Skip to main content

Full text of "Dramatic and musical criticisms"

See other formats

ti 1 1 1* ' I l i " ^l l> M ^^' T ■ ■ ■ ^ ■ • 







































Wfts It not tn "Ollvetta" that som* 
one sang: "Now la the time for dlsap- 


Mme. Leglnaka has nequlred the fine 
art of disappearing at the psycholoKlcal 
moment. (The consequent publicity 
must have been painful to her, for 
musicians are notoriously sensitive ) , 

But Mme. Lpirln.=;ka hns also acquired 
the art of nppearlnir. She will give a 
concert tonight with the Now York 
String Quartet In Jordan hall. Tho 
program Is thus arranged: Snietana 
Quartet ("From My Life"); Laglnska, 
Four Poems for String Quartet (after 
Tagore); Franck, Pianoforte Quintet. 
The N. r. String Quartet was founded 
by Ralph Pulitzer and his wife. The 
members ara Ottokar Cadek, Jnroslav 
Siskovsky, Ludvlk Schwab and Bedrlch 
Vaska. The Quartet, founded In 1919, 
I played for the first time In public in 
October, 1922, and has since given con- 
certs In cities of the United States from 
Vermont to California, also in Canada. 

The Boston Symphony orchestra Is 
out of town this week. The program 
of the concerts next ■week ha.s been 
changed from the one announced last 
Sunday. As It now stands it comprises 
these pieces: Roland-Manuel, Sinfonla 
(overture), from the opera-bouffe, 
"Isabelle and Pantalon"; Borchard, 
"L'Elan"; Debussy-Ravel, Dance; Cap- 
let, "Epiphanle," a fresco for violon- 
cello and orchestra (Mr. Bedettl, violon- 
cellist); Tchaikovsky, Symphony No. 5. 
Mr. Caplefs music was suggested by an 
Ethiopian legend. 

I Marlon Streeter went to the Hollls 
Street Theatre to see "The Swan." 
She was moved to write these 

Oh Prince<(s, doomed to be a Queen, 
Most .cold, most proud, repressed by 

Your virginal heart had ever been 
Untroubled, 'til Life's wine you drank. 
The just a "Woman (though in vain) 
You pitied your poor Lover's plight . 
And kissed him to assuage hig palnl 
Before real love, chilled by the blight 
Of duty and royal need, could flower, 
You oensed its fragrance for an hour. 

Oh Actress, oh most perfect mime, 
So wondrous well you played your part, 
Always to me the "Swan" you'll seem. 
Surprised, betrayed, by your own heart! 
And later, as the day comes when 
This role you'll have forgot long since, 
I'm sure to wonder now and then. 
If you have learned to love your Prince. 

Burton Holmes will give his last 
Travelogue of the subscription series 
in Symphony hall tomorrow night and 
on Saturday afternoon. His subject 
win be "Czecho-Slovakla." He will de- 
scribe and picture the city and country 
life of Bohemia. 

On Friday evening, March 20, he will 
repeat his Travelogue "Rome, Part J." 
On Saturday afternoon, March 21, his 
subject will be "Switzerland." 

Pauline Danforth will give a chil- 
dren's concert at the Corley-Plaza to- 
I morrow afternoon at i o'clock. 

j Mr. Read Hamilton Dlght has worked 
lout an "explanation" of "Beggar on 

' "The play Is a satire on the third act 
of every play wherein the hero is sud- 

[ denly willed enough money to continue 
his studies, or else marries the girl 
whose father owns millions, and is thus 
insured the necessities of life while In- 
dulging his ideals. From the proverb, 
'If wishes were horses, all beggars 
would ride,' comes the theme of tlie 
play wherein the authors have laugh- 
ingly given the poor musician a chance 
to continue what we never see after he 
has become t\'ealthy in the usual play. 
He gets on his horse, rides a wild ride, 
and Is restored to normalcy before tho 
final curtain. And he does not seem to 
ride "to the devil," as the otlier proverb 
you quoted seemed to imply. Because 
it is so simple a jest. It is funnier than 

I ever and cleverly satirizes life by using 

I a nursery rhyme." 

I We doubt If the dramatists had this 
purpose In mind, and we find Mr. 
Dight's explanation far-fetched. The 

I satire Is directed against tollies and 
fads' of contemporaneous life, especially 
against Babbitt and big business. If 
the hero, poor, had mounted a richly 
caparisoned steed he would have been 
unable to compose music at ease, and 
80 he would ride to the devil, according 
to the old proverb. The other form of 
the proverb, "Set a beggar on horse- 
back and he'll gallop," is found in Bur- 
ton's "Anatomy of Melancholy," which 
was first published In 1621. 


Qulomar Novaes will play in Jordan 
hall next Saturday afternoon music by 
Beethoven, Chopin, Rameau, Alleniz, 
VlUa-Lobos, Hood, Debussy, Szanto. In 
April last year a trio for oboe, clarinet 
and bassoon, also two songs with violin 

obbllgato by VIHa-Lobos were played 
In Purls. 

On next Saturday evening at Jordan 
hall Messrs. Bauer and Gabrllowltsc)!'' 
win play muslo for two pianos by Ra<h, 
Mozart. Salnt-Saens, Relneckle, Aren- 
sky and Schuett. Tho concert will be 
"for the relief of suffering In rrerniany." 

Tho National Polish orchestra will 
give a concert on tho same evening In 
Symphony hall. 

The concerts on Sunday will he as 
follows: Symphony hall, 3:30 P. M., 
Dusollna Clannini, soprano; St. James 
Theatre, 3:30 P. Til., People's Symphony 
orchestra with Mildred Cobb, soprano; 
Boston Art Club, 3:30 P. M., concert of 
the Boston Flute Players' Club; Boston 
Athletio As.sociation gymnasium, 8:00 
P. M.. Nanette Guilford, soprano of the 
Metropolitan Opera company, with the 
Vannini Symphony ensemble; Copley- 
Plaza, 8:30 P. M., Naaedyn Lyska, so- 

"Anonymous" wishes to know if 
Moliere married his own daughter. "In 
the March 7 number of the Living Age 
there Is a reprint of an article from an 
English magazine In which famous 
dead authors In the British Museum 
come to life again and talk. St. Simon 
accuses Moliere of having married his 
own daughter." 

Moliere married Armande Bejart, the 
daughter of Madeleine. His rival. 
Montfieury, In 1663 accused Mollera of 
wedding his own daughter and so in- 
formed the King, who answered the 
scandalous accusation by holding Mo- 
liere's child at the baptismal font. 
Taschereau says that Armande was 
born before Moliere had relations with 
her mother. Bazin swears that Ar- 
mande's father was the Count of Mo- 
dene. Jal insists that the mother of 
Armande was Marie Herve. The weight 
of testimony is against the old accusa- 
tion. MoUere's wife was probably the 
daughter of the Count of Modene, or 
the daughter of Marie Herve. 

Notes and lines: 

I wonder if Wm. B. Wright Is fa- 
miliar with "that other" old Music 
hall song on Brigham Young, chorus 
something like this: 

"With his rollicking rams 
And his pretty little lambs 
And his five and forty wives." 
"But his youngest wives won't have 
white wool 
And his oldest won't have red, ' 
So with tearing it out, taking turn 
and turn about, 
They have torn all the wool off his 

The chorus probably would not meet 
with the approval of his followers, even 
if the other part of the song did. For 
in reply to a letter written from Eng- 
land about 1850, asking if he had as 
many wives as the newspapers re- 
ported, the answer came back from 
Salt Lake saying the party did not 
know what the newspapers reported, 
but believed Brigham Young to be a 
very good man. 


George Smith Plays with Tone 
That Sparkles 

George Smith, pianist, played this 
program last night in Jordan Hall: Air 
and Variations (The Harmonious Black- 
smith), Handel; Fantalsle' C. Major, 
Schumann; Mazurka, E Minor, Polonaise, 
A Flat, Nocturne, F. Major, Ballade, A 
Plat, Chopin; La Fille Aux Cheveux de 
Lin, Rebussyr Fountains (Nos. 2, 3), 
William C. Hellman; Hopak, MoUBSorg- 
sky-Rachmahlhoff; Liebesleid, Krelsier- 
Rachmanlnoft; Etude en Forme de 
Valse, Salnt-Saens. 

Since at the first of it Mr. Smith was 
obviously very nervous, there Is no 
point in discussing his playing the early 
part of the evening. Perhaps at the 
last moment he was overwhelmed with 
his own daring In venturing to offer a 
modern audience Schumann's Fantasy, 
music few people today v.\n have at 
any price. 

Why? There are some persons left, 
however, who still hold It high. Mr. 
Smith's not entirely successful playing 
of the first two movements did noth- 
ing to convince them of the error of 
their views, wherea^ his really poetical 
performance of tho last movement 
made them comfortably sure that their 
old-time admiration is not misplaced. 

The Chopin .mazurka Mr. Smith p'kyed 
delightfully, in miniature vein, as It 
should be, its rhythm keenly felt. He 
made the opening of the sharply con- 
trasted Polonaise imposing; the rhythm 
of the first episode he brought vlvld'i.y 
forward; to every bar he gave life. But 
after all this Polonaise is not for every- 
body; a pianist needs virtuosity and a 
blazing temperajnent to escape the pit- 
fall of unpleasant noise. 

For the Nocturne Mr. Smith hit on a 
beautiful and very individual tone for 
the melody, a melody most musically 
accompanied by the hass. To the con- 
trasting section he brought splendor of 
tone arid dyamatie force. The perform- 

>n\' i- wna on tlm wii , , , , 

ll IS to bo wished llirii 'Mr. Sinilli. to 
avoid certain notes In hi* nu-iody otlek- 
IriK' out unduly, wdin.l t. 11,0 r.xperl- 
nuiit of singing 11 r 

Admirably, too, M ,;ayed the 

bnlliid. quit* aa tliouc.i in p.,u n nvman-' 
tic tale to tell. Through all Its course 
ho produced, beautiful ■tonn n« rendered 
more adequate Jum 1 do tnost 

planLirts to the m. , , of Do- ' 

bussy.K piece, an.) ,1 himself I 

fioo film the , which he- ' 

sots mnny t*r unflor the 

spell of (Inxen In 

Mr. liollman's graceful pieces Mr. 
Smith plnyed charminfrly, with brilliant 
tono that sparkled. Ho had rhythm in 
plenty for the Russian dance. Tho ex- 
tra pieces played eaxly. In, th* evening A 
brought fonvnrd the rest of the pro- It 
gram Into. The. audience -was largo atid 
R.-R. O. 

looking at It he roiii.nki'd 
'George White Scandals' haT 

W. B. C. saw on the door of nn 
In a Boston building devoted 
legal fraternity thin notice: 

"Will return at wuns." 

