davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22

which are crossed over the breast uauze over
satin is also allowable. and has an excellent erect
For day blouses every imaginable material Is
used silk. cashmere. hop sackng, serges-anythng
and everything IS allowable Il will tell you
short cut to a blouse waist II you want 10 mar
one" said very successful amateur, dressmaker.
Il always keep the Innings OF my oIu Ii =, ioI
the purpose Min a perfectly hitting podlSe 70 20
on material may be draped very easy' d, an ,l M,'
ribbon collar and belt. there you are, II ans t ~
time at ali To- make one. Why. nave them IN
every color and shape masii'ip'''
Beautiful opera cloaks are of worry cream Oh
rose or lilac ottoman Of the richest and softest
quality They are long and ample and nave H.
variably pelerines Of velvet whlch are usually
trimmed with fur
Gowns of plain silk are in the minority aoroal
this season. All sorts of figured, procaued anu
shaded silks and moircs are seen; ana one very
popular weave has ridged effect IKE thd' Vi Il
serge.
Gowns OF rich. dark navy blue are nuch trimmed
with pale green which goes perfectly with the
blue: and other gowns equally pretty. are OF dark
green mingled with pale blue y model OF uark
green velvet has n slashed skirt ana pctuit
bodice with vest and Robcspleire IeNci' VI ''o'
pale blue and green watered SILK
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22

extremely like the wreaths OF white FOG winch AZ
this season often lie the shore in soft white
clouds at night But when the old houseKeeper
told the following tale, the youngest ana most TO-
mantle damsels professed to believe 'hat 'he
place had its ghost and that some of them had
actually seen It. The old mansion had been built
just before the Revolution by one OF the van Am
sterdams. who became one Of the most jealous al
herents of the cause and hated the brl'lsh
with true Dutch pertnacity. so when the oaush,er
of the house. his pretty Gertrude fell IN ioVe win
and wished to marry young English ofhcer' he
sternly forbade the match After trying persuasion
and entreaties in vain the maiden, who inherited
not little of her fathers obstinacy, TOOK 10 her
bed and tried dying a last resource whereupoh
the old man reented the lovesick girl recovered.
and everything arranged lot tle "euui'is'
which was to be celebrated on the return OF the
bridegroom elect from England-whither he mad
gone to obtain the consent of his parents ana 10
arrange for a long leave of absence on the home
ward journey, however. terrible gaze wrecked
the vessel, and all board were reported as iost
For several months the young officer was nourheu
as dead. when to his betrothed's unutterabie JOY
he suddenly reappearcd. He had been plcked up
by a vessel which in its turn. was wrecked had
suffered incredible hardships and. by the strahgest
coincidence, arrived I'm America again only lie"
days before the date fixed for the marriage.
once more all was mirth and jollity. and the
preparations for the wedding were pushed forward
as rapidly as possible it being the chiet wish OF
both that the event should take place on the date
originally fixed upon But relentless fate seemed
TO pursue the lovers. on the day before mat set
for the wedding the young man disappeared ana
was never heard of again. An upturned boat on
the lake suggested that he had been accidentally
drowned but the body was never found. and the
affair remained a mystery. As for his sweetheart
she went mad. and ii is her figure that Is said
by romantic enthusiasts to haunt the Old
homestead, standing moonlight nights
peering out over the water as II seek
ing her lost lover. you have no idea continued
the nrettv girl who was relating the story. what
an eerie feeling II gave us after we had heard the
tale, to stand in the moonlight by the lake and
to see the waving wreaths of fog that looked so
very like human figure! / never saw mist that
looked like that before, and really would Ike 10
believe that have veritable ghost.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22

nucnce Of Wagncrs example 1t Is amusing also
+, know that Carvaho. the director of the Thea
ire Iyrique thought the opera much TOO long,
and insisted on many cuts before the :irst per-
Torrance To mony excisions iounod consented
but pc put his foot down when Carvalho sug-
gcsted another conclusion for the garden scene
Corrplotcly under the sway OF the old conVen-
tons Carvalho wanted orilll INT close WIN
more huhbub and musical fireworks. Ihat WAS
loss than thirty-hvc years ago. Now the finale
which IS set down all the world over as ideal In
,,s onpropriatsn"ss effectiveness and beauty, Is
mat ~ the second act Of "De Meistersnger
y.,iffcn bv Wagner who Is supposed T. be noisy
Here Is an example Of change In taste where
,;ounod lod Faust was IN lie rerertory oi the
Theatre I.yrlque for ton wears ana was III lN''
transferred 80 the Grand Opera. or the Academic
National. d- Musquc. as It should be- called II
yos reformed about 100 times at the Lyrllu"'
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22
STR1Y NOTES ON DRESS.

