THIS BOOK OF BEDOUINS IS DEDICATED
“À la très-belle, à la très-bonne, à la très-chère.”

“J’aime mieux le désert, je retourne chez les Bédouins qui sont libres....”

Gustave Flaubert.

“The Bedouins camp within Pharaoh’s palace walls, and the old war-ship is given over to the rats.”

Robert Louis Stevenson.

CONTENTS

CHAPTERPAGE
PART I—MARY GARDEN
[I.]Superwoman[3]
[II.]Intimate[15]
[III.]The Baby, the Critic, and the Guitar[21]
[IV.]Interpreter[30]
[V.]Mélisande and Debussy[45]
[VI.]The Artistic Temperament[53]
[VII.]The Passing of Octave Mirbeau[64]
[VIII.]Anarchs and Ecstasy[73]
[IX.]Painted Music[81]
[X.]Poe and His Polish Contemporary[94]
[XI.]George Luks[106]
[XII.]Concerning Calico Cats[118]
[XIII.]Chopin or the Circus?[125]
[XIV.]Caruso on Wheels[134]
[XV.]Sing and Grow Voiceless[144]
[XVI.]Anatole France: The Last Phase[154]
[XVII.]A Masque of Music[164]
PART II—IDOLS AND AMBERGRIS
[I.]The Supreme Sin[177]
[II.]Brothers-in-Law[201]
[III.]Grindstones[216]
[IV.]Venus or Valkyr?[225]
[V.]The Cardinal’s Fiddle[247]
[VI.]Renunciation[256]
[VII.]The Vision Malefic[261]

ILLUSTRATIONS

FACING PAGE
[Mary Garden—Herself][Frontispiece]
[Rosina Galli][24]
[Mary Garden as Mélisande][34]
[Mary Garden as Monna Vanna][38]
[Mary Garden as Salome][78]
[Rosina Galli as the Princess in “Le Coq d’Or”][140]

PART I
MARY GARDEN