As the World Wags: 

And then there Is the Love Bun Line 
of KIsslmee, Kla. To be sure, "Klssl- 
mee" Is pronounced wrong, like tho 
German word 'damlt" (as Mark Twain 
pointed out), with the accent on the 
second syllable Instead of tho first. 
Still, 'twill serve. PHILO GENE. 


For when the same dish lies In com- 
rnon before all. the man that Is slow 
and eats little must be offended at the 
other that Is too quick for him, as a 
slow ship at the swift sailer. Besides. 
«i»%tohin«. contention, shoving;, and tho 
like, are not. In my mind, neighborly 
beginnings of mirth and Jollity: but 
i they are absurd, doggish, and often end 
I In anger or reproaches, not only aga:nsl 
'one another, but also against the en- 
tertainer himself or the car\'ers of the, 
feast.— Plutarch In his Symposiacs. 

As the World Wags; „ ^. _ 

Has the Marine band of Washington 
prophetic vision? On March 4, pre- 
ceding the Inaugural exercises, the band 
gave a concert of American airs. While 
Vice-President Dawes was delivering 
his address to the Senate the band was 
playing "Just Before the Battle,, 
Mother." This was followed by ' Hail 
to the Chief." OLIVE DRAB. 

As the World Wags: 

I find In the article "America by 
FuUerton Waldo, published in the Out- 
look of March 11, this sentence: 
I "Even as he talks to you his conver- 
sation has a thread in It, which he 
moistens and twirls I ke the end of a 
waxed mustache for the needle's eye. , 

Has any one of your readers ever had 
trouble In threading his mustache? 

H. P. M, 


As the World Wags: 

While the question of the freedom or 
the air Is uppermost In all our thoughts 
—freedom to vibrate and freedom to 
fly— I want to Inject the question of 
the right to breathe. In a country 
founded upon the right of every man 
to life, liberty and the pursuit of hap- 
piness this r'ght must certainly exist 
in every citizen and. further, must in- 
clude the right to enjoy resplratlon--t" 
choose the substance which he shall 
inhale— whether if be dust, ozone, nico- 
tine or any other. He should not have 
extraneous matter thrust upon him— 
practically Injected into his wlndp:pe— 
without consultation of his taste or 
preference. This right, however is 
dally being Infringed, and m a whole- 
sale manner, through the great and In- ^ 
creasing use of scent— the public d's- > 
, semination of smells of great power and 
variety— by the larger and more inter- j 
' esttne portion of our population. I 
Just what shall be done to combat 1 
this evil is not for me to say. The total 
prohibition of the practice may be £ 
remedy too drastic. I would suggest, , 
however, as a preliminary measure, , 
that those employing perfume of more 1 
than a certain Intensity and range 
should be required, when using a pub- 
lic thoroughfare, whether street or 
sidewalk, to pass to leeward, consulting 
the weathercock each morning and be- 
ing careful, when meeting or overtaklnsr 
other members of the sovereign people, 
not to come betwixt the wind and their 
nobiUty-or nose. JOSEPH LEE. 


"Come-back to Etaoln," the Shrdlu Is 
calling, , 
Sweetly his voice like the song of a 

bird; . . , ,1, 

"C^fwyp," the echo so matrlxly fall- 
ing, . . ,, 1 
All through the vbgkqj of pi lines is 
heard. . 

—The Pled Piper. 


As the World Wags: . „ ^ . 

Knowing your Interest In Boston and 
Its public monuments, I assume that 
you share the same opinion 1 do and 
incidentally most of our common friends 
regarding the monument which was re- 
cently placed at the corner of Arlmgton 
and Beacon streets, apparently in mem- 
ory of Mr. George White. I feel par- 
ticularly Interested in this monument 
I I as I look at It perforce out of my front 
i I window every morning. 
I ! Recently a friend of mine came to 
visit me and we decided to walk down 
I town In the morning. Crossing Beacon 
I street we passed by said monument and 


A milk cart creaked along the street. 
' stopped. She heard the milkman's 

"A quart for Mary, « quart for Jane. 

And when this baby comes another!" 
Sunrise reddened her window pane. 
Dawn .... and milk . . . and 
a tired mother. 

A speeding car whirred past alone. 
Its IClaxon sobbed like a saxophbne. 

"A quart for Mary, a quart for Jane! 
I More milk than we've the money to 

p to speed from the 'Bai; through the 
dawn again. 
While meadow larks sing to an April 


Prom her pillow, she watched the day. 
The milkman's wagon rattled away. 

Babies are bom and women die 1 
At the hour when the milk carts | 
creak along, 
But youth still turns to youth with a 

In fields where meadow larks sing to 
the dawn. — Queen of tho Suburbs. 

As the World Wags: 

I have heard tliat such things do ap- 
pear in print but never chanced to see 
an example of the sort until I read the 
following ye.«!terday in the March Coun- 
try Life. At the bottom of page Iti the 
Stockbrldge house of Mrs. George 
Draper Is advertised by real estate 
agents, and the closing words of the 
advertisement are: 

f"RenfAl, completely furnished with 
antiques, Including gardener, $3800." 



(Woburn Dally Times) 
His parents were direct descendants 
of John and Priscllla Alden, the latter 
the daughter of Captain John Smith, 
the leader of the fitst Puritan band In 


As the World Wags: 
) Time after time I have read the 
ilucubrations of those who fret their 
gizzards over pronunciations. Only re- 
cently a Boston writer took an Oxonian 
to task for his pronunciation of "figure." 
How, pray, should the last syllable be 
pronounced other than as If it were 
spelled B-e-r? I wonder whether this 
journalist labors under the pleasant de- 
lusion that spellings of English words 
are necessarily indicative of correct 
j pronunciations. 'Twouid be Interesting 
' to know how he pronounces "combat," 
"mayor," furniture," "comptroller," 
"area." "frontier," "ate," "resource," 
"penalize," "accessory" and "isolate" — 
to mention only a few words that are 
commonly mispronounced in Boston. 
Why doesn't he enlighten his excellency 
the Governor of this commonwealth on 
the pronunciation of "genuone"? I'm a 
Johnny Raw, to say the least, at writ- 
ing leaders; still I fancy I could write 
one about current pronunciations which 
I would not be misleading. 



Though any hope of more Chamber 
music this season seemed quite forlorn, | 
an unexpected concert took place last! 
night in Jordan hall, when the New 
York string quartet came to play ^me 
tana's quartet "From My Life, l-Ahel^ 
Leginska's ".Four T-oems" for Blrlne 
quartet, and, with Miss Leglnska at 
tbe piano, Franck's quintet. y„ 
Otiokav Cadek, first violin; Jaroslav 

Siskovsky, second; ,.l-"f^'"^,,,f,f ^^^e 
viola, and Bedrick Vaska »T« 
the members of this 
formed organization. they play 
with the finest euphony In^^elna ble 
cannot be said. U might be wished, 
?oo that Mr. Cadek, the better to cope 
with the power of his _^ol easues had 

l^cfX^C^^lael^ an^^ 

• Vila tone Mr. Schwao, in the 

mcrease nis tone, kh.- -^vontnee 
interest of balance, might to advantage 

diminish his. . , 

Balance and good sound can be m 
proved. Qualities of still higher impor- 
?Ince such as excellent musicianshir 

of style, are not to 

the asklnjf, and these 
t possesses to a marked 
iine the (lays of the fa- 
niian fiunrtot C4\n one reoull 
rerforniance of the Smetnna 
_.t as that of last nlBht. a pev- 
..mance In which, for once, the rarlal 
ote. though given full play, was not 
undulv stressed: in which the Irasedy 
for once was not forced. The polka, at 
the hands of these understanding play- 
ers sounded rough and oountrifled, free 
of the vulgarity with which most per 
formers bespatter it. 

The new quartet soemed so comfort 
fcbly at home in muslu of Bohemia It re- 
mained to bo seen how successfully ^ 
they oould make the jump to Cesar 
Franck. It bothered them not at all. i 
They played the quintet very beauti- 
fully. They found in this splendid mu- 
sic dramatic warmth and a wealth of 
humin emotion. What else could they 
find, Is the natural question after hear- 
ing them and after carefully studying 
.inew the score? Th^re seems to be 
nothing: more, except its extraordinary | 
musical beauty. Twenty-five years ago, 
though, widely different qualities were 
thoitght to mark Cesar Franck's quin- i 
tet. Did musicians Imagine a vain 
thing? ' 

There were also the pieces after Ta- 
fTore, who seems to be Miss Leglnska's 
favorite poet. %^Tilchever poem she had 
in mind. Miss Leginska chose to sug- 
gest It musically by a more or less 
similar formula, a formula consisting 
of many repetitions of a quite Insig- 
nificant theme or two, interrupted by 
little trivial episodes of sprightly char- 
acter. The formula made for monotony. 
The last movement, though long and 
rambling, was the most successful of 
the four In establishing a mood. 

The audience, of excellent size, liked 
this last movement best and applauded 
Miss . Leginska cordially. After the 
quintet, in which Miss Leglnska, at 
I her best as pianist and musician, 
proved herself an accomplished en- 
semble player as well, the people showed 
warm enthusiasm. ^ R. B. G. 

i LAND OF Czechs; 


' Burton Holmes gave the last Trav- 
' elogue of thl? season's series last night 
in Symphony hall. The subject was 
"Czecho- Slovakia." 
There are three Bohemias: Shakes- 
' peare's, which has a seacoast; Bo- 
hemia, that delightful land described 
lovingly b.v Thackeray and John Boyle [ 
O'Reilly, and the country known toi 
geographers and historians with Prague' 
I its capital and Pilsen beer its glory. 
As Mr. Holmes pointed out, Greenwich 
Village cannot justly be Bohemia; It 
is a Brummagem Imitation of the land 
, known to Thackeray, Beranger, Mur- 
' ger and Mortimer Collins, and those 
I that once sat In Pfaff'a cellar In New 
: York. 

