Gee whiz,
Fizz,
You shine in our eyes
Like the stars in the skies;
You glint and gleam
Like a jeweled dream;
You sparkle and dance
Like the soul of France,
Your bubbles murmur
And your deeps are gold,
Warm is your spirit,
And your body, cold;
You dazzle the senses,
Dispelling the dark;
You are music and magic,
The song of the lark;
O'er all the ills of life victorious,
You touch the night and make it glorious.
But, say,
The next day?
Oh, go away!
Go away
And stay!
Gee whiz,
Fizz! ! !
[MARY ANDERSON DE NAVARRO]
Mrs. Mary Anderson de Navarro, the celebrated actress of the long ago, and a writer of much ability, is a product of Kentucky, although she happened to be born at Sacramento, California, July 28, 1859. When but six months old she was brought to Louisville, Kentucky, and there her girlhood days were spent. Miss Anderson was educated at the Ursuline Convent and the Presentation Academy, two Roman Catholic institutions of Louisville. At the age of seventeen years, or, on November 27, 1876, she made her debut as Juliet in "Romeo and Juliet," at Macauley's Theatre, Louisville, and her "hit" was most decided, both press and public agreeing that a brilliant career was before her. Miss Anderson's superb figure, her glorious hair, her magnificent voice, made her the great beauty she was, and thoroughly delightful. Leaving Louisville for a tour of the principal cities of the country, she finally arrived in New York, where she was seen in several Shakespearian roles. Some time later she put on "Pygmalion and Galatea," one of her greatest successes. In London Miss Anderson won the hearts of the Britishers with "The Lady of Lyons," "Pygmalion and Galatea," and other plays. Her second season on the stage saw a gorgeous production of "Romeo and Juliet" in London, with the American girl in her first role, Juliet. This "held the boards" for an hundred nights. She returned to the United States, but she was soon back in London, where "The Winter's Tale," her next play, ran for nearly two hundred nights. Short engagements on the continent followed, after which she came again to this country, and to her old home, Louisville, which visit she has charmingly related in her autobiography, A Few Memories (London and New York, 1896), which work Joseph Jefferson once declared would make permanent her stage successes. From Louisville "Our Mary," as she was called by Kentuckians, was seen in Cincinnati, from which city she went to Washington, where she forever rang down the curtain upon her life as an actress. That was in the spring of 1889, and in June of that year she was married to Antonio F. de Navarro, since which event she has resided in England. In recent years Mary Anderson, that was, has visited in New York, but she has not journeyed out to Kentucky. In 1911 she collaborated in the dramatization of Robert Hichens's novel, The Garden of Allah, and she was in New York for its premier.
Bibliography. A Few Memories is delightfully set down, and, though the author made no especial claims as a writer, her book will keep her fame green for many years; McClure's Magazine (July, 1908); Harper's Weekly (January 9, 1909); Century Magazine (March, 1910).
LAZY LOUISVILLE[23]
[From A Few Memories (London, 1896)]
After visiting many of the principal States, I was delighted to find myself again in quaint, charming Louisville, Kentucky. Everything goes along so quietly and lazily there that no one seems to change or grow older. Having no rehearsals I used my first free time since I had left the city soon after my debut to see the places I liked best. Many of my childhood's haunts were visited with our old nurse "Lou." At the Ursuline Convent, with its high walls, where music had first cast a veritable spell, and made a willing slave of me for life, most of the nuns looked much the same, though I had not seen them in nineteen years. The little window of the den where I had first resolved to go upon the stage, was as bright and shining as ever; and I wondered, in passing the old house, whether some other young and hopeful creature were dreaming and toiling there as I had done so many years before. At the Presentation Academy I found the latticed summer-house (where, as a child, I had reacted for my companions every play seen at the Saturday matinées, instead of eating my lunch) looking just as cool and inviting as it did then. My little desk, the dunce-stool, everything seemed to have a friendly greeting for me. Mother Eulalia was still the Superioress, and in looking into her kind face and finding so little change there, it seemed that the vortex I had lived in since those early years was but a restless dream, and that I must be a little child again under her gentle care. No one was changed but myself. I seemed to have lived a hundred years since leaving the old places and kindly faces, and to have suddenly come back again into their midst (unlike Rip Van Winkle) to find them as I had left them.
Many episodes, memorable to me, occurred in Louisville. Not the least pleasant was Father Boucher's acknowledgment (after disapproving of my profession for years) that my private life had not fallen under the evils which, at the beginning, he feared to be inevitable from contact with the theatre. Father Boucher was a dear old Frenchman, who had known and instructed me in matters religious since my childhood. My respect and affection for him had always been deep. When he condemned my resolution to go upon the stage quite as bitterly as did my venerated guardian, Pater Anton, my cup of unhappiness overflowed. All my early successes were clouded by the alienation of such unique friends. My satisfaction and delight may be imagined when, after years of estrangement, Father Boucher met me with the same trust with which he had honoured me as a child, and heartily gave me his blessing.