A New Sensation. Albert Ross

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СКАЧАТЬ but restful. The particular temptations I was to avoid were rather too plenty on the other side of the Atlantic to trust myself there. I was more inclined toward some of the South American countries, till I happened to read in a despatch that yellow fever had broken out there, and I knew that those quarantines were something to be avoided at all hazards.

      Thinking of quarantines suddenly brought back the memory of a trip I had taken three years earlier to the Windward and Leeward Islands, where I had been detained in the most comfortable quarantine station in the world—the one at St. Thomas.

      I smiled to recall the discouraged feeling with which I and my travelling acquaintances heard, at the little town of Ponce, in Porto Rico, that we would have to be detained under guard fifteen days when we reached St. Thomas; how we had the blues for twenty hours; how the indigo darkened, when we were taken from our steamer and landed from a row boat, bag and baggage, at the foot of a long path that led up to the Station.

      And then the revulsion of feeling when we found the cosiest of homes awaiting us! The hearty welcome of Eggert, the quarantine master and lighthouse keeper; the motherly smile of his wife; the cheery welcome of his daughter, Thyra; the bright little faces of Thorwald, his son, and of the baby, Ingeborg; even the rough growl of "Laps," the Danish hound, had no surliness about it.

      Then the comfortable beds in the little rooms, curtained from all obnoxious insects; the five o'clock sea baths in the morning, inside the high station fence that we must not pass; the meals an epicure need not have scoffed at; our first acquaintance with a dozen varieties of the luscious fish that abound in that part of the Caribbean.

      I remembered them all, as if it were yesterday, and at this juncture that meant but one thing: I must see St. Thomas again, if only to determine whether that fortnight was a dream or a reality.

      The craze which this decision inspired brought to my mind the fact that I was still liable to excitements from which I must free myself. The great desideratum for which I must strive above all things was repose. It was mere suicide to go wild over everything that happened to please me for the moment. The chance was more than even that if my feelings ran away with me over the delights of the Antilles I would awake the next morning with an aversion to that part of the world. It was one of the penalties of my illness that the pendulum of a wish could not swing violently in one direction without swinging just as far in the other. I was afraid this would be the result in the present instance; and I sent for a ticket to Koster & Bial's, while I went to take my dinner at the Club, in order to get a diversion that would be effective.

      Among the entertainments presented at the great Vaudeville house that evening was the startling sensation known as "Charmion," and I was not sorry to see it, even though I had to hold my breath during part of the exhibition. At the risk of relating what a large number of readers must already know, I will describe briefly the act given by the young woman appearing under that title.

      When the curtain rose nothing was visible except a trapeze about twenty feet above the stage, and a rope hanging loosely beside it. Presently there entered a woman in full street costume, who inserted one hand nonchalantly in a ring at the end of the rope and was drawn lightly to the trapeze. Here she sat comfortably for an instant; and then, as if by accident, fell backward and hung head down by one leg, bent at the knee.

      Her gown and skirts naturally dropped in a mass over her head, leaving the hosiery and minor lingerie in full exposure, with a liberal supply of what was undoubtedly silken tights, but was meant to simulate the flesh of her lower limbs, in full view. For a second she remained in this posture, and then regained her seat on the trapeze, smoothing her skirts into place, with a pretended air of chagrin at what was intended to be considered her accidental fall.

      Next, with a bit of pantomime which indicated that concealment of her charms was useless after what had happened, "Charmion" stood up on the trapeze and began deliberately to disrobe, in full view of the audience, composed nearly equally of well garbed men and women, and completely filling the house.

      She took off first her immense "picture hat," black with great ostrich plumes, and let it fall into a net spread beneath her. Then she slowly unbuttoned her basque and removed it, exposing some very shapely arms and shoulders. Next came the corset, followed by a delicious rubbing with the hands where the article had closed too tightly around the form. The skirts tumbled to the feet, then the remaining garments, and the woman stood in her long black stockings, blue garters encircling the lower portion of the thighs.

      At this stage I noted a special expectancy in the occupants of the front seats—men leaning forward, with outstretched hands—the cause of which was soon apparent. The fair occupant of the trapeze seated herself, untied her garters and, with a moment of hesitation, cast them, one after the other, into the crowd, where they were seized by the most agile or most lucky of the spectators, and retained as souvenirs. Then came, last of all, the hose themselves, and the actual work of the performer as a trapeze artist began in earnest.

      I will do Charmion the credit of admitting that her act was truly wonderful. Suspended first by the insteps and then by nothing, apparently, but her heels, she passed easily from one round of a horizontal ladder to another, backward and forward, hanging head down in mid-air.

      But it was easy to see that the marvellous exhibition of skill was not what had drawn the immense audience. It was the risqué undressing which had done that. So far as I can learn, she had gone several paces beyond anything in this line hitherto permitted in any reputable American theatre.

      For myself I am glad I saw it, though I would not care to see it again. I was like the young lady who consented after some demur to take a ride on a very steep toboggan slide. "I wouldn't have missed it for a thousand dollars!" she exclaimed to her escort. "Let us try again," he suggested. "Not for a million!" she responded, with equal fervor.

      If such things are to be allowed in metropolitan theatres, I want to "size up," by that means, the taste of what are called the respectable men and women of my time. But I certainly felt a dizziness in the brain when that corset came off in the presence of a thousand individuals who seemed to represent a fairly average respectability of our women.

      I saw young girls of seventeen or eighteen there, middle-aged matrons and several elderly ladies, and I did not detect in a single face the agitation I knew showed in my own. Perhaps I may ascribe my extra nervousness to the neurasthenia from which I had so recently recovered.

      While at this point I hope I may be pardoned a word in reference to the growing taste among our theatrical audiences for what was once called indecent exposure. Our elders relate that New York nearly had a fit when, in the late sixties, the first "Black Crook" company opened its doors at Niblo's. To see women in flesh-colored tights reaching to the hips was so awful that only eye-witnesses would believe it possible, and to make sure it actually occurred, everybody had to go. Then came the "British Blondes," who wore longer tights, and filled them in a more satisfactory manner than those who had preceded. Soldene followed, with a new and startling sensation, in Sara, the skirt dancer, who pulled her underclothing up to her forehead, to the delight and scandal of the bald-headed row—just as a hundred others do now without attracting special attention.

      The demand kept ahead of the supply of indelicacy. Dancers vied with each other in so garbing their lower limbs as to give the impression that they were partially nude, and Mrs. Grundy merely bought spectacles of increased power and engaged a front seat.

      Then came the "Living Picture" craze. As Clement Scott said in his London paper, "We are told that these women are covered with a tightly fitting, skin-like gauze, but this is a matter of information and belief and not of ocular demonstration." The nymph at the fountain stood night after night, like her marble prototype, with the water running down her breasts and dropping from the points thereof. She refused to follow Beaumont and Fletcher's СКАЧАТЬ