In Mr. Holmes's Bohemia, shown last 
night, the men and women are indus- 
trious, working for the glory of their 
new republic, Czecho-Slovakia. He at 
first paid a tribute to this people whose 
government fares better than the other 
\ newly constituted republics, better 
I than England and France. One might 
] infer from what Mr. Holmes said that 
he was doubtful about republics of this 
I kind, thinking that many people need a 
strong ruler. It was hardly necessary for 
him to speak rather slightingly of "ideal- 
ists" who talked of making the world 
safe for democracy and urged "self- 
determination." Is it not probable that 
, Mr. Holmes is a stalwart Pwepubllcan? 

Before arriving at Prague, he showed 
' farm life in Bohemia and dwelt lovingly 
on the crops of hops. The sight of the 
1 Pllsen brewery brought tear.s to our 
. eyes. Better a week In Pilsen than a 
month In Carlsbad with its draughts of 
hot and medicinal waters and enforced 
exercise. Better a bath of beer than the 
mud bath In "hot health-giving slime." 

Prague was seen thoroughly, a beauti- 
ful and Interesting clt.v. The old ghetto, 
the Jewish cemetery, the Tyn church, 
the famous clock, the national opera 
house, the statues of Husa and St. John 
Nepomuk, the contrasting new and old 
streets and quarters, the citadel, the 
j cathedral and the palace on the heights 
— these were pictured admirably and 
described In an pntertalning manner, 
> but the pl?tures that will linger longest 
in the memory were those of the charm- 
j Ing young women ijathing on the beach 
I of the Moldao. Mr. Holmes referred to 
Smetana'a symphonic poem "The Mol- 
dau," a musical glorification of this 
noble river. The nest time It is per- 
formed at a Symphony concert, the pic- 
tures of the Bohemian beauties on the 
beach should be shown while the music 
Is play'.ng, although this bathing does 
not enter into the argument published 
in the score. 
In the country w>d In Moldavia peas- 

in .V costumes danced>TitTtusia^' 
ilcally •fheso motion pictures weie 
e^ecUlly mtc rosiing to f J,' 
folk dances. Was the .^f ^ 

Even the geese were seen dancing Mr 
Holmes quoted a proverb to the eriect 
hat every Bohmlan baby is born with 
Tuttte Oolin. He -'^t^^b'^When a 
another Bohemian P'"'^^^' ^„.^wher 
son is born, the f^-ther wonders whether 
had better make him a fiddler or a 
thief A vile slur, no doubt, on an , 
excellent people. ..rorrlses 
At the end of the gymnastic e'terciscs 
the patriotic "Falcons" were shown, 

rnlera and reformers. We must see 
Prague before the end of every man s 
desire puts a stop to Journeying on this 
earth at least. But If ^"'"•f 
PiUen on the way. we doubt ir we 
would ever arrive at Prague or return 

'°The Travelougue wlU be repeated this 

''There°"wm be "«:ctra" travelogues 
r,Jt week on Friday night, a repeti- 
tion of ■■imperial Rome"; on Saturday 
fan^rnoon mrch 21 "Glorious Switzer- 

The Herald Is fortunate in having ac- 
complished geographers among Us 

Mr. G. F. O'Dwyer of Lowell noted a 
postofflce at Ireland, Mass., in the U. 
S. Register for 1839. The postmaster 
was then one Chester Crafts. Mr. 
O'Dwyer, not finding this postofEice in 
recent lists, asked in tliis column where 
this Ireland was. Has it disappeared as 
.Atlantis or the city of Ys? 

Now comes forward the Rev. Edwin 
B. Dolan, who writes: "I was pastor 
in the Elmwood section of Holyoke for 
seven years. This is on the old stage 
road from Springfield to Northampton. 
It was formerlv called Ireland parish. 
Until just lately Crafts's tavern was 
one of the old landmarks." 

Mr. Charles W. Brown writes that 
Ireland parish was a part of Holyoke: 
'■Chet Crafts I knew very well. Ireland 
parish was in the portion of Holyoke 
. where Is now Northampton street, the 
I beautv street of Holyoke. Crafts's tav- 
! ern still stands ■ at Crafts Corner, 
n Northampton street is a street of fine 
houses and beautiful grounds." 

As the World Wags: 

Municipal candor seems to nave 
reached its zenith in Cambridge, where 
instead of the usual slogan, "City Beau- 
tiful," the municipal carts bear the 
legend, ■■City Offal." C. W. W. 


As the World Wags: 

The word ■'oowah'' occurs repeatedly 
in the Talmud. But it does not appear 
there because it consists of two vowel 
sounds— 00, alt— and vowels were not 
written in the original Hebrew. Con- 

I sequently the early Talmudists had to 
tnsert it by memory when reading. In 
later transliteration It became lost, and 

I its proper locations are now known only 
to mystical adepts. 
"Oowah" is transcendental, and means 

, '■The one soul (is) part of the all soul." 

I tt Is an expression used to put one In 
tune with the Infinity. Popularly, it 
was an expression of contentment or 

Its supposed connection with the Hons 
in the story of Daniel arose in a curious 
way. Certain cabbalists, In repeating 
the Mishna, were accustomed, when 
pronouncing tlie word, to raise their 
hands in the air and bring them down, 
bowing the head. The gesture, being 
.something like a lion's standing on his 
hind legs and pawing the air, and the 
sound of ■'oowah" l-)cing not unlike the 
roaring or yawning of this beast, thp 
vulgar panie to associate the word with 
the animal. A lion .might, Indeed, mak>? 
the sound, but it is unlikely he should 
intend or appropriately use It in Its 
mystic significance. 

I think the probability Is that, after 
his spirited replies to King Darius in 
the conversation to which you refer, 
the prophet may have added, sotto voce, 
to the Hons, the expression ■'Oowah, 
oowah." AH CHBE. 



As the World Wags: 

I would like to Interest some ol the 
large hearted, liberal readers of this 
I priceless column in what seems to me 
j a very important matter. I refer to 
the desirability of constructing or other- 
I wise providing a parking place for thr 
I chewing gum which is inflicting a sort 
1 of perpetual motion upon the jaws of 
' cur vounger citizeiiesses. 

It "would not be necessary to start In 
a very large way— let xis say at first the 
Public Library and the churches. 

It is a heartrending sight, that of a 
lovely girl dropping devoutly on her 
knees in the sanctuary, her thoughts 
undoubtedly upon holy matters, forced 
to continue this masticatory movement 
slmi^ly for the reason that no proper, 
sanitary provision for the temporary 
safe-keeping of the treasured substance 
has been arranged. It is obviously im- 
possible that a pockol or bag would do: 
there Is an adhesive quality In modern 
gum which renders Us presence in a 
miscellaneous collection of objects un- 

In a well regulated home, of course, 
there are the under surfaces of chairs, 
tables, sofas, mantel pieces, that are 
safe, or comparatively safe, deposUories. 

But, from my own observation. I am 
1 sure that nothing has been attempted 
in regard to this matter in public 
I places. May not these few words 
reach the hearts and through them the 
pockets of those able to remedy this 
lamentable cnnditlon? 
aamen. VO^O PUBLICO. 


As the World W^ags: 

In re-reading Peacock's Headlong 
Hall" 1 noticed the use of the word 
••dollar" as cun-ent in Wales. 

"Saying these words, he put a dollar 
into the hands of the sexton, who lA- 
i stanlly stood spellbound by the talis- 
manic influence of the coin, while Mr. 
Kscot walked oft in triumph with the 
►cull of Cadwallader." v , 

••Headlong Hall" was first published 
in 1S16 As far as my memory serves 
me this is the only mention that I 
have ever seen in early 19th century 
Fnslish literature of ■■dollar" as an 
English coin. Unfortunately, the New 
Oxford Dictionary is not accessible to 
m'p The Century Dictionary throws no 
light on this use. Was it a German 
thaler a Spanish dollar, or does Pca- 
'cock use the word for an English coin 
current at Jba^^time?^^_ c,. y.' K^^. 

have so beautiful and rounded a tone, 
such chordal richness, and such ex- 
qulsiteness of Innuendo in their play- 
Inj. As she played yesterday, each 
note, each phrase, each motif became 
Intense and personal. In the Beethoven 
sonata she .slipped from the melancholy 
tenderness of the first movement Into 
the sharp and erratic gusts of passion, 
the violence and loneliness of the two 
that followed, without breaking the | 
continuity of the sonata form. 

To the Rameau Tambourin, with its 
faint and accented dance rhythms, botii 
with and without the Godowsky figura- 
tions, and in the two dances of Albenia 
she brought a rnythmic vigor and un- 
dulation, a sympathetic temperament. 
She played the quizzical and lightly flit- 
ting "Pollchinelle" of Villa Lobos, a 
young Brazilian with an exquisite grace | 
and virtuosity, and repeated it by de- 
mand. With poetio fancy and luxuriant 
rhythm she played the Debussy piece, 
as well as the Hungarian Szanto's ex- 
otic, darkly perfumed ■'Etude Orien- 
tale," for its first time here. 

But It was In the much abused Chopin 
sonata, slipped provocatively into each 
student's program, that she played -with 
most beauty and unloosed passion. And 
from the first thunderous chords that 
open it to the last fitful shudderings 
and reverberations of the Finale, she 
played to the full the dark and awe- 
some philosophies of Chopin, his most 
ironic and blackest music, charged with 
death and the hopelessness of the 
March Funebre. 

A rare and much appreciated concert ' 

and her audience demanded her again 

and again, wlthout^tint. K. G. 

