New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-10-25

Everybody applauded me wildly" The
origin of the Serpentine Dance was an
accidental discovery. Miss Fuller was
to take the principal part in q play
entitled "Quack, NJ. D." To this, as
hypnotism at that date was very much
10 the fore in New York. was added
scene in which DR.. Quack hypnotiZed
young widow. To give the scene its full
effect was needed very sweet music
and indeterminate illumination. Miss
Fuller found in her wardrobe a robe
which looked thoroughly original. per-
haps even a little ridiculous" But 1T
was entirely suitable for the hypnotism
scene, which we did not take very
seriously" The play was failure. but
out of this hypnotism scene. in which
the winged spirit" was wildly APP
plauded TO accompanying cries OF It's
butterfly and It's an orchid
grew Miss Fuller's fortunes as dis
tinguished dancer.
The "reminiscences Of Clara Louise
kellogg. who is now Nine. StTakosch
have somewhat more the interest and
the quality of history rather than the
flavor of personality. Her name, thirty
years ago a household word in America
Is known to the immediate generation
chiefly as an echo Of the past. This
Yesterday, Of which she was an illus
4
trious part. is that thought Of tenderly
by our fathers and mothers, and one
Of perfumed charm. She has invoked
the spirit of that day very successfully
To turn through the illustrations Of
this volume, which is like coming upon
some curious old photograph album, as
an excellent preparation for reading IT,
The author tells US how she was first
instructed in the difficult feat Of falling
gracefully in hoop skirt. She tells
how as a girl she was fascinated by the
negro Ministries, and that II is "a thou
sand pities that they have passed
away" With her we view the smart
hostleries of old days and enter thea
tres long passed away. She mentions
reception given by the father Of
Brander Matthews. She made her
debut in Boston when II was at the
height Of its literary reputation, and
has intimate memories Of dear Long
fellow" his laxative" brother In law.
Tom Appleton, Hawthorne, Lowell. Aid
rich, "a blond. curly headed young
man." dear DR.. Holmes" the Fields,
Julia Ward Howe, whom she admired
as "a representative type Of the highest
Boston culture" and Of the author Of
Uncle Toms Cabin"
The curious situation Of opera in Civil
War days is brought before us. when
the Star Spangled Banner" and sim
liar patriotic songs were introduced
into the middle Of Italian scores.
And an odd reminder is given Of
almost forgotten things where the
writer mentions that one time,
while touring in Missouri, she rode
in the same train with person
age not uncelebrated in his day. one
Jesse James. But of course this vol
ume is primarily a contribution to the
annals Of the evolution of musical art
in North America. Miss Kellogg cre-
ated the role of Marguerite in Gounod's
Faust" in this country, and Of Mig
non, in Ambrose Thomass opera of
that name; she produced Wagner's
THE Flying Dutchman" for the first
time in America, creating the role OF
Senta, and was the first prima donna
TO sing Aida" and Carmen" in Eng
fish. She appeared in opera in London,
in Berlin. Vienna and st. Petersburg.
and was the first American prima
donna to win recognition abroad. Her
memoirs are filled with anecdotes Of
the stage people of the time. She as
sisted in launching" Helena Modjeska;
and Adelina Patti Ellen Terry and Sir
Henry Irving were then in their prime.
The volume contains much interesting
discussion Of voice culture and OF the
study of music in general.