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American IMagazine Section of Fearst's Sunday American, Atlanta, January o, 1916—
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Curious Sketch of Ida Rubinstein as St. Sebastiar
Undergoing the Ordeal of Fire
-
Paris, December 30.
HEN Ida Rubinstein, the famous
French dancer and actress, withdrew
herself in a day from all her extrava
gances and luxuries, donned a nurse's
gown and started in to take care of wounded
French soldiers the experienced boulevardiers
snéered cynically.
“The gay lda will be back among her frivoli
ties within six months,” they said.
When a few days later it was announced that
Mlle. Rubinstein had not only declared her in
tention of devoting every thought and moment
to France as long as the war lasted, but was also
using her own money to establish a hospital in
which she would be simply an humble nurse, an
other chorus of incredulity arose.
Nevertheless, as was reported in this news
paper at the time, Ida Rubinstein, a butterfly of
the Parisian butterflies, whose whims and ex
travagances had made her known throughout
the civilized world as a symbol of gay. unthink
ing, luxurious Paris, calmly went on her way
and did just as she had said she would.
Now, after a year of bitter test, in which she
has nursed scores of soldiers, has done every
humble and frightful task that war throws to
the nurse’s lot and has maintained a costly hos
pital, which has done immense good, the attitude
of Paris toward her is as different as the Ida Ru
binstein of to-day is from the Ida Rubinstein of
before the war. Her frivolities seem to be gone
forever. In the place of the butterfly is an ear
nest, capable, sympathetic and useful woman,
who is doing a great work.
“The old Ida Rubinstein is dead forever,” she
said recently. “What this new Ida Rubinstein
will be after the war I do not know. I cannot
see—ll have not time to think of—any life after
this. All that I know now is this succession of
torn, wounded ,boys of France brought to me
from the battlefields. My one desire is to turn
them out from here as well and as happy and
as whole as possible. Beyond that I think of
nothing. Let the future take care of itself.”
Many reasons have been given to account for
this sudden revolution of character. Paris has
at last agreed that the change in Ida Rubinstein
first began to show itself when she took the part
of the martyred St, Sebastian in the play of that
name written for her by the Italian poet D’Ar
nunzio, who was and still is passionately in love
with her.
Into “St. Sebastian” D'Annunzio poured all of
his fiery imagination and wonderful poetry. He
made St. Sebastian convincing. In moving
through, night after night, the scenes which the
poet's genius had created, the frivolous woman
herself became convinced. She began to think
as St. Sebastian.
Indeed, the parallels ,between the lives of the
two are curious in themselves. Sebastian was
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This Developed—
Ida Rubinstein as She Is Now, a Serious-Faced,
Earnest Nurse, Taking Care in Her Own Hos
pital of France’s Wounded Soldiers
a Roman youth, a favorite of the Emperor Dio
cletian. At that superlatively luxurious and ex
travagant court he wasa leader in extravagances
and wild dissipations.
Ida Rubinstein was the idol of the most ex
travagant life of Paris, and she was a leader in
it frivolities. Over night, Diocletian’s favorite
—go the legend runs—thrust his old life away
from him and threw in his lot with the perse
cuted Christians: He was tempted, held firm
and suffered martyrdom at last.
In his play D'Annunzio made his St. Sebastian
go minutely into the reasons why he preferred
poverty and death for a great cause to the pleas
ures of Diocletian’s court. All of this worked in
the mind of Ida Rubinstein, says Paris, like a
leaven. All it needed was, as in St. Sebastian’s
case, & great cause to fix it into a purpose. The
war provided Ida Rubinstein with her cause.
~From This
And This Is Ida Rubinstein Just Before the War—
the Gay Idol of Frivolous Paris, Wasting Her
Time on Lion Cubs and Other Extravagances
Over night, like St. Sebastian, she changed.
Mille. Rubinstein is a Russian, but she has
lived so long in France that she is really a
Fpenchwoman. She herself seems to confirm
this theory of Paris that her “St. Sebastian” has
transformed her.
“It was a role to bring out the soul,” she says.
“I became spiritual through it, and it taught
me the best things of my life; it made me look
beyond the things of the flesh to the eternal
things of the spirit wherein lie the calm seas of
existence,
“1, like all the people of my race, was full of
exuberant joy. I loved impetuously, and was
ecstatic with joy or frozen with sorrow.
“Then came the change. Ah, happy change,
when 1 was made to face suffering and the bit
ter physical hardships. Then I learned to look
within; then I learned that I had a soul.”
Charsctors in “St. Sebastian,” Which the Poet D'Annunsio Wreote for lda
Rubinstein—Drewn by the Great Russian Colorist Bakat
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Drawing X; Dy 9 | T
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Mile. Rubinstein / Nt o
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That Caused *%» A ‘Et\ B
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Her Reformation *"&;. : \\“\: AR T
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Copyright, 1916, by the
Nar Company
Oreat Britain Rights Resersod