Larg^e Audience Charmed by 
Bauer and Gabrilowitsch 

There was no strictly English "dol- 
lar " The coin given to the sexton by 
Mr Escot was probably the German 
thaler Harrison in his "Enffnl 
y^?^'!'- ,.^f silver coins are the dalders 
(sin) and such, often times brought 
over"- R- Johnson's "Kingdom and 
commonwealth (1601), ■■2 «ior.ars of 
rnnnev . • every house one dollar 
Tsic) Sylvester's "Selfe-Civil Wax"; 
.-for dallers (sic), dolours hoordeth in 

i "^The English gave the name dollar to 
the pefo or piece of eight i. e. eight 
rlales), once current in Spain and the 
Soanish-American colonies ■■and large- 
ify i"ed n the British North American 
col^ues at the time, of their "V^olt. 

vnrious fore gn coins of a value ap 
„roacMng more or less that of the Span- 
Kh Ol Amorlcan dollar have been called 
-1 ^i^Js in England since 1882-the peso 
■ f A^Lico and of Central and South 
UmeHcan rl^iubiics, the piastre oi 
1 the ven of Japan. 

in English slang a 5 shilling piece is 
', J ,^i,^iiTr Was it so called In 
tve^^^ no quotations lHustrat- 
I ing this slang term 



(For .kjs the World Wags) 
Once by the wind-s^vept /^)gean. 
To the foam and the beat of the billows, 

^ On the wliite sands of Acharnis, 

; We danced in the starlight. 


; You in your glory of manhood 

I And laurel-crov/ned gi-ace of the athlete, 

. I with red popples enwrenthed, 

I We danced In the starlight. 

! O Love, of the gods most enduring. 
Through ages of ages undying, 
Still white gleam the sands of Acharnis, 

\ And silvern the starlight. 



At Jordan hall yesterday afternoon,', 
before an audience that should have oc 
cupied every seat, but that made 
for Us lack of numbers by the spon 
taneity and duration of its applause! 
Guiomar Novaes, the young Braziliaa 
pianist, played the following programj 
Beethoven, Sonata, op. Sl.\; Chopinj 
Impromptu, F sharp, op. 36; etude, op 
10, No. 7; sonata, B-fiat minor, op. Co 
Rameau, Tambourin; same piece ar- 
I ranged by Godowsky; Albeniz, Rondena 
tango; Villa-Lobos. Polichinelle; Helen 
Hool, Jocelyn; Debussy, Polssons d'orj 
Szanto, Etude Orientale. 

Althoueh she came so late in the sc 
i,on — and a season tliat has teemed wi 
pianists of every stage of accomplish 
ment and of intelligence, some of the JH 
possessed of a large and glittering tecl 
nlque and a mild musicianship; a fe-p 
of them, lone and isolated figures, in- 
dividualists — Guiomar Novaes held hei 
audience in rapt attention from the be- 
ginning to the last encore of her con- 

A 5;oung and al«-ays Interesting pian- 
ist, there is Imagination, passion, and 

An audience last night filled Jordan! 

Than, even to seats on the stage, to 

'hear Harold Bauer and Osslp Gabrllo-I 

1 wltseh play music for two pianos. The \ 

i concert was arranged by the Boston > 

1 relief committee for the relief of suf- 

! ferlng in Germany. The program stood; 

Fantasia and Fugue In A minor Bach 

(transcribed by H«^°'<i„»^"^,':>L^°"f 
in D major, Mozart; Variations on a ] 

Theme by Beethoven. ^'^'"'^^-^^Xt^^Vj^-' 
provisation on Schumann s Manfred, 
Reinecke; Romance and A als«, Aren- 
Bkv; Impromptu Rococo. Schuett. 

ft was an occasion. Mr. Bauer and 
Mr. Gabrilowitsch are n^t, to h^ 
; specialists in t^vo-plano playmg; noT-a.- 
iways did they strike their to- 
' gether with the precision of clock-work, 
lut it did not matter. Two ver^ great 
artists, were there .it work, of 
play, St seemed, the one mspired y th. 
other to his very best; tne beot of M,. 
Gabrilowitsch .ind Mr. Bauer Is excoed- 
inelv good as all the world Knows. 

Thefr wav with the Bach fantasy and 
fulue should go on record. 
necessity to rush througli it with 
coarse, loud tone, empty of nuance, or 
vef w th little tinkling tone in futile 
mita on of a harpsichord, they made 
use of u,ll the sonority modem piano- 
fortes allow, and with every variation | 
ot itght and shade at their command^ 
The splendor of the music g?-i..ea oy 
n!l tr^tment; It does not demand by 
anl mTans «n archaic performanc. to 
bv its marvellous own. 
very beautifully, in -^^"^^"Z^l' 
they Plaved the Mozart .onata with an 
exquisite .sentiment in the andante the 
So 'o gaily the audience would have 
u a^iln TO the Salnt-Saens they 
,-^broUf'ht the brilliancy one would ex- 
' pec o virtuoso Players, and, of greater 
consequence, of the variations a dran - 
Sic power not everybody can find .n 

^ u"was''lu%ery beautiful, very stirring. 
ClgnT^f of calibre ."^fter all does cour.t. 
And when somethlr.g ''"^tf J^fv^.^h^" 
vond the routine into which o^e•l b, - 
ness can sink-bchold af orc.-..^:'.-V' 
remember with gratUud.. ^ 


As the World Wags: 

Apropos of the President's "So did I," 
in reply to the lady who told him that 
she had stood throughout his Inaugural, 
one recalls an anecdote about Henryj 
Ward Beecher that was current BO ye.ars'j 
ago. At New Haven one morning on; 
his way to the chapel of Yale Divinity 
school, where he was to lecture, he 
stopiped at a barber shop for a shave. 
The barber not knowing him, but tak- 
ing him for a clergyman, asked if he 
were not going to hear Beecher. On his 
suspicion being confirmed, he went on: 

Novels in wKicli the characters are musicians and the incidents are 
•f a musical nature »r« as a rule to be avoided. Miss Sheppard's silly 
and sentimental romance "Charles Auchester" with Mendelssohn figuring 
an Seraphael once enjoyed popularity. Disraeli wrote to the author in a 
fine burst J "No irreater book will ever be written upon music, and it will 
one day"D9 recognized as the imaginative classic of that divine art." Miss 
Sheppard's "Counterparts" and "Rumour" were not so widely rend. 
Some p»?rhaps remember "The First Violin." Tolstoi's "Kreutzer Sonata" 
is interesting only as a study of morbid passion, sho\ving how little the 
Russian knew about musical compositions; a book to be put on the shelf 
next his "What is Art?" 

There is one musical novel that cannot be praised too highly. Ernst 
von Wolzogen's/'Der Kraft-Mayr," amusing, satirical, introducing Liszt 
and some of his pupils, with the hero, a teacher well known in Munich. 
This novel has been well translated into English. And recent German 
novels with Mozart and Verdi, respectively the heroes, have been com- 

Wliile "The Constant Nymph" by Margaret Kennedy, published 
recently by Doubleday, Page & Co. of New York, can not strictly be 
called a musical novel, two of the leading characters are composers, and 
there is much about musical life. It is an unusual novel, a remarkable 
one in some respects, well written, with a searching study of characters. 

Albert Sanger, a writer of operas, was an Englishman who was 
known and esteemed in continental countries, but barely known even to 
the musical public of Great Britain. Among the few were some who ^ 
called him Sanje, "in the French manner, being disinclined to suppose 
that great men are occasionally born in Hammersmith." When he died 
the English lamented that this prophet had not been honored in his own 
country. "His idiom, which was demonstrably neither Latin nor Gothic 
nor yet Slav, was discovered to be Anglo-Saxon. Obituary columns 
talked of the gay simplicity of his rhythms, our unmistakably national 
feature, which, they declared, took one back to Chaucer." The public 
was hardly to blame, for Sanger's operas were on a huge scale. To pro- 
duce them in London was a risky When his "Prester John" 
was brought out in Paris there were howls of rage and free fights in the 
gallery between partisans and foes. The opera succeeded in London 
after Sanger's death. Decorum was preserved. The audience showed 
respectful ardor, there was prolonged cheering at the end. It was not 
unlike "the ovation accorded to a guest of honor who arrives a little late." 

Sanger hated England and roved at will over the Continent. His 
friends were accustomed to endure a great deal from him. "He would 
stay with them for weeks, composing third acts in their spare bedrooms, 
producing operas which always failed financially, falling in love with 
their wives, conducting their symphonies, and borrowing money from 
them." He was always accompanied by his "preposterous" family, for 
he had had wives not to mention mistresses. Th6 children were known 
collectively as "Sanger's Circus." This nickname was earned for them 
"by their wandering existence, their vulgarity, their conspicuous bril- 
liance, the noise they made, and the kind of naphtha-flare genius which 
illuminated everything they said or did." They had been soundly trained 
musically, had picked up "a good deal of mental furniture and could 
abuse each other most profanely in the argot of four languages." 

Lewis Dodd, also a composer, visited Sanger, who was then living 
with a fat, lazy mistress of superb bulk in a chalet of Austrian Tyrol. 
Dodd had written some "Revolutionary Songs" for chorus and orchestra, 
and a Symphony in Three Keys. Mr. Trigorin told him the critics 
always persecuted young genius. "The plaudits of the herd are as noth- 
ing to the discerning appreciation of a small circle." Lewis was not 
grateful for this encouragement. This Trigorin reverenced all composers 
I he met, but they seldom took to him. "They were deceived by his air 
of metropolitan prosperity; he looked too much like the {)roprietor of 
an Opera House. They could not see into the humble, disappointed heart 
beneath his magnificent waistcoats, or guess how sacred was the very 
name of music to him." 

Lewis brought with him a one-act opera, "Breakfast with the Bor- 
gias," which he had promised the Sanger children to write for their 
father's birthday. It was to be acted by the family, "who could most of 
them sing in tune," and by any guests who happened to be about. 

Sanger's first wife was Vera Brady, the leading lady of a third- 
rate opera company, a good ^and devoted wife, but one of his pupils,! i 
Evelyn Churchill, young, talented and beautiful, lost her head and heart I 
over him, and she advertised the fact "in the high-handed way peculiar , 
to women of breeding who are bent upon flying in the face of accepted 
convention." She went to Venice taking Sanger with her. Vera died with 
• a broken heart "which should by rights have cracked some 16 years 
before." Sanger married Evelyn who had four children in six years. 
She died and then Sanger fell fn with Linda, who looked like a perma- 

The children were a strange lot. Antonia went to Munich early in I 
the story and stayed -with one Jacob Birnbaum, a young friend of 
Sanger's. He was christened Ikey Mo by the children on account of his 
nose and his shin bone. After Sanger'.s death, shortly after he had told 
funny stories about Brahms, Birnbaum, a decent fellow in many ways, 
4narried Antonia. His bride intended to buy six or seven hats, one gold 
evening dress with a train, and shoes with red heels, but had overlooked 
need of underclothing. 