Ivory and tan Is n combination that finds great
favor this season.
The most useful travelling coaks are made OF
scotch reversible cloth. and are long enough 10
oo,,er the entire figure warmer or more COM
Portable wrap cannot be imagined.
Every woman Of fashion possesses at least half
dozen white silk petticoats trimmed win race
urbich she wears with her evening dresses
This is the era of the blouse waist and FAR from
,os,ng IT'S popularity this most delightful adjunct
Of feminine apparel bids fair TINS season 10 &c
Oh .,,,sr than ever. One of the prettiest nov
NOR ,h,s line is a perfectly fitting gove-tight
elites u. ",onds." over which chiffon OF the same
SATIN "n., artistically draped. or-whch is quite
color 70 nv. arranged In accordion-pleated folds
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22
SOTHCRy SPOILED THE SCENE.
From The Chicago Inter Ocean.
49,, ..,,., az Snfharn' nracfical iOlSeS obi

From The Chicago Inter Ocean.
And here one of Sothsrn's practical jokes obtrudeS
itself and we must give IL room. During his en-:
rapement in London Money" had been performed
With n phenomenal cast on the occasion OF some
benefit Charles Mathews appeared as captain
dudley smooth T.. A. Sothern Sir Frederick
Haunt John Ryder the Old Member. and the
other characters assigned to persons OF equal
prominence in the profession The part or the Ola
Member appears only in the club scene. He calls
loudly every now and then for the walter TO bring
him the SNUFF box but other members are maxi
Ing the same demand at the same time, the waiter
always him by and he does not set the snuff
box until II il empty which fact he emphasizes by
turning il upside down. at the same time exclaim-
ing And II IL all gone" This is small part, but
r. Generally goes with roars Of laughter and on
his important occasion Jack Ryder had laid him.
self ont to make the most of II. But on calling for
the snuf-box. the waiter. according to the
the point of handing 1t to Sir Frederick Blount. the
old Member still vociferating. Waiter. snuff box"'
Judge then of his horror. Indignation and conster
nation when Sothern coolly waved the waiter OF.
and pointing Ryder. said. THAT old gentleman
seems 10 be making such fuss about II, let him
to the Old Member thus early in the proceedings.
killed his entire scere On the first impulse OF the
moment Ryder the point of hurting the obs
iect at Sotherns head but then the ludcrous
ture OF the sell struck him. when he commenced to
roar with laughter. and. not being able to control
himself arose and left the stage. There were q
number of actors present in the audience and they
Sothern all the while gazing from one to the other,
an apparent look of amazement upon his face. az
much as to say What is all this about?" After q
few minutes Ryder. having gained the mastery over
his feelings, reseated himself. and the scene com.
menced all over again as II nothing had happened.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22
SUEETBRE1DS and SHEET POTiTOES
A SOUTHERN LUNCHEON

II saw an odd way Of serving swecbrcads the
other day, nj n very smart house. too said on'
OF the guests at womsn's luncheon. not long
since. at was .llsh Of large sweet potatoes
peeled and very nicely cooked. with a swcctbrcad
inserted In the centre Of each. and served Ike GRO
quettes Were they good? Wen US: ihcY were
very well cooked, AMI a. Ill cv,":s IT was ycnie-
thing new.
ITO my mind interpolated the hostess. who
had been listening with much interest TO the
description there is no way In the world in which
To cook sweetbreads so good ~ the old of par
boiling them nrst and after they have been nicely
larded. moistening them well with good beef stock
and cooking theIn IN the oven for about twenty
minutes. basting them continually with the stock
Are you taking Of swcetbrcads sweet pota-
oes? called out little Southern lady at the other
end OF the table. Because I will tell you II you
ike how our old black 'auntie cooks sweet potatoes
or 'yams as she calls them at home. II t. the pest
way by long odcs OF preparing them for the taDie
although perhaps you Will think IL rather ehtraVh
CANT. II taxes great deal Of butter. AFTER we
POTATOES have been thoroughly boiled take OF inc
skins and cut them lengthWlsc IN quarters; OF
more pieces II tne potatoes are large. Then IN
baking pan dissolve a large piece OF butter WIN
half a cupful OF brown sugar. lay the potatoes ia
the pan. and COOK them for about fifteen minutes,
basting them every now and then with the butter
and sugar. ana turning them over several times;
serve them with really good corn beef mince anu
sweet corn on the cob. and you have a Southern
luncheon that Is tit for NaS"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22

