Inhaltsangabe
Book may have numerous typos, missing text, images, or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1914. Excerpt: ... going some time to see Elaine do it. I proceed with my tale, leaving the flowery fields of literary style unplucked by the wayside. My seat, which I had not been quite nimble enough about purchasing, was nine rows back and at the extreme right. The ninth row may do very well for some people, but I am a little nearsighted and can never get a pair of opera glasses to focus. So, when Carrington told me he had two seats and suggested that I sit with him, I jumped at the invitation. It was a little disappointing to discover that his two seats were two-thirds of the way back in the balcony. He chose them there, it seemed, and said I would see the reason presently for myself. From our point of view, the rim of the balcony cut off the whole lower floor and the orchestra, so that all we saw was the stage. And before Elaine had been dancing a minute, she had created the illusion in me that I knew was what he meant. She seemed to be making the music she danced to with the motions of her own body while she danced. No, I am not trying to lug in an aesthetic consideration of her dancing under the pretext of talking about something else. Only, I could not mention that I deliberately sat in the balcony during the whole first part of the performance, leaving my own seat in the ninth row vacant, without telling why I did it. And I am obliged to mention it because the fact turned out to be almost capitally important. Really I have sometimes wondered what might have happened, how differently things might have turned out, if I had sat in that ninth row seat from the beginning instead of from along in the third act. The connective tissue of Elaine's show, the relief that you in the audience, as well as she, needed from her dancing and from the almost unbearable excitement of some of her pantomimes, was a...
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