The news of Sanger's death reached England and the two brothers 
of Evelyn, both distinguished scholars, Charles, a widower, who "wore 
iiis clothes until they fell off of him, for no better reason than that he' 
liked them, had got used to them, and objected to change," had a beautiful 
daughter, Florence. They talked about Sanger and his death at break- 
fast. His opera "Susanna" was mentioned. She Ifad heard it in Dresden 
and didn't like it. "I don't like = -'viects chosen from the Bible." "The 
Apocrj'pha, Florence." "Is it? T -it it's the same genre. These semi- 
sacred operas are nearly always i'th levity and bad taste, I don't 
know why. They've no dignity. very dignified theme," mused 
Charles, who finally said that there ~y V plenty of fine things in that 
big place the world and Evelyn need rtO«V^^iave selected "a dustman with 
|a turn for music." ) 

Florence and her uncle Robert go to the Sanger's chalet to take 
the children to England. There she meet Dodd, of course. He had run 
away from his father. Sir Felix Dodd, to play the cornet in a circus band. 
"1 wrote some pieces for that band to play. Circus music is a fine thing 

I Sanger .1 • (ii It still. ' "l.ild 

isni," said Florencf. "It will out, in an's work, i 
literary ho is." Florence married Dodd to the dismuy of her i. 
Sanger's daughters, Tessa and Paulina, were put in an English acn 
where they were miserable. Tessa was disturbed because one of the girl, 
played Debussy's "Jardins sous la pluie" fffff. "This isn't her fault^v. 
bcc-HUKC no person is allowed to play anything properly in this school. \ 
If they do, Miss Somers skys: What are you putting in llic expression 
for? You can't put in the expression till I've told you what to put. In 
the room next door another girl called Naomi Hooper is playing The 
Sonata Pathetique. She is putting in the expression, and I wish to God 
that she wouldn't. The noiee is filthy and infernal." 

Poor Tessa! Why didn't Dodd marry her? She was wildly in love 
■with him so that she ran away with him and died as soon as they arrived 
at a cheap boarding house in Brussels. Florence took him back. 

Who was Simon, "a man who was still the most renowned of British 
composer?" Dodd described him as an "obscene, loathsome, complacent, 
self-advertising maggot if ever there was one! . . . Plenty of them 
at our house; and all so hearty and gentlemanly, all busy building Jeru- 
salem in England's green and pleasant land, and doing well out of it." 
Then there was the Guild of Beauty, giving concerts in the slums. "Their 
idea is to educate the popular taste in the Arts, beginning with the pro- 
letariat; that's such a much more promising field than the middle classes." 

When Dodd's Symphony was finally performed in London, there were 
in the audience friends "who never went to concerts unless they were 
important, people who were not even musical but whose opinions were 
universally re'spected." (Just as at Symphony concerts in Boston.) 

Th^e symphony had a "lordly racket"; it was an "astonishing pande- 
monium, with long striding intervals, violent rhythms, which fell upon 
the ear, at first like an outrage." Florence's musical idiom "generally 
8" crystal clear, was losing shape, growing dim, crumbling. She was 
transported into a region of wide spaces, formless ether, mist, and the 
flames of lost stars, where the imagination, suddenly enlarged, grasped ; 
ultimately the idea of order, the slow procession of the glittering worlds . 
weaving a pattern in the void." And Florence thought, "I wasn't mis- 
taken. It's wonderful. He's a great man. I don't care what anyone 
else thinks." 

Dr. Dawson said: "What d'you make of it, hey? Never heard such a 
filthy hullabaloo in your life, did you?" To which the benevolent Baines, 
waving a deprecating, benignant hand: "Ah, these young men! These 
young men! fle'iJ chausrp everything, will he? Why shon)r ^ujT I don't 
•want It changea. And, why, when he can write a secona movement like 
that . . ." 

One might hear remarks like these on coming out of Symphony Hall 
on a Friday afternoon. P. H. 

[ From O'Neill to Mich ael Carre | 

Plays on Broadway Range from "Pierrot" 
to "Desire Under the Elms" 

Although the season in New York commtaiced rather dully, and 
inauspiciously, so that the light banter and obvious gaucheries of Molnar'a 
"The Guardsman" met with thunders of applause, now it luxuriates in 
plays. Old plays revived by the Actors' Theatre, "Candida," "The Wild 
Duck," and, for a seriek of special matinees, Michael Carre's pantomime 
of "L'Enfant Prodigue," Englished to "Pierrot the Prodigal," with Andre 
Wormser's score for piano and orchestra, reduced to the piano alone, 
played "by George Copeland. New pieces by young Americans, Sidney 
Howard's "They Knew What They Wanted," produced by the Theatre 
Guild; O'Neill's "Desire Under the Elms" performed by the Province- 
town group, and the Rabelaisian warring of "What Price Glory," its 
savor still undiminished despite the slight deletions of the censors, and 
at the Neighborhood playhouse on Grand street, there is a well mounted 
and well played version of James Joyce's "Exiles," given for the first 
times in English. 

In a few weeks the Theatre Guild, after its seven somewhat pre- 
carious years, will open its new theatre on Fifty-second street, with 
Shaw's "Caesar and Cleopatra," with Lionel Atwill and Helen Hayes, 
as its first play there. Shaw has politely dismissed his invitation to be 
present. And for their next season they will turn over the Garrick 
Theatre to the ways of Shavian repertoire, to "Arms and the Man," 
"Man and Superman," "Androcles and the- Lion," "Mrs. Warren's Pro- 
fession" (which is at the present moment being played on the stage of the 
Yiddish Art Theatre by Maurice Schwartz and his company), "Major 
Barbara," "Captain Brassbound's Conversion," "The Doctor's Dilemma," 
"Fanny's First Play" and "You Never Can TeU." 

At the Actors' Theatre, Dudley Digges talks of a possible revival 
of various of the Abbey Theatre repertoire. After "Exiles" at the Neigh- 
borhood Playhouse, there will be a fantastic danced pantomime, with 
antiphonal choruses, marking the stages of the dance from the first rites 
to the sophistications of jazz, its name is "Sooner or Later," and Emerson 
Mliithorne has written the music for it. Later there will be a revival 
there of their earlier performance of Walt Whitman's "Salut au Monde" 
with Griffes's music. And after this, the second of the much-touted 
Grand Street Follies that whisked the wise men of the excitable forties 
down, in hordes, to the fastnesses of Grand Street. 

Much has been written about Eugene O'Neill's most recent play, and 
pejrhaps more has been said of it. There are those who diso-wn it, think ib 
plays like an imitation of O'Neill, that it lacks conviction and roundness, 
that its persons are caricatures, that it is more a projection of ideas than 
of human beings. And, of course, there is the small but vindictive mi- 
nority that refrains from discussing it, who sees in its bitter course that 
proceeds from theft and lust, to rape, seduction and murder, only im- 
morality. Immorality, to them is the surface sembfance, rather than the 

Intent or the significance of the summing up. 
In the close pressed isolation and narrowness of this New England 
ifarm, won from its barrenness by, the unceasing toil of Ephraim Cabot — 
who has given two wives to the cause, driven two of his sons, embittered 
and gloating, off in pursuit of easy gold and now returns with a third wife. 


,iovely, that he may beget an heir, and disinherit the son of 
wife — O'Neill has loosed his dark philosophies, inherited dra- 
ii from Strindberg. 
/csire — desire for frold, for the farm; the desire of Eben for his 
>Cer'6 wife; the desire of the agred Cabot for an heir — flings itself across 
,ese pages, wields its unerring katharsis. There is imagination here and 
ooIosshI vigor; it is all rough hewn and O'Neill sees the elder Cabot as 
the pioneer, the man of stone, unyielding, comparing himself to God in 
his loneliness, and his barrenness as his wife and son are led away by the 
sheriff, after she has strangled their son. 

Earlier O'Neill wrote of an untamed, fretful life, of people that were 
unconstrained, wastrels, wanderers on the face of the earth; here he has 
limited himself to the tragedy of a single home, to people that are cab- 
ined, confined, their very isolation and narrowness intensifying their pas- 
sion and desire. And as yet he is not quite at home with them. As Robert 
Edmond Jones has staged it. with the single house, shadowed by great 
primeval elms, its changes of scene marked by the dropping of the 
wails, or partitions, this closeness is even more intensified. 

A play that is ruthless and bitter, without hutnor, without a sugges- 
tion of pity or gentleness, it has the rigor and pace of the Greek trage- 
dies, and at times their dignity. The cast includes Walter Huston, Mary 
Morris and Charles Ellis and there is a marked tendency to exaggerate 
the New Englandisms in their playing. 

Sidney Howard's "They Knew What They Wanted" is another 
instance of the desire motif, but here each knew what he wanted, and 
without bitterness or undue philosophizing, without the necessity of crime, 
indulged himself. An excellent and well written comedy, brilliantly 
acted, its situation is an ancient one, yet Sidney Howard has used it 
so unsentimentally, and so logically, that he seems to have created ft 
new one. Pauline Lord plays Amy with the assurance and the 
pregnancy of voice and gesture, the sympathetic understanding that 
were hers in "Anna Christie." With her there are Richard Bennett as 
Tony, and Glenn Anders, a young and able actor, as the erring Joe. 

The revival of "Pierrot the Prodigal" was somewhat disappointing, 
for although it appealed aesthetically, and Laurette Taylor's mask for 
Pierrot was perfect, it was played as silent drama, rather than as panto- 
mime, except in a few isolated places. With the exception of the baron 
of Clarence Derwent, an actor trained in the pantomimic school, this was 
also the case with the others. It was never pantomime for which each 
gesture has its peculiar meaning, and a turn to the right or to the left 
has its own significance. And it was only in the music of George Cope- 
land that the moods of this domestic harlequinade of Michael Carre 
became pointed, lifting, rhj-thmically suggestive. 

There have been many Pierrots for this pantomime; there was 
Madame Pilar-Moran in the early 90s at the Boston Museum. There was 
Ada Rehan who saw it played in Paris, became enamoured of it, returned 
to play it here for a brief and unsuccessful week. Margot Kelly played 
it here some years ago. And of course there have been the continental 

In the settings of Livingston Piatt, as in the musical accompaniment — 
although it is so sadly depleted — the moods were created, the swift, 
nuances and flights of fancy of this Pierrot tale — fancy only barely indi- 
cated by the players, despite the dramatic skill of their playing. 