The critics have placed a very high estimate
upon the score Of Romeo and Juliet" and the
lovers Of sentimental church music are fond Of
Gounod's religious ballads and one or two Of his
masses but ii seems certain that 10 the historian
and people OF the future he will be only the
composer Of Faust" The history Of this mas
erpiece u.s. indeed, without parallel In the annals
Of the lyric theatre. IL was written before lie
Medccin Magre Luz" though produced later one
cause Of tie delay being the fact that Carvalho
was afraid to opposition with the opera to
a farce on the same subject which occupied the
boards Of the Theatre Porte St Martin at the
time Critics and public We're rather slow In
accepting II. moreover and old readers Of The
Tribune will remember that Mr.. w. II. Fry
himself a composer, was severe In his criticism
Of Faust" in this journal on its first American
performances In view of the rapidity with which
dramatic ideas are spreading now under the in
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22

de Rovet printed an article on "Gounods Views
on Art and Artists In THE Fortnightly Re-
view" ard pu. these sentiments into his mouth:
Wagner is a wonderful prodigy an alteration
of genius a visionary haunted by all tha' Is
colossal, he cannot estimate arisht 'he powers
of his brain. with 40 sense OF measure OF Oh
proportion In his mind, he flies beyond the limits
of human Observation, ana, lace I'd lace WIN MS
rrodisiors endeavors his gigantic labors and his
overwhelming expenditure of talent and hard
work. one feels tempted to quote him the
crueI remark of Agnes to her lover Arnulphe:
Horace In two words would make more of 1t
than YOU, The true sign of genius is the sober
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22
WINTER CLOAKS.
WHAT Is TO BE WORN IN PARIS-LONG
MANTLES AND PELERINES-GAR
MENTS FOR LITTLE GIRLS.

The beautiful long nantes which now being
made for winter by Partisan artists have all the
advantages of the 'rotonde" or ordinary round
mantle without its Inconvenience They are skill
fully cut to the curves of the figure. and are
sashed on the sides to permit the arms to pass
through; the natural movements or the arms IN
front in combining the folds of the cloak and hold
ing the muff give elegance of line lost In the
''rotonde." Magnificent furs border the foot OF the
cloak and the fronts: and the same fur trims the
collar the arm-openings and the little capes or
pelernes Every Frenchwoman of Fashion VIII
Eve this winter her long cloak her pelerine or
lalf-ong cape and her jacket with its big sleeves
and peerne of beautiful figured velvet,
A little Partisan cape for the warmer autumn
DAYS is extremely chic" 1t is made or helio-
trope cloth. with yoke ruff and trimmings OF vel
vet in a deeper shade. AS the sketch indicates 1t
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22
GOUNODIANA.
ONE SUCCESS AND MANY FAILURES-THE
STORY OF "FAUST"-GOUNODS MYSTI-
CIsM-DID HE TAKE ORDERS?-
GOUNOD AND WAGNER.

Availability was marked a characteristic Of
Gounods music as of his personality He was
grs ceful and winning. but not strong He was
an emotlonahst and n mystic. When passion
ran out into ecstacy he was at his best he could
give expression to an emotional state far better
than he could depict its Development. Essen
TALLY. therefore, he was a lyrical, not dramatic
writer The two works which critics study as
the most perfect complications Of his genius
both disclose the climax Of their beauty in scenes
wherein ecstatic utterance asserts its rights. The
gems in Gounod's artistic crown are the garden
scene in Faust and the balcony scene in "to-
meo and Juliet" To think back from those
scenes to the originals In the dramas Of Goethe
and Shakespeare. in spite of their beauty, how
ever is to discover that vocal music is. after all.
imperfect Beroz was wise when he declined
to put a vocal love duet into his dramatic sym
phony His instrumental love scene is the only
bit Of Shakespearian music worthy Of the
matchless melody Of the poets words. Yet it is
a beautiful and comforting thing that Gounod's
finest works were inspired by such masterpieces
in literature
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22

very young girl It IS of Russian green cloth' anu
is pleated back and front The cape or pelefihe i
Of velvet bordcrcd with fur and the collar Is also
Of fur The big puns Of the sleeves are OF tl'
velvet: the lower portions of the sleeves are OF the
cloth edged at the wrist with fur The hat Is Oh
velvet matching that on the cloak Young schooi
girls have for ordinary wear shaped paletots made
OF handsome small-patterned tweeds. ana accom-
no,ied by single double and triple pelernes OF
IN came material. 4 felt hat In the same shauc
trimmed with loops Of velvet and small Mercury vnry
wings is ordered with such garment. y very
Young children are wearing picturesque pellsSes
made of very soft rich SILK falling in fn folds Sl
80 woke These cloaks lined with nan
nelette. The big pufis Of the sleeves end at me
elbow. and the closely shapHd lower par The IS neck
is finished with a shaped tppet edged with the
beaver Dull artistic shades OF color are useu io'
these garments.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22
A PRINCE FINDS FAULT WITH Mr. GLADSTONE
From The Scotsman.


