davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-07

RELIGION.
THE KINGDOM OF GOD, and Other Addresses
in America. BY Henry Drummond limo.
Cloth. New York: James Pott d Co. 81
THE BOOK OF COMMON PRAYER. The 3ooth
Anniversary Of Its Publication in English.
Rv the Revs s. and l. Hart. ID. u. q pages.
New York: James Pott d 20.
THE AMERICAN CHURCH ALMANAC AND
Year Book of the Church. 400 pages. Sew
entieth year. New York: James Pott q co.
IS and so cents.
MADONNA AND CHILD. BY Elliott DsInsu-
field IA reproductions from original piano
types and carbon prntings. New 1oik:
James Pott Co.
THE CEREMONIAL OF THE ENGLISH
church. BY the Rev. Vernon Staley. ~
pages New York: James Pott Co.
GOT AND PRAYER. Discussion OF the
Reasonableness Of Prayer. BY Boyd vincent.
New and cheaper edition. Paper. New YORK.
lanes Pott & Co. 30 cents.
MISCELLANEOUS
THE BLUES CURE BY Della Lyman Porter.
New edition. New York; James Pott g. Co.
35 cents
HANDELs MESSIAH Gem edition. complete.
WIN words and music. New York: James
Pott & CO. so cents.
REA1yTIFTJI. THOUGHTS FROM CHARLES
kingsley. Arranged as thoughts LOT every
day in the year. By Philip W. wilson a4f
pages Illustrated by Blancne McMahus'
New York: James Pott Co. 20 cents
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-07
The Oceanic's Book Plate.

The new White Star boat recently arrived
"a notable in having a most artistic DOCK
Mate in use upon the books in the ships
library. The book plate is by Linley Sam
bourne. one of the artists Of Punch, who
previously made design for the plate USED
by Clement X Shorter The Oceanic plate
contains a large white star with radiating
light rays in which are some lesser
stars On either side Of the large star ap-
pear female figures symbolizing Europe and
America. The lower part Of the plate con-
tains a picture of the launch OF the steam
ship Oceanic, with the name OF the steam
ship company below all. The plate was e1-
hibited at the eighth annual exhibition OF
the London Elk Lbris Society. 1t Is pho
togravure.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-07

copies printed for la Societe des Amis q"
I.ivre. bound by Marius Michel; Dorats
lies Rasers" with Essen plates, being the
hest edition OF ITO. bound by Chambolie
Duru. Merimee's Carmen" with original
water colors. with an exquisite nosA'tu'
binding by Ruban The Praise OF III
ness" by Boniface Onophilus' pr'n'eu -
London in 1912 and bound by SamDiaiih
weckesser. and paul ct Virginie' pei's
one of the fifty copies on Japan paper OF Tue
Iaunette edition, with four sets OF plates
one OF them on satin. The binding Is Wy
Marius Michel. and there Is included a"
original water color by Maurice Leio,.
other bindings to be exhibited are the WORN
~ Kaufman. Zandorff David and others
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-07
Two Old Favorites Reprinted.

Two old favorites will be reissued shortly
in the binding and letter press OF To-Day
They are salad for the Solitary and So
cial" and Evenings with the Sacred 70
cts" which Is an anthology for hymn low
ers. The author of both. Mr. Frederick
Sanders. now In his ninety-second year.
was librarion Of the Astor Library tor
nearly forty years. He gathered in these
volumes the essence Of his wide knowledge
~ hooks. and, in the spirit OF gracious
bookworm," he imparts to others .ne 'e-
su,ts Of his literary borings. the pupiishe'
Is Thomas Whitaker.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-07
TWO NOTABLE BOSTON REPRINTS

D. c. Heath & Co Of Boston nave just
published an edition Of Dante IN hVe VOL
umes. translated by Dean Plumptre' whose
rendering is recognized by some as one oi
the most poetic and scholarly that has ever
hoer made. Heretofore Dean Plumptre's
,york has been published only In expensive
and cumbersome form The new edition
iii no q handsome and attractive one IN
five small volumes. The texts will be fully
illustrated. The same firm also announces
that Prof. Richard G. Moulton OF the UNI
versitv of Chicago has revised and largely
rewritten his book upon 1.-THE Literary
study Of the Bible" The new edition VIII
include nearly one hundred pages more than
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-07
OTHER BOOKS.