Again, the Actor's The.atre has done excellently with their revivals 
of both "The Wild Duck" and "Candida." And for all its years "The Wild 
Duck" seems to show least sign of aging of the Ibsen plays. Only in the 
long and antediluvian diatribes, of Grigors Werle, the Ibsen illusionist, 
does one realize that Ibsen was a dramatist of a period. For the rest the 
play still has its dramatic flavor, its sternness of composition, and the 
Actor's Theatre has given it a sturdy cast, with Cecil Yapp, richly humor- 
ous in his characterization of old Ekdal, Blanche Yurka as Mrs. Ekdal, a 
woman without illusions, matter of fact, the one stable member of the 
family. For the fragile and sensitive Hedvig, the figurative wild duck of 
Ibsen's philosophy, there is a young, and before this unknown, actress, 
Helen Chandler, who plays her with a rare charm and imagination. There 
have been objections to AVarburton Gamble's conception of Hjalmar 
Ekdal; some have accused him of burlesquing it, but Ekdal is always a 
burlesque of himself, a self-idealizing idealist, pompous, inflated. 

A re^^val, accoutred with the trappings and the manners of the late 
Victorians, as is that of "Candida," which without the incomparable Kath- 
arine Cornell who has departed, now to rehearse in the play of "Th« 
Green Hat," will eventually see the road. 

For the rest, there is John Howard Lawson's much-debated "Proces- 
sional," which was temporarily off the boards last week; there are the 
Gargantuan humors, the rich and racy humanity of Max^'ell Anderson's 
and Laurence Stalling's "What Price Glory" stirringly acted with Louis 
Wolheim and William Boyd, which will soon send its companies diversely 
on the road; and James Joyce's only play, "Exiles." 

Although this is its first performance in English, "Exiles" is not 
young, and its period is- definitely stamped as that of the Dublin that 
James Joyce knew, in the early years of the century. A minute and subtle 
intellectual discussion of the relation of the sexes, a plea for more free- 
dom, a revaluation of philosophical concepts. Exiles, these four protago- 
nists, in the sense that their doubts will forever rob them of happiness. 
The play, like those of Shaw and of Ibsen, has more of the psychological 
and the abstract, than it has of the dramatic, although each of its four 
persons is indelibly limned. 

And with such as these, and still more, one need not despair of the 
theatre in America, although this it; pi-.r/iis; c'.y c/ie t:ieatre In New York, 
and with the exception of a few of these plays, the others will undoubtedly 
rise and fall in New York alone, unshared in the provinces. 

New York, March 8. ^ EVELYN GERSTEIN. 


SUNDAY— Symphony Halt, 3:30 P. M. Dusolina Giannlni, soprano. See 
special notice. 

St. James Theatre, 3:30 P. M. People's Symphony Orchestra, Stuart i 

-viason, conductor: Mildred Cobb, soprano. See special notice. i 

Boston Art Club. 3::c P. M. Boston Flute Players' Club, Georges 
-urent. musical director. See special notice. 

Bostcr Athletic ssoci.itlon 's Gymnasium. 8 P. M. Nanette Guil- | 

TFe X'^nli Symphony Ensemble. See sp' 
S:30 P. W. Concert in aid of the Jacoby Ci i 
Niiardyn Lyska, dramatic singer. See special notice. 

TUESDAY— Jordan Hall. 8:15 P. M. Alfredo Oswald, pianist. Bach. Chro. 
matic Fantasy and Fugue; Bach-Busoni, Choral, E flat; Bach, Prelude 
and Fugue, A minor; Vllla-Lobos, the Baby's Family. 8 pieces based 
on Brazilian folk tunes characteristic of each type and race; Chopin, 
Impromptu, F sharp, Nocturne, C sharp minor, Valse, E minor, Etude 
C minor (Revolutionary); Schumann, Romance, F sharp and Novelette 
in D; Mendelssohn, Charakterstueck, in A. 

WEDNESDAY— Jordan Hall, 8:15 P. M. Eva Gauthier, soprano, assisted 
by Messrs. Gunderson and Werner, violinists; Fiedler, viola; Langen- 
doen, 'cello. Laurent, flute, and Hampson, piano. .See special notice. 

Music Room of Women's Republican Club, 46 Beacon street, 8:30 
P. M. Bertha Putney Dudley, mezzo-contralto; Harris Shaw, accom- 
panist. Handel, "Care Selve'' from "Atalanta"; Scarlatti, the Violet; 
Veracini, A Pastoral; Hildach, Spring; Horsman, The Shepherdess; 
Daniels. Song of the Persian Captive; d'Indy, Madrigal; Louis, Petit 
Noel; Massenet, Les Adieux de DIvonne from "Saptio"; Jensen, Um 
Ufer des Manzanares. Strauss, Allerseelen and Staendchen; Rogers, 
"The Moving Finger Writes" and "Yet. Ah, That Spring Should Vanish 
with the Rose"; Titcon-ib, Maytime Lament; Watts, Wings of Night; 
Titcomb, The Changeling. 

THURSDAY— Symphony Hall, 8:15 P. M. Serge Rachmaninoff, pianist. 
See special notice. 

Jordan Hall, 8:15 P. M. Wellington Smith, baritone; Elmer Zoller, 
accompanist. Brahms, Mit Vierzig Jahren, Kommt dir Manchmal in 
den Sinn, Eeldeinsamkeit; Korbay, O'er the Forest and Shepherd, 
See Thy Horse's Foaming Mane; Monsigny, Mathurin's air from "Rose 
e*. Colas"; Gretry, ""Songe Enchanteur" and "Laisse en Paix" from 
"Anacreon"; Duparc, La Vague et la Cloche; Chausson, Amour d'Antan: 
Bordes, Dansons la Gigue. Bax, At the Last; Vaughan Williams, The 
Roadside Fire; Dobson, Cargoes; Vieh, The West Wind; Densmore, Sea 

FRIDAY — Symphony Hall, 2:3t) P. M. 19th Concert of the Boston Sym- 
phony orchestra, Mr. Koussevitzky, conductor. See special notice. 

Steinert'Hall, 8:15 P. M. Carol Robinson, pianist. Alacona, Italian 
Song of 16th Century; Bach, Gigue from "Partita" in B flat; Haydn, 
Andante and Variations; Franck, Prelude, Chorale and Fugue; Bee- 
thoven, Sonata op. 90; Chopin, polonaise op. £5, No. 1 and Ballade 
op. 48; Moussorgsky, Transcription of "Boris Godounov"; Bortkiewicz, 
Etude, F sharp minor and Etude C sharp major. Balakirev, Scherzo, 
B minor; Carol Robinson, Prelude and Capriccio; Beecher, Waltz, B flat 
minor; MacDowell, Moonshine and Winter; Chabrier, Bourree Fan- 
tasque; Liszt, Hungarian Rhapsody No. 14. 

SATURDAY — Jordan Hall, 3:15 P. M. ■ Bruce Simonds, pianist. Bach, 
Caprice on the departure of his beloved brother; Couperin, Le Carillon 
de Cythere, Le Tic-Toc-Choc sur les Maillotins and Les Baricades 
misterieuses. Schumann, Toccata; Franck, Prelude, Choral and Fugue; 
De Severac, En Tartane; D'Indy, Paturages; Casteinuovo-Tedesco, La 
Sirenetta e il Pesce Turchino; Chopin, Nocturne, B niajo:* and Etude. 
E minor; Brahms, Intermezzo, A flat and Rhapsodie, E flat. 

Symphony Hall, 8:15 P. M. Repetition of Friday's Symphony Con- 


National Polisli;i , cuiiciucifd 
by Stanislaw Naniy.slo wslti. gave til's 
foIJouing program bf; PoUkIi iiiu;|i<|i 
i'olonaiso, A ma/or, .tbopjn-Glaxuiww^ 
Overture, "The Fairy "'TaJe.' Monhikzkii; 
"Echoes and Snuvenlrs of PoHsli .\a- 
tlonal Songs," Noskowskl; two char- 
.T.cterl.stic PoIi.sU dances, Obnrek from 
ihe ballet "Pan Twardou .'Jkl. J.,c- 
wa^dowski, Mar.urka, ."The Postillion," 
-Vamyslowski; Overture, "In the 'J'artar 
VI<iuntaini;," Zclenski: musical tableaux. 
"TJie Wedding, " Powiadomski; "As 
■^'ou I.Ike It," Namyslawski; two JJa- 
zlirkaB. NaBi.v.slowski. ' 

Costumed In their national dress, with 
flowing robeK and rfd caps topped \vlth 
peafrock feathers, the Polish orchestra 
piayed with rhythmic siest and senti- 
ment tlioir program of Polish music. 
And for the mazurkas of Mr. Namys- 
lowski the orcheKtra accompanied it.«clf 
with singing, wliistling. even yodellins?. 
to tho amusement and delight of tli" 

The orchestra ia'> small one, number- 
ing; about 50. and there seems to be. a 
preponderaure ot braes, so that at times 
Its playing .suggested that of a brass 
band to which a few strings had bef-n 
ndded. >tr. Xamsylowskl is a conductor 
of authority- and decision', ' given to 
I crashing climaxes, and sentimental In- 

The prograir, with the exception of 
thf> Chopin, ^vhich NamyslowskI iiro- 
luded with "Tho. .Star Spangled IJannei" 
and the national anthem, con- 
sisted chijpfly of Polish dances and folk 
music, throe of tlie dance.s having bocn 
■-ompo.aed by NamyslowskI. None of the 
iniisic was of an.v particular significance, 
ex(,'ept aa folk lore. The audience \.as 
small but ?nthut>iastic, and Mr. xJnivs- 
lowski was presentca with flowers 'at 
the end of tit*' first part of the program. 

"I'm afraid yoiFve got a late st.^rt;| 
you'll probably have to stand." Where-' 
upon quoth Beecher: "Just my luck! I 
always have to stand when I hear that 
man." But. though borrowed, the 
President's bon mot was pat, even if It 
lacks the plriuant flavor of that uttered 
by the earlier distinguished Amherst 
graduate. And after all, who knows but 
its genesis may He still more remote or 
can certainly say from whose lips it| 
first fell. PETER ASH. 

to sing In Russia. lhc.. ■ . 

