File:The real Latin quarter (1901) (14586320719).jpg

Identifier: reallatinquarter00smi (find matches)
Title: The real Latin quarter
Year: 1901 (1900s)
Authors: Smith, Frank Berkeley, 1869-
Subjects: Artists
Publisher: New York, Funk & Wagnalls Co.
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Smithsonian Libraries

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Text Appearing Before Image:
essary stage paraphernalia of the cabaret,
and the admission is generally ay a franc and
a half, which includes your drink.
In the anteroom, four of the singers are
smoking and chatting at the little tables.
One of them is a tall, serious-looking fellow,
in a black frock coat. He peers out throug
hhis black-rimmed eyeglasses with the so-
lemnity of an owl—but you should hear his
songs !—they treat of the lighter side of
life, I assure you. Another singer has just
finished his turn, and comes out of the
smoky hall, wiping the perspiration from
his short, fat neck. The audience is still
applauding his last song, and he rushes
back through the faded green velvet por-
tieres to bow his thanks.
A broad-shouldered, jolly-looking fellow,
in white duck trousers, is talking earnestly
with the owl-like looking bard in eyeglasses.
Suddenly his turn is called, and you follow
him in, where, as soon as he is seen, he is
welcomed by cheers from the students and
girls, and an elaborate fanfare of chords on
the piano. When this popular poet-singer
has finished, there follows a round of ap-
117
Text Appearing After Image:
A POET-SINGER
plause and a pounding of canes, and then
the ruddy - faced, gray - haired manager
starts a three-times-three handclapping in
unison to a pounding of chords on the piano.
This is the proper ending to every demand
for an encore in "Le Grillon", and it never
fails to bring one.
It is nearly eleven when the curtain parts
and Marcel Legay rushes hurriedly up the
aisle and greets the audience, slamming his
straw hat upon the lid of the piano. He
passes his hand over his bald pate—gives
an extra polish to his eyeglasses—beams
with an irresistibly funny expression upon
his audience—coughs—whistles—passes a
few remarks, and then, adjusting his glasses
on his stubby red nose, looks serio-comic-
ally over his roll of music. He is dressed in
a long, black frock-coat reaching nearly to
his heels. This coat, with its velvet collar,
discloses a frilled white shirt and a white
flowing bow scarf; these, with a pair of
black-and-white check trousers, complete
this every-day attire.
But the man inside these voluminous
clothes is even still more eccentric. Short,

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