TARANTELLA:
A Romance.
"The author of this two-volumed romance is favourably known by other works, and by her appreciative 'Life of George Eliot.' The strange effects of the bite of a tarantula spider, so firmly believed in by the Italian peasantry, and the marvellous power of musical enthusiasm, supply the motive of the story; and the characters are portrayed with great force, pathos, and a touch of homely humour."—Bookseller, Christmas, 1884.
"Miss Blind may be congratulated on 'Tarantella,' her first novel. In the récit (as we have called it) of the musician, Emanuel Sturm, nearly all the interest of the book is concentrated. The violinist, poor and unknown, finds himself at Capri. Accident brings him, one evening, to a frightened group of women, one of whom has just been bitten by the tarantula, and, according to the popular superstition, he is implored to play, in order to drive the poison out of her. He refuses at first, but afterwards consents, and, finding himself almost supernaturally inspired, plays an improvised 'Tarantella' throughout a whole stormy night, finally curing the girl. The tune thus strangely hit on spreads, and ultimately makes him famous, but the love he has conceived for his Antonella brings him almost as much misery as his music brings him fame."—Pall Mall Gazette, February 5, 1885.
"Admiration of the delicate sketching now in vogue should not blind us to the very opposite kind of charm of which 'Tarantella' is full. Entirely poetical in conception (save that it is not written in metre), 'Tarantella' is more essentially a poem than many a narrative written in smooth and elegant verse.... 'Tarantella' is indeed full of strange originality and scenic effects of uncommon powers. The dance among the ruins is not likely to be soon forgotten by the most unimaginative of readers, and it is rarely, we think, that in an English novel the psychology of the poetic temperament has been touched by a hand so delicate and at the same time so strong."—Athenæum, January 17, 1885.
"There is abundant imagination, and the language is generally fresh and vigorous.... The author finds many opportunities of introducing scenes from German life, which are evidently written with intimate knowledge.... This is distinctly a novel to read."—Echo, June 16, 1886.
"This powerful and pathetic tale has carried us more completely out of ourselves and along with it than any work of fiction we have read for many a day.... Her (Miss Blind's) word-pictures glow with rich local colours; she is a complete mistress of the art of dramatic cause and effect. When once fairly under weigh, she never allows the interest to flag for a single moment. Thus it is only when we have laid down the final volume that we have time or inclination to pause and recognize the care and art which have contributed to this triumphant result; to turn back ... and dwell on the author's extraordinary knowledge of the human heart—extraordinary alike for its depth and its range. As for the wit and humour with which the book is freely sprinkled, the poetic and artistic spirit which pervades it throughout, they can only be appreciated on a second or a third perusal."—Life, December 25, 1884.
"'Tarantella' is extremely clever, and the treatment of the weird subject she has chosen picturesque in the extreme. The local colouring is especially fine, and her character studies extremely strong. Thrice welcome in its two-volume form, 'Tarantella' is a book bound to make its mark."—Whitehall Review, December 11, 1884.
"We have very ingenious resources in music and the bite of the tarantula, which alone music is said to heal. Notwithstanding the sense of improbability, we follow the strange fortunes of Antonella, Countess Ogotshka, and her almost magical transformation with interest. Mina, the innocent girl, her friend, is well delineated, and Emanuel Sturm, the wonderful violinist and composer, for whose portrait Paganini has doubtless been available, is original, no less than his friend the painter."—British Quarterly, January, 1885.
"'Tarantella' is a very clever story, with plenty of action and not without tragic incidents. The author has also plenty of humour, and there is at least as much light as shade in the book. Mina is not less delightful than the Countess is objectionable, in spite of her beauty and her daring."—London Figaro, November 20, 1886.
"We shall not spoil the story by hinting at its dénouement. It is a deeply interesting one; and the characters, three of them at least, are sufficiently original to give the author a high rank as a novelist.... The book abounds in striking and interesting pictures of Italian and German life and scenery."—Dublin Mail, November, 1886.
"'Tarantella' is, indeed, a novel unlike the common—full of power and imagination and originality.... It would be unjust to deny to this very remarkable book a large share of what the world calls genius."—Melbourne Argus, March 14, 1885.
"By her recent works, 'The Prophecy of Saint Oran' and the 'Life of George Eliot,' Miss Blind brought herself before the public as a writer of considerable ability, and her latest novel will do much to increase her reputation.... 'Tarantella' deserves to be classed among the best novels of the present day."—Scottish News, June 15, 1886.
"There is an inherent charm about 'Tarantella' which will be apparent to the reader from a perusal of the first chapter. This agreeable quality does not end there, however. The whole of the tale, which is divided into forty-six chapters, is permeated with features of an exceptionally attractive description. Not the least noteworthy character of the story is its novelty. Most of the incidents, which are carefully elaborated and follow in logical sequence, are conspicuous for an airy freshness in nature and treatment. Every chapter has its specific purpose, there being a uniform overflow of idea and sentiment; and each development of the pleasing romance opens to the mental vision of the thoughtful reader incidents of a more or less engrossing description. Continental scenes and customs are described with freeness and perspicuity, and the varied and eventful adventures of the principal characters—pleasingly typical, it may be mentioned, of the romanticism invariably associated with 'love's young dream,' when, as in the present instance, there is a combination of youth and beauty—are recorded with a poetical fervour and gracefulness of diction which are certain to be generally admired."—Western Daily Press, June 2, 1886.