lists received too late for classincation)
HISTORY AND BIOGRAPHY.
HISTORY OF THE CHURCH IN GREAT BRIT
AN Py the Rev. w. ". Hutton. 9S pages.
New York James Pott Co
POINTS IN CHURCH HISTORY IN SCHOOLS
and Colleges With Preface by the Rev.
Thomas Kichey, -. ID Second edition. re-
vis.d and erlarged New York: James Pott
& Co 81.
LIFE OF JAMES DE KOVEN. D. D. by the
Re- William G. Pope. illustrated Emo.
Cloth New York: James Pott a. Co 81.
HISTORY OF THE DIOCESE OF TENNESSEE.
BY the Rev. Arthur Howard Noil. Illus
trated i2mO Cloth. New York: James Pott
4 co 81.
THE PLANTING OF THE CHURCH. A Com
p'1dium Of Missionary History. ~ l.nez Z.
Jarvis Vol missions and MISSIONARIES
Before the Reformation. Vol U.-P1st Kei-
omafon and Missionary Progress New
lOIf: James Pott x Co.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-07
Friends Not to Be Forgotten.

THE NEW YORK TIMES SATURDAY REVIEW.
with the regular news pages OF SATURDAYS
NEW YORK TINES, may be sent to any adj
dress for one year. postage prepaid, for
s1.OO. Readers who already have the paper
for themselves may find here an opportunity
for passing the pleasure on to friends who
have Il not. 1t is a much simpler way than
mailing copies themselves. and their frienda
viii be sure TO get the paper regularly.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-07

the old edition. The order OF chapters Will
be rearranged. and many OF the Judgments
stated in the first edition will be modined.
The new edition will also be more hand
somely bound.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-07
An Exhibition of Bindings.

Tn 2 few days Meyer Brothers & CO. Will
omen their exhibition of bindings A'nonh
9th r. items will be shown Murgers ocehes
de la Vie de Boheme.' one Of the thirty
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-07
HERBERT S. STONE & COMPANY
BIOGRAPHY. ETC.

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there Si s. eye d ss sag ss -S
he % history Of e MS f IS Complete record the
f. :Isss %s '.S :; %;Is e.: s
Sir Arthur Sullivan His life story with letters and remin
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This authorized biography Of the has been
Of
Some Players" by AMY LESLIE to- sevenyhve numbered
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cHJcAGO HEQREQT 6 STO
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-10-07

TNllOW KEAUY ll1LS DAY.
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The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-03-19

ing love. Fidelity was foreign to her ma.
ture.
1 have studied Carmen long and seri-
ously OF course. I have been guided by
precedent. but 1 have striven also for
originality in my Interpretation. The IL
bretto gives Carmen as she was, and that
portions of it are of necessity omitted is
sufficient proof as to the kind of woman
she was
There is but one sad moment in Car
mems life. and that is when she is read
ing her cards. They tell her she must
die, and being imbued with superstition
she is depressed; but the entrance of the
Toreador banishes it in the twinkltng of
an eye. These are some of the finer
phases of the character dwelt upon by
all artists Their very suggestion tells
that portion of the story which it is phys
ically and morally impossible to portray.
How do 1 prepare for performance of
Carmen?
Very much as one does for any physi-
cal contest The performance is exhaust
ing to a great degree. The day of the
evening upon which 1 am to appear
rest quietly and never speak. receive
no visitors performance of Carmen
completely exhausts melt is positively
killing 1 have many changes to make,
and from the beginning 1 have to be all
life and fire. Carmen demands that an
artist be ever ready and attractive, ana
this can only be obtained by ones keep
ing in tfie4Diak of condition.
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-03-19
DE LUSSAN'S IDEA
OF the
Character of CorrDen

To begin you must know 1 consider
Carmen very fascinating person true
she was utterly devoid of any moral prin-
ciple, for her passions were those OF an
animal; but for all that, she was wo-
man. which extenuation monsieur must
admit covers a multitude of faults, or as
in Garments case.-sins.
To my mind. Garments last love was al
WAYS her strongest 1t was If you choose
the dominant force in her existence. She
was a woman at once thoroughly fasci-
mating and wicked, and 1t was the latter
that made her the former. There was
absolutely nothing sweet about Carmen.
I believe she was capable of loving a
man sufficiently well to kill him, for a
study of the character shows her to have
been ruled by I4er passing passions. But
she was not capable Of fidelity or last
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-03-19
as much q part of the city
life as street S1OeepiD9-
WjU develop into the high
est musical intelligence.