week or two ago a GladstonIan member whc
had been dining with the Prime Minister, proughs
back to the House the story that the Conversation
which OF course. a monologue-had run entireIy
on Montenegro. Mr. Gladstone was, he said iuli OF
that country and its people. Ii may be hoped mat
he will duly receive the last report from MS protese
the Prince one of the Unionist members VINO voted
in the division on Friday night has just returned
from Montenegro He had been there once or twice
before and when he went to pay his respects 10
the Prince he was very cordially received his
ROYAL Highness protested against his too eager de-
parture The honorable member must Il was said'
remain longer. and enjoy the sport OF the country.
The Parliamentary exigencies were explained WITH VIM
out effect 81 will write TO Mr.. Gladstone saio
the Prince. "and get permission from MN TOT you
TO stay" The visitor did not dare to smile AZ THIS
suggestion His Royal Highness matters hMsek
that he Is n Liberal, and knows all about the BRIT.
ish Parliament and to try further explanation was
homeless The member. however. persisted. lie nad
the fear of the whip before his eyes. and he nrmly
declared that he must go. The Prince was dsap.
ponted but by way Of solace he invited his visitor
TO a farewell dinner. which was UNDERSTOOD 10 ne
a great and receptional honor. IL was a. court
function The Montenegrin Ministers were an pres.
emit During dinner the Prince waNed oracular. 10
said he had one great reproach TO address 70 Mr:
Gladstone His Unlonist guest thought ne had a
good fish to go on. The Ministers bowed thef
heads TO listen while the oracle spoke. Yes, crieo
the Prince Mr. Gladstone has been long In Office.
ard he has done nothing TO discover Jack the HIP
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22

as little of Goethe's Gretchen in the opera (and
to call her Margaretha is only to beg the ques-
tom as there is of Goethe's Faust. Gounod put
an ecstacy of expression quite worthy OF the
German poets soulful heroine into he music OF
his Marguerite, but he did not reproduce her.
There is much Of the tender grace OF the UNI
fortunate maiden in the creation OF the French
librettists and composer, but none OF the sim
plicity none OF the rustcity not to call 1t coarse
ness of FIBRE which makes Gretchen a national
type. Heinrich Dorm, German, once tcck upon
himself defence of the hapless French maiden
against the attacks of his countrymen. and
pointed out the fact that the Gallo malder
actually stands on higher ethical plane than
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22

has remained the embodiment Of dramatic I'M
peccabiity." He one OF the first OF Wag-
ner's disciples in France. but his lyrical trend
did not permit him to follow the German poet
composer to the logical outcome OF his theories
The influence OF Wagner is obvious In Faust,
the music Of which is entirely emancipated from
the bondage of set forms. Here Gounod thirty
years ago vas more advanced tnan berlioZ VINO
is generally imagined to be in the front rank or
musical radicals in France But his admiratl'n
for Wogner's music seems to have stepped short
nj "Lohengrin" Speaking Of Wagner to Dr.
Hauslick fifteen years ago, he said:
I'VE are now travelling in diametrically oppo-
site directions. In the same degree that Wag-
ner Is growing more and more arthciai' heaVy
and complicated, | am becoming more simple
and DESTROYS to achieve my ends by unaifecteu
means and truthfulness Of feeling NOUS nous
tournons lie dos" Four years ago Mademoiseie
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22
employment Of ones means proportioned to the
wealth Of ones ideas"