In "Alda," "Otello" and ■ Samson and 
Delilah." "We had," wrote Mme. G.-iV. | 
"the honor of being the first artists 
chosen bv the government to romake 
the intellectual lyric education m the 
new Russia and prove to the Russians 
what great art can be. We are happy 
to give vou this ne\ts. We :>.on\A like 
to return to America and sing in dear 
Boston. Thank the Lord, we nave pre- 
served our voices and our strength and 
have even greater enthusiasm lor our 
career and our art than In the 

The Boston Opera House, where Mme. 
Gav and Mr. Zenatello shone briluantl;, 
still stands, but, alas, there Is no P.oston 
Opera Company. 

Mr Charles G. Norton quotes this 
sentence from an editorial article m a 
local newspaper: 

"The automobile Is here to stay. 

Mr Norton writes: "The statement 
shows a remarkable grasp of the situa-, 
tion but should not a paper of sucw 
high standing be more cautious abouti 
making such an unqualified statem^nti 
^o early in the history of the motor 

Maria Gay and Giovanni Zenatello are 
well remembered here. There have been 
inquiries of late concerning them. "Have 
they been singing? If so, where?" 

A letter was received from Mme. Gay 
last Thursday. It was dated at .Moscow. 
It seems that she and Mr. Zenatello 
were Invited by the soviet government 


As the World Wags: ^ . „( 

Can some of your older readers te,l 
me where T can find the words of the 
old church h>-mns beginning as fol- 

"Hark, from the tcmbs a doleful 

sound — ■ 
Mine ears attend the cry." 


"And are we rebels still alive, 
And do we yet rebel? 
'Tls wondrous, tis amazing grace. 
That we are not in hell." 

"Lo, on a narrow neck of land, 
Twixt two unbounded seas I stand, 

Secure, unterrifted. ' 
My impression was that they wer 
In the old hymn books of the Watt: 
and Cowper religious hymn regime, 
but I can neither find Watts's Hymn 
Book or the Cowpor m.usical rellglosl- 
ties and nobody hereabouts seems 
have heard of them. Neverthele.^s, I 
heard them sung in the "Old" First 
Church In North.ampton seventy years 
ago, and that was a long time after 
Jonathan Edwards, the one-time pas- 
tor of that church, was driven out. 


"Hark from the tombs" was written 
bv the cicce'.lent Dr. Watts. This 
and "Lo. on a narrow neck ot land" 
(from Rippon's Collection) may be 
found In "Watts and Select." a fat 
hvmn-hook that was in the pew racks 
ot our little village church in the early 
sixties. The "select" hymns were 
chosen by Samuel Worcester, D. P., 
"late pastor of the Tabernacle Church. 
Salem, Mass.," and they were Increased 
In number by Samuel J(. Woii^<st.-r 

A ^t.. ' • AmniTM 

1'' ;>ge, M.i.s.'-.n huM u?. I'll: copy wan 
|iu bllBhed by Crocker & Hrowsler. Hob- 
'o 111 1S51. The third line In -L-o! on 
:i narrow neck of land," headed "Seri- 
ous Pro.ipect of Eternity," should read: 
Yd how Insensible!" It Is followed 
bS — 

"A point of timfe — a moment's space — 
Removes me to yon heavenly place, 

Or — shuts me up In hell!" 
Then conffregatlon In our vllla^re church 
sang this hymn In a singularly cheerful 
manner. — l'>d. 

"WASH HER 18" 
Inquirer's assertion In this coiumn, 
on March 10, 1925, that there was no 
hand eng1n«( numbered 13 In the Boston 
Are department Is Incorrect. 

In 1838. Melvill Engine 13 was located 
In Leverett street, where, the records 
say. It was stationed until 1853, when . 
there was a change In the volunteer 
force and Webster Engine 13 was found 
on Paris street. East Boston. In 1857 
•he company was located on Chelsea 
street In the same district- Between 
1859 and 1R61 the hand tubs were re- 
plared by "horse hose companies and 
steam fire engines"; nine each, and No. 
13 was "in Rood condition and in re- [ 
serve." In 1872 steam fire engine 13 ] 
was located In Cabot street, wh<;re the 
tiumber is still retained by a gasoline ' 
pumping engine. 

With the exception of two years, * 
when there were only nine engines and ' 
nine hose compajiies in service, there 
has been a company numbered 13. 

The above record is taken from the 
annual reports of the Boston fire de- 
partment. The first report was pub- 
lished In 1838. BOK 52. 

and Mr. T.aurent, 
The program is as 

■Bdith R. .N'oyes— .Legende d'Amour, for 
vloiln, 'cello and pfano. 

.Mr. Thlllols. Mrs. Weaver and the 
t composer. 
Ph. Gaubert — Sonata for flute and 
cilfno. j 
•■ Mr. Laurent. Mr. Sanroma. 

Hugene Goossens — Five Impreseions of a ' 
Upllday, for flute, 'cello and piano, op 7 I 

1. In the Hills i 

2. By the Rivers I 

3. The Water-wheel i 

4. The Village Church 

5. At the Fair j 
Messrs. I.aurent. Mlquelle, Sanroma i 

(First time) I 
Edith R, Noyes — "Violin sonata ' 
The Indian Princess Alia I 
Love of Atla and White Chief 
Farewell and death of Atla | 
Funeral Cortege (up the lake) ; 
Grief, and Despair of White Chief i 

Mr. Thillois and the composer 
Margaret Starr McLaIn — Piano Quintet. 
Messrs. Thillois, Kimtz. .\rtieres. iii- 
r.Mioiie and the composer. 

(First tirne) ' 



Local Opera 

(The rose-colored stocking now appear- 
ing provided a theme >or Charles Lamb's 
wit over a century ago.) 
Turn, gentle Klia, on thy couch of dream 
In that fair realm where all Is gold 
and rose. 

.\nd touch again that old familiar theme 
Of badinage on dames in blushful hose 
Whereon thy wit bestowed its pure 
whipped cream! 

.\. hundred years agone thy twinkling 

Surveying ankle"? wrapped in sunrise 

Took surreptitieus glances, meekly sly. 
At rosy tinctures peeping out of shoes 
When Beauty sweetly daring passed 
you by. 

Once more on rosebuds walks my lady 

Less careful now the errant eye to 

She carries down the escalator stair 
A ray of morning sunshine rare as I 
sweet ; 

Now, gentle Ella, chaff her If thou dare! 

A. W. 


(For As the World Wags) 
To succumb to the effects of infection 
With the germ that grows to affection. 
Is an 111 
Of the will 

Of that voice small and .still 
Void of Us prop of reflection. 
Framlngham. JAC SINDLEK. 


The 25th concert of the Flute Players' 
Club, Georges Laurent, musical direc- 
tor, will take place at the Boston Art 
Club, Dartmouth street entrance, at 
5:30 o'clock. Edith R. Noyes, piano; 
Margaret Starr McLain, piano; Jesus 
M. Sanroma, piano; Messrs. Thillois 
and Kuntz, violins; Artieres, viola; Mi- 
qipelle, vlolincello; Marjorie Patten 
Wipaver, violoncello, 
Site, will take part, 

l"il-r. .1,, ,.i Ih. 

l'o..itoii Post II early 
!>0',s ;»nd an now 
oil Ihr erliloriiil .,i I li,. rhlla- 

''■■'plil.i. Imitilrcr. writi's ns follow.s' 
To the .Mu.sii' r'.Mru ' T'., M i il.l 

Mr. Roy R ■ ,» 
in ,Stindii> i 
to the osltibllshni. 11. ,.: , i • i ni.i n. i.t 
op<>r,v company In Hoston may glv.i 
Imprest t'l the efforts ii..\v lielnK 
mado In F'liilatlelphla |o the sam^' 
end. ,<?lnce the Phlladelphin -Chi- 
'••i".o company loRt its hyphen and 
became exclusively ChUagoan. tlio 
only regular perforuiancps of opera 
the city has had are those on Tucs- 
<la< evening^ during the season by 
the Metropolitan company from 
New York at .the_ Acn^enjv of 

iMuslc. The (san Carlo company 
comes here for two weeks in No- 
vember. Last year, however, the 
Philadelphia Civic Opera company, 
nn outgrowth frojii an amateur or- 
saniy.allon. came Into being, and. 
with the help of a subsidy from the 
city council, g.ave 10 performances, 
some In French or ItaJlan, some *in 
r:nglish. These had many faults 
at first; but the5^ steadily improved, 
and' this year they have been really 
excellent. Among the operas given 
have beeni "Faust," "Aida," "La 
Boheme," VL'Amore del Tre Re," 
"Carmen," "Rigoletto," and other 
s.^Ie<-tions from the standard reper- 

The foundation of the enterprise 
is 11 local chorus, which has been 
admirably trained by Mr. Alexander 
.-inallpn.s. Members of the Philadel- 
phia. Orchestra have played the or- 
chestral scores. Thfre has been ef- 
ficient stage management and ade- 

luir -'iiall 1 I'Vi-r il'i .--o. Siii'li worK i'* 
for the artisan In literature — not for the 

[ There was a produtrtlon In Parta, but 
Mme. Bernhardt was not the heroine. 
The performance was at the Nouveau 

I Theatre, Oct. 28, 1896, and Iffme. Line 

; Munte Impersonated Salome. 

Before It was published Mme. Bern- 
hardt heard of the play and Wllde read 
It to her In London. She wished to take 
the part of "Salome." There were re- 
hearsals at the Palace Theatre, London, 
In June, 1892, when the Lord Chamber- 
lain withheld his license on the ground 
that biblical charactera were Intro- 

WUdo then talked with a reporter. 
"The action of the censorship In Eng- 
land is odious and ridiculous. What can 
be said of a body that forbids Mas- 
senet'.s 'Herodiade', Gounod's 'La Relne 
de Saba,' Rubinstein's 'Judas Mucca- 
baeus,' and allows 'Dlvorconsf to be 
placed on any stage? The artistic treat- 
ment of moral and elevating subjects 
Is discouraged, while a free course Is 
given to the representation of disgust- 
ing and revolting subjects." 

i :vii'i;illi the no.I ln-r-- n. . 

They'll tuck this man .\;iy, 
Whtre lazy worms around Uliu era 

Security he feels ; 
i^-.f^f ^^^-■.•.gh wllh life for oaot anfi ali- 
I I'he toll of speeding wheels. 