670 MEXICAN audiences are over
II N indulgent An artist is always in
~ danger OF. being spoiled by their
u y good nature. An open expression
of disapproval is sometimes as necessary
for the careless artist as Is spank
ing for the spoiled child. In this coun-
try If an artist does not feel well or is
lazy she need not take the usual note and
tra audience will not complain. Abroad
such proceeding would meet with mark
uisapproVal.
But 1 love the American audiences just
the same, and l am glad to say that all
good-humored indulgences in the world
could not make me less painstaking and
conscientious.
Italy and Spain are the only two coun-
tries abroad in which 1 have sung. I
have been on the stage but four years,
so have not yet had an opportunity to
sing for many nations. But L am sure
that to be weighed musically in the same
scale with Italy and Spain is sufi-
ciently severe test.
Bravo for America! I say. For when
you consider her disadvantages and youth
you cannot but marvel at the musical
intelligence of her audiences. They feel
fntuitively what they lack in technical
knowledge. There is good raw material
in the American audience that some day
when good opera Is as much part of
the city life as street sweeping-will de-
velop into the highest musical intelli-
gence.
The vital spark is there-without which
neither singer nor audience can fill their
respective places. For an audience. like
a singer, that is bubbling over with mag
netism can be forgiven much. And be-
cause American audiences have this quail
ity they will some day have the techni-
cal as well as the intuitive appreciation
That the American audiences are like
those in Milan or Madrid I cannot say.
Why, even the beggars go nightly to the
operas there, as have their fathers for
generations before them. Music is bred
in the bone and breathed in the air 1t
is as much part of their lives as eat
ing and drinking.
In San Francisco, more than IN any
other American city in which L have
sung. I am reminded of the Latin auo
ences. Why, even on the streets see
type constantly And of course they
very sympathetic to me.
On the first night that l sang saw on
the faces of my audience the same ex-
preston that has inspired me in Milan
and Madrid. That means more TO me
than handclapping and shouts.
1t is really hard for me TO say what the
American audience isfor L keep think
ing of what they will be-
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-03-19

I was prepared for the long musical
stride which America had taken in so
short a space of time.
American audiences progress as rapidly
musically as does America commercially.
Each time that I have sung here I find
that the faults of the previous year have
either become less noticeable or are en-
tirely mended.
Four years ago, on my first visit, I was
charmed. Each succeeding season showed
such a marked improvement that now I
am doubly charmed with America. This
may not be good arithmetic, but it has
the saving quality of truth.
America progresses so rapidly that
what we say of her to-day will to-mor-
row no longer hold good. 1t is a Won
derful soil which to transplant the
European arts. Fifty years hence Amer
lea will have advanced muscally beyond
recognition. Time has proven that the
danger lies not in predicting too much
but in predicting too little for America.
The striking difference in American and
European audiences is that the ladies
here take more interest and are so much
more appreciative than the men. I think
in every branch of art in America 1t is the
same-the ladies lead.
But this is perfectly natural growth.
First comes the business of a nation, then
the art. American men have been too
busy with affairs of state to cultivate art.
w
selves to business, the ladies have had
an opportunity to study the artistic.
AS I SAID before, America moves so
rapidly up the scale that 1t is hard to
place her musiCally with other nations.
But l think I may say that the two most
musical American cities in which 1 have
sung are Boston and Philadelphia. They
are typical American cities, and it is only
such that ! am considering when I make
this assertion New York is too cosmo-
polftan to serve as a model of American
audiences. People from every cline and
Of every nationality go to make up its
audiences.
I never received a more delightful trib-
ute than in Ada" last Thursday night.
No one could ask more of an audience,
that small in numbers. was so great in
appreciation. But of course 1 can not
place San Francisco musically from one
or two performances. Its musical in
telligence is certainly of a high order.
They tell me that San Francisco IS as
cosmopolitan as New York, so perhaps
1t would not be fair after all to rank it
with typical American cities
The time is coming when the American
man will take the same interest in mu-
sic that the American woman does. And
then the problem of why America does
not give the world great composer VIII
be solved.
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-03-19

