;—a straining after effect he used to term it. Blair in his lecture on beauty, and Mills in his treatise on logic, (p. 31,) have alluded to the feeling which might be produced in the human mind by something of this transcendentally sublime description, but it has remained for M. Tarbox, in the production of "The Plains," to call this feeling forth.
The symphonie opens upon the wide and boundless plains in longitude 115 degrees W., latitude 35 degrees 21 minutes 03 seconds N., and about sixty miles from the west bank of Pitt River. These data are beautifully and clearly expressed by a long (topographically) drawn note from an E flat clarionet. The sandy nature of the soil, sparsely dotted with bunches of cactus and artemisia, the extended view, flat and unbroken to the horizon, save by the rising smoke in the extreme verge, denoting the vicinity of a Pi Utah village, are represented by the bass drum. A few notes on the piccolo call attention to a solitary antelope picking up mescal beans in the foreground. The sun, having an altitude of 36 degrees 27 minutes, blazes down upon the scene in indescribable majesty. "Gradually the sounds roll forth in a song" of rejoicing to the God of Day:
"Of thy intensity
And great immensity
Now then we sing;
Beholding in gratitude
Thee in this latitude,
Curious thing."
Which swells out into "Hey Jim along, Jim along Josey," then decrescendo, mas o menos, poco pocita, dies away and dries up.
Suddenly we hear approaching a train from Pike County, consisting of seven families, with forty-six wagons, each drawn by thirteen oxen; each family consists of a man in butternut-colored clothing driving the oxen; a wife in butternut-colored clothing riding in the wagon, holding a butternut baby, and seventeen butternut children running promiscuously about the establishment; all are barefooted, dusty, and smell unpleasantly. (All these circumstances are expressed by pretty rapid fiddling for some minutes, winding up with a puff from the orpheclide played by an intoxicated Teuton with an atrocious breath—it is impossible to misunderstand the description.) Now rises o'er the plains, in mellifluous accents, the grand Pike County Chorus:
"Oh we'll soon be thar
In the land of gold,
Through the forest old,
O'er the mounting cold,
With spirits bold—
Oh, we come, we come,
And we'll soon be thar.
Gee up Bolly! whoo, up, whoo haw!"
The train now encamp. The unpacking of the kettles and mess-pans, the unyoking of the oxen, the gathering about the various camp-fires, the frizzling of the pork, are so clearly expressed by the music that the most untutored savage could readily comprehend it. Indeed, so vivid and lifelike was the representation, that a lady sitting near us involuntarily exclaimed aloud, at a certain passage, "Thar, that pork's burning!" and it was truly interesting to watch the gratified expression of her face when, by a few notes of the guitar, the pan was removed from the fire, and the blazing pork extinguished.
This is followed by the beautiful aria:
"O! marm, I want a pancake!"
Followed by that touching recitative:
"Shet up, or I will spank you!"
To which succeeds a grand crescendo movement, representing the flight of the child with the pancake, the pursuit of the mother, and the final arrest and summary punishment of the former, represented by the rapid and successive strokes of the castanet.
The turning in for the night follows; and the deep and stertorous breathing of the encampment is well given by the bassoon, while the sufferings and trials of an unhappy father with an unpleasant infant are touchingly set forth by the cornet à piston.
Part Second.—The night attack of the Pi Utahs; the fearful cries of the demoniac Indians; the shrieks of the females and children; the rapid and effective fire of the rifles; the stampede of the oxen; their recovery and the final repulse, the Pi Utahs being routed after a loss of thirty-six killed and wounded, while the Pikes lose but one scalp (from an old fellow who wore a wig, and lost it in the scuffle), are faithfully given, and excite the most intense interest in the minds of the hearers; the emotions of fear, admiration and delight: succeeding each other, in their minds, with almost painful rapidity. Then follows the grand chorus:
"Oh! we gin them fits,
The Ingen Utahs.
With our six-shooters—
We gin 'em pertickuler fits."
After which we have the charming recitative of Herr Tuden Links, to the infant, which is really one of the most charming gems in the performance:
"Now, dern your skin, can't you be easy?"
Morning succeeds. The sun rises magnificently (octavo flute)—breakfast is eaten,—in a rapid movement on three sharps; the oxen are caught and yoked up—with a small drum and triangle; the watches, purses and other valuables of the conquered Pi Utahs are stored away in a camp-kettle, to a small movement on the piccolo, and the train moves on, with the grand chorus:
"We'll soon be thar,
Gee up Bolly! Whoo hup! whoo haw!"
The whole concludes with the grand hymn and chorus:
"When we die we'll go to Benton,
Whup! Whoo, haw!
The greatest man that e'er land saw,
Gee!
Who this little airth was sent on
Whup! Whoo, haw!
To tell a 'hawk from a handsaw!'
Gee!"
The immense expense attending the production of this magnificent work, the length of time required to prepare the chorus, and the incredible number of instruments destroyed at each rehearsal, have hitherto prevented M. Tarbox from placing it before the American public, and it has remained for San Diego to show herself superior to her sister cities of the Union, in musical taste and appreciation, and in high-souled liberality, by patronizing this immortal prodigy, and enabling its author to bring it forth in accordance with his wishes and its capabilities. We trust every citizen of San Diego and Vallecetos will listen to it ere it is withdrawn; and if there yet lingers in San Francisco one spark of musical fervor, or a remnant of taste for pure harmony, we can only say that the Southerner sails from that place once a fortnight, and that the passage money is but forty-five dollars.
Бесплатно
Установите приложение, чтобы читать эту книгу бесплатно
О проекте
О подписке