There was, throughout his life. strong relig'
ious trend in Gounod's nature. This ran ont.
however. in mysticism Of thought rather than
asceticism Of conduct the incident Of his un.
fortunate experiences with the English woman
Georgina Weldon, vouches for that. 1t was this
dreamy prediction for religious philosophy.
dc ubtless that me de him resort ever and anon
to the province Of ecclesiastical music. 1t seems
more than likely that in his younger days ne not
only contemplated entering the priesthood, but
actually took the first steps. Already In Rome,
he left the official home of the Institutes p nson.
ers, the Villa Medics, and entered seminary.
and he wore the conventual robes for years
after his return to Paris In 1916 set OF musical
oervlces was published as the compositions OK
the Able Charles Gounod." II any reliance In
to be placed on the internal evidences OF his
church music, he must be set down as senti.
mentalist in music. Warm emotions carried him
in the direction that susceptibility to dogmatism
carried List His worldliness however, was OK
n different type from that Of the spoiled aboe
II would seem from external facts land the
seeming Is in harmony with his chart cter) that
the bruises which his heart received in the Wei.
don matter had much to 10 with turning his
thoughts in his old age to religion with some
thing like the intensity Of his early predictions.
He wrote on the score Of THE Redemption" that
II was the work of his life, and he probably be-
leved II. 1t Is to an incident of the birmingham
festival Of 1882 at which THE Redemption" was
produced that the existence Of the autograph
reproduced here In part in fac-simile is due. The
stave printed is from the original autograph OF
the sacred song Power and Love-" the melody
Of which will be recognized as the typical theme
Of the oratorio Gounod attended the Brming.
ham performance and on the Suggestion OK MI!
Alfred H. Littleton Of Novello, Ever & Co., whe
had paid 800 900 for the score, made song QUE
of the theme. Having no text he wrote the
song out in full, putting in the expression marks
with great care, and then suggested to the Rev.
Mr.. Trouhecl the poet in ordinary to Novello.
Ever & Co, the sentiment which he would like
to have the words embody On the Rack Of the
,utograph he wrote these words with a blue
pencil: 20, Jesus, Lord, O Saviour. o Re-
deemer Thou Who hast loved us so inefablyI
How can we deserve Thy love?' etc. This in.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22

Gounod was an eclectic in music. Though his
70 MUS was essentially lyrical, his models were
the kings Of dramatic music-MoZart. Won
Weber and Wagner To his admiration for Mo-
Fart he leaves lovely monument In the little
book published three years ago. entitled lie
Don Juan de Mozart" THE score Of Don
JUAN" he writes has influenced my whole
life like a revelation; for me it always was and
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22

and has boon given nearly 700 times since a' 'nc
Grand. 40 opera has ever had such iccoru'
or Councils other operas only t"' nav w.
teen given i'm America. "Mireilie ana i''''o'
az, I,lic, The fate Of the rest In PARIS pur-
sued them also I'm Germany Austria anu rNs
land "e,nho" is known here only by name dhu
that for the reason that one OF It's htnlpc'S
m, lvre immortce" has occasioha"y o'O"
hoard i'm our concert rooms. 80 also i'i'e"'
Of Haucis." which Mr.. Abbey promises ior "''
,, ,,.r, season has contributed a barytohe
sang GA RENE de Saba" tenor ar soprano
..,o,,, and orchestral march, and "Cnq Mars
romance OF LA Nome Sanglante lie Meue'i"
,t,Igr. Iui'' of which Won liuecw thinks hsh-
-, .r c,Ionhc A." "Povcucte' and "Ic Tribute
H. v.,oor, " we have heard nothing. In 1879
,,.o.,u ottcmntcd TO revive "Sapho.' Gouhod
,o,odelIod the score completely added IN act
-, 4 vrote eighteen new pieces for II; put inc
,.ro cnuId not be made to live. 'Philehi"h u
poucis' WAS also revised, being reduceu "'"'
,broa acts to two. and "Mrec" was recas'
when II WAS transferred to the Opera 'o"lriue'
Tie change # Faust from the l.yriPue ~ III
Grand compelled = remodelllhs oi t"e "''
wi ich according to tradition, had u ne spo
at the former establishment ana suhs "' Wv
latter. The manner in which the WORK was
done compels tn. profoundest adInira'io"' Il"
decd II would be a most difficult TASK " pun
ones finger on the joints now
ono Of the interesting chapters In the history
OF Faust" Is the opposition which 1t met !"
Germany on the part of the writer's Tor '"e pres
Not without reason they reset ted the despo'"n8
OF their greatest dramatic poem by the con-
scienceess French librettists who cared ho'hins
FOR it's deeper import. and took only It's 'oVe
story. which they tricked out with adorh'"e"''
of their own. After all. however, tLey hau "
surrender to the all-compelIing ioveihesS u ''''
music; and then they sought To case their pa',r
otto consciences by changing the ha'ie y, ',o
onero ,ror, ",aust, to "Margaretha." 1t Is
difficult n see how they benefited in any way
by tb,. change. for. as matter Of fact. there Is
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-10-22
4 DINNER or BALL DRESS.
GLIMPSE OF A PARIS FASHION.

a dainty gown which suggests the dress OF
French court lady Of former time comes from
Paris. 1t is Of white gauZe, the sKlr' ui'hmel
with a full ruchc revealing ut the side n deep
rufle of white lace over rose-colored taneta. y