Hjalmar H. Boyesen

Summary

Hjalmar H. Boyesen Ilka on the Hill Top (collection… (1881)

Her maestro had told her repeatedly that she had naturally a better voice than Nilsson, and that, if she could dry up for ever her fountain of tears, she might become a great artiste. For Ilka had the deplorable habit of crying on very slight provocation. The maestro, with his wild hair, his long, polished nails, and his frantic gesticulations, frightened and distressed her; she thought and spoke of him as a kind of curious animal, and nothing could persuade her that he and she belonged to the same species. Nor did Mr. Hahn and Fritz seem to her more than half human.
Source: Wikisource

Hjalmar H. Boyesen Ilka on the Hill Top (collection… (1881)

It is not to be wondered at that Ilka did not thrive in Berlin as well as her mother did; just as the tender-petaled alpine rose can only breathe the cool breezes of its native mountains, and withers and droops if transplanted to a garden.
Mother Uberta was by no means blind to the fact that both Fritz and his father had designs on her daughter, and having convinced herself that their prosperity rested on a solid basis, she was not disinclined to favor their suits.
Source: Wikisource

Hjalmar H. Boyesen Ilka on the Hill Top (collection… (1881)

A tremendous burst of applause completely drowned Fritz's voice, as Germania walked out upon the stage. She was dressed in white, flowing robes, with a golden zone about her waist and a glittering diadem in her hair. A mantle of the finest white cashmere, fastened with a Roman clasp on her left shoulder and drawn through the zone on the right side, showed the fierce Prussian eagle, embroidered in black and gold.
Source: Wikisource

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