GGY UDIENCES are very much the
II Y same the wide world round From
~ Greenland's icy mountains to In
u dias coral strands the singer
finds that the whole world Is kin. When
they like you. and like your work they
show it.
They may give different expression to
their appreciation. What matters 1t if
1t be stamping of feet clapping of hands,
wild shouts of delight, swelling bravo
or a pleading bis that greets the artist?
1t is all sweet music to her ears There
are no geographical boundaries to appre-
citation.
Be it in darkest Africa, If you thrill
It by stamping of feet, cIapping of hands.
your hearers, if you play upon responsive
chords. they will give expression to the
feelings which you have inspired. JOY
and sorrow, laughter and tears, sobs and
signs, they are latent in every audience
awaiting the magic of a voice that shall
awaken them.
What moves an audience of one nation
atty may not affect the audience of an
other cline Yet this is true only in a
slight degree. On the surface the child
Of the blue sunny skies is very different
from the child of the northern star. And
what touches one on the surface does
not move the othet. But. after all they
are brothers with the same elemental
feelings, and If you strike deep down in
their hearts you find the same chord Vi
brating.
Whether an audience is moved and
knows technically the wherefore or
whether it simply feels without asking
the why matters not.
American audiences feel. Who shall say
otherwise? Not one who has looked out
tIpon that sea of mobile listening races.
Not one who has seen them sway with
q common impulse toward the singer
Not one who has felt their magnetism,
their responsiveness, their sympathy
Not one who through the glare has
watched eyes soft with unshed tears or
trimming over with laughter.
When an audience gives an artist TINS
che can ask nothing more The American
audience does give it. The soul OF the
SINGER and the soul of the audience clasp
hands across the footlights in america
lust as tenderly and earnestly as III any
other spot on the globe.
If YOU asked me whether the Aiiiell 80 l
Deople as whole are as muslcal as othel
nationalities, that would be quite dllo 'n ne
matter But those who frequent ene
onera. those who make up the American
audience. differ very little from other au,
diences. Tt is not alone the croWdeo
house hut there is the same enthusiasts
TO inspire the artist.
II would be almost impossible LOT me
4o n1ace any one American city ABOVE an
etter as far as unsteady Intelligent auoi-
ences are concerned.
For as l said before, audiences are s
.-or,, much the same the wac "ol III
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-03-19

audiences. There is good
r0U material In the inner
lean audience that some
dny-When good opera is
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-03-19
CHALIA BraUa for Amer

lea I I say. For w7een you
consider her djs0dU0n-
taees and youth you can
not but n1arUel at the no11-
sic0l intelligence Of her
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-03-19

across the footliehts in
.ADaericG just as te7aderly
and e0r7oe silly as in any
other spot on the globe.
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-03-19
DE EUSSAN: This blend

DE GUSSAN: This blend
inc of races has made Of
the american audience o.
thing like, yet unlike
eUerY other audience In the
U0r5d. There is the sure
footed applause of the for
ei6n element. Which k1a0tCS
Ubereot it 0Dpl0UdS, and
the applause equally GEN
Uine but more tin1Jd from
those 1Oho are not to opera
houses born.
The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-03-19

GR HE American audience is very
much like the French audience.
If it thrills to your notes there is
y the same genuine generous out
burst of enthusiasm.
An English audience may appreciate
the artist fully, but the Anglo-Saxon
GOODNESS is a constant checkrein on en-
thusiasm. They may love you as much
but they are not so demonstrative. They
make no outer show of appreciation. yet
the artist feels the silent bond of sympa-
thy.
Since America is first cousin to England
one might expect very much the same
from American audiences. But who are
cousins scarcely less removed? Italy
France. Spain, Germany and a dozen
other countries have right to claim dis
tant relationship. For from each and
every one of these places America has
added to her population and to her cos
mopolitan aspect.
This blending of races has made of the
American audience a thing like, yet I'M
like. every other audience in the world.
There is the sure-footed applause of the
foreign element which knows whereof 1T
applauds, and the applause equally gen.
uine but more timid from those who are
not to opera houses born.
For in Europe where every city has It's
own opera-house the people go nightly
to the opera. The market woman NUNS
an air from the opera over her wares,
the urchins sing at their play and there
is literally music in the air. The music
of the streets is from some opera that mas
caught the popular ear.
And that the ears of the masses of such
countries should be attuned to good mu-
sic is natural. Likewise a country where
music is reserved for especial occasions
has not the musical capacity of more
fortunate land. In Europe for cent
one may hear band beyond compare,
and for little more money drink in the
sweet sounds at the opera.
There is this great difference in the
masses-the American urchin whistles
the latest coon song-the French raga-
muffin sings an air from the opera.
But the American people who do have
musical advantages, who do hear opera,
they make a charming audience before
which any artist is glad to stand.
There is no more interesting audience
in the world than the American and
none more inspiring. For almost every
nationality is represented and the typi-
cal American, with his keen understand
ing. rare responsiveness and willingness
to learn, gives to the assemblage a naive
touch not found elsewhere.
San Francisco is no exception, and
whatever nationalfties go to make up its
audiences, the whole is certainly delight
full for the artist to whose lot falls the
sweet pleasure of appearing before them