While most people who know about Scott Joplin are certainly aware of his magnificent opera Treemonisha, few are aware that he may have written or sketched out at least one or more earlier attempts. I have interpreted parts of the highly melodic C section with contrasting dynamics and a bit of rubato in places. Will Rossiter of Chicago was likely ecstatic to have such name recognition associated with his company.

It should be also noted that this was one of the rags not published by John Stark, as it was offered during a period of cooler relations between the two. The interlude in the C section, while not clearly a full-fledged section itself, is still a complete 16 bars in length, and utilizes classical development techniques in a sophisticated manner. The use of repeated phrases starting on off beats results in more interesting accumulative phrases. The pattern of repeated bass octaves is present throughout the piece, providing continuity. Eugenia is one of Joplin's better examples of 'coloring outside of the lines.' In spite of his use of the common cakewalk/march pattern of a repeated interlude in the C section, this rag transcends many old ideas. However, after some examination of the piece it became evident that the two plants bookending the cover were of the Eugenia variety, and since that is consistent with the flora-based names of many other Joplin rags, it is likely the basis for having named this one. Louis, rather than a woman (both naming methods a common practice) that was some two blocks behind Tom Turpin's Rosebud Cafe according to a 1904 map.

Some sources suggest this piece to have been named for a street in St.

Scott joplin ragtime piano player