The crowds disperse wKh heavy heart 

In all directions go. 
Soon lost within the city's mart, 

The scene forgot, when lo 1 
\ sickening crash, a sudden stop. 
I Another man Is hit ; 
jA morbid crowd, a blase cop. 
I A casket made to fit. 

Today 'tis he, tomorrow I 

May be the one who lies 
A crumpled fotTn. to live or die - 

A crowd collects like files; 
No sooner will I leave the crowd 

Than Satan's tool appears — 
My street clothes shed lo wear a shroud, 
With folks at home In tears. 

Miss Giannini Repeats Her 
Glee Club Success 

quate scenery. There Is also an 
excellent ballet. The Metropolitan 
Opera House, the huge theatre built 
for Oscar Hammerstcin, is still 
available, and at all recent per- 
formances it has been completely 
filled. The highest priced seats, it 
should be added, are $2.50. and there 
is a large subscription list. The 
policy of the company is to give 
Philadelphia singers a chance, so 
far as possible; but other singers 
have been engaged, where the parts 
required, as "guest artists." Among 
these are Claussens, Rappold. 
Fitzlu, Sylva. Brrolle. Althouse and 
many others whose names are fa- 

At present 10 performances in a 
season are all that It i,s deemed wise 
to undertake. But with continued 
public support the number will be 
incraased to one. a week, or even 

It is at least a hopeful enterprise, 
and it bids fair in time to be self- 
supporting, so that if the city coun- 
cil ever cuts off the subsidy (not a 
very large one), it can still go pros- , 
perously on. Whether or not a 
similar undertaking is feasible 
Boston only Bostonians can say. 

Philadelphia. March 9. 

Robert Ross, eminently qualified to 
speak about W'ilde's attainments, told a 
Bostonian that Wllde was wholly com- 
petent to ^vTlte In French; that 
"Salome," however, contained certain 
verbal constructions, certain idioms, 
which, while they were grammatically 
correct, would not have been used by 
contemporaneous French authors. Wllde 
spoke that language fluently, brilliantly. 
See the chapter "In Memoriam" by 
Andre Glde ("Pretextes"). Glde, by the 
way, says that Wllde spoke oY his 
"Salome" having benefited him in 
prison. "When they heard that my play 
had succeeded In Paris, they said: 'This 
Is strange. He really must have talent,' 
and from that moment they let me read 
all the books I wanted." Glde says that 
shortly before Wilde's death he had two 
plays In his head: "Pharoah" and 
"Ahab and Zezebel" — he pronounced 
the last liarae 'Isabel'." 

A dispatch from '^arls published ln\ 
The Herald last Thursday states that 
one Charles de Rlchter says he has 
found proof that Oscar Wllde wrote 
"Salome" In English, not In French; that 
'Wllde was Incapable^ of writing the play 
In FVench; that a "poor obscure" stu- 
dent named Pellissler made the French 
version and received for It 5000 frs>.ncs. 
"Letters are alleged to exist proving 
this assertion, but it Is not stated 
whether the original manuscript has 
been discovered." The dispatch also 
says: "It has always ifcen supposed — 
and generally given to be understood by 
Wllde himself — that he wrote the play 
first In French, especially for Sarah 

No, w^e do not believe that "a poor 
obscure" student named Pelllssier 
wrote "Salome" in French. 

Lord Alfred Douglas, who translated 
the drama Into English, is living. Will 
he not lift up his voice? 


As the World Wags: 

Some time ago there was comment 
upon the question of the survival of the 
old-fashion dances. They are held quite 
frequently in this neighborhood. The j 
enclosed program may. serve as evi- ; 
dence. Even in the ostensibly modern 
dances given here a quadrille or duchess 
is occasionally inserted as an oasis In a 
waste of fox-trots. AD ASTRA. 


The program of dances on March 13 in 
the Wenham town hall Included quad- 
rilles, contras, Scottisches, duchesses, 
waltzes, a polka. We never danced a 
"duchess" in our little village. This 
dance Is not mentioned In the Bad- 
mington book on dancing, nor In the 
great Oxford dictionary from which we 
learn that "rum-duchess" was a slang 
term for a woman of imposing demeanor 
or showy appearance, "a jolly hansom 
woman." There was an old French 
dance, "La duchesse," performed in a 
stately manner, a noble dance. Ah! the 
square dances! We hear the prompter 
now: "Forward and back!" "Ladies' 
Chain!" "Grand right and left!" 
"Swing your partner!" We hear old man 
Thompson's squeaking fiddle. But where 
are Lilla and Minnie and Nellie, our 
partners. There is snug lying in the 
graveyard near the powder house on 
the Plain.— Ed. 

This Is an entertaining story. The 
surprising part of It Is that M. <Je 
Rlchter did not tell It until after the 
leath of Wilde, Ross, Mme. Bernhardt 
and John Lane, who published the Eng- 
lish version of "Salome." 

^Tr. Gardner's, article about local 
anri p^rn.rmn.f opera published In 
last Sunday, has 

In the first place, Wilde did not write 
"Salome" for Mme. Bernhardt. He 
wrote to the London Times on March 
2, 1893, a few days after the publica- 
tion of "Salome": "The fact that the 
greatest tragic actress of any stage now 
living saw in my play such beauty that 
she was anxious to produce it. to take 
iherself the part of the heroine, to lend 
to the entire poem the glamour of her 
personality and to my prose the music 
of her flute-Uke voice — this was natural- 
ly, and always will be, a source of 
iprlde and pleasure to me, and I look 
jforward with delight to seeing Mme. 
j Bernhardt present my play in Paris, 
ithat vivid centre of art, where religious 
jdramas are often performed. But my 
jplay was In no sense of the word wrlt- 
iton for this great actress. I have never 
I witten a play for any actor or actress. 

As the World Wags: 

My wonder was aroused recently 
when 1 read that a certain speaker of 
wide repute and presumably peaceful 
habits had electrified a huge audience. 

Later I found it stated in a maga- 
zine article that he was a human dy- 
namo. Does that explain the shocking 
occurrence? H. F. M. 

As fhe World Wags : 

I thought you migtit like the inclosed , 
poem for your column, to help Mr. Good- 
win win a good fight. It Is clipped from 
a paper published in California, where, 
evidently, they have some mortal cares, 
even as we, although their climate Is 
golden, especially for those who go from 
New England with cash. M. A. S. 


(By George C. Benedict) 
A sickening cr^h, a sudden stop. 

Another man Is hit; 
A morbid crowd, a blase cop 
Whose eyes are used to it ; 
Inq'uisltlve people passing by 

Are asking : "Who Is he, 
I Is he alive or will he die — ' 
Thro'ugh curiosity. 

:"A lucky dog," In accents low, 
We hear a fellow say, 

At her recital yesterday afternoon 
In Symphony hall, Dusollna Glanninl, 

repeated tho success she 


cently won at a Harvard Glee Club 
concert. She sang yesterday, to the 
excellent accompaniments of Meta 
Schumann, this program: "Ombra mal 
fu," Handel; "O del mio Araato Ben, 
Donaudy; "Non so plu," Mozart; 'Die 
Ehre Gottes," Beethoven; "Gesang 
Weyla's," Wolf; "WIdmung." Schu- 
mann; "Allerseelen," Strauss; "Melne 
Llebe 1st Gruen," Brahms: "Stornell- 1 
ata Marinara," Cimara; "Nlnna Nan- 
na," Castelnuovo - Tedesco; Pace. 
Pace " from "La Forza del Destino, 
Verdi; "Curl, Curuzzu," "Pa la nanna 

Bambin," "In Mezzo al Mar, 
folk songs arranged by Sadero 
Lindo," Spanish folk song arranged by 
Nuno and Harris. ' 

For the third timb In Boston, yester- 
dav Miss Giannini proved to the world 
that she is the thrice blessed possessor 
of as beautiful a voice as It Is vouch- 
safed the present-day Airierican pub- 
ic to listen to. From the depths of 
her long scale to Its top she Produces 
tones of astonishing loveliness. /be they 
of the finest pianissimo or of full- 
throated strength. To the many ex- 
(cellences of her Judicious vocal tra n- 
ng It would be a pleasure to point 
m admiration, and also to one or two 
very minor defects Miss Glanninl has 
still to overcome. 

But the discussion would Interest only 
singers and singing teachers, and of 
this company no two could ever agre« 
as to details. All, however, would sure- 
ly unite in agreeing t^at Miss Giannini 
has acquired an unu.sually efficient tech- 
'nlque which Includes a smooth legato 
land distinct enunciation, and that, m 
such matters as phrasing and rhytftjn, 
she sings very musically indeed, 
t So much accorded, opinions might 
next begin to differ. To Judge from her 
choice of songs and airs. Miss Glanninl 
must think of herself as In some degree 
a dramatic soprano. Such, too, many of 
her admirers would have her. To other 
people, who none the less admire her 
heartily. Miss Glanninl seems nothing of 
the sort. 

For a dramatic soprano a voice of 
overwhelming power Is needed, a voice 
of sufficient strength to allow a blaz- 
' Ing temperament full play without dam- 
I age to the organ. This power Mies Glan- 
ninl as well, probably, as every singer 
of her age, still lacks. Of the tempera- 
ment that often accompanies a voice 
of this kind she showed yesterday no 

*'^To^th6 Verdi air, Indeed, she brought 
pathos, as well as to "Allerseelon," but 
no hint of tragedy. For Beethoven's 
song and Wolf's she lacked bigness of 
conception. In the Handel air, Donau- 
dy's song and "Wldraung," she was 
not remarlcablo. 

In comedy, for tlie present, Miss 
Glanninl has hen stren^h. Not onco In 
20 years would one hearCherublno's air 
sung 80 perfectly In character as yes- 

i terday, not to forget Miss Glannlnl's ex- 
qulsiteness of style and tone 

I Dellbes's song of tho^e Cadla girts 
she sang enchantingly. The fnik songs 
she sang quite as well as she sang them 
a month ago; higher praise cannot be 

[givsn. And In tU« UiMllinff ardor with 

which she sounded "Melne Llebe 1st 
Gruen" lies a promise that In time Miss 
Glanninl may become what evidently 
she aspires to be, a true dramatic so- 

The audience, highly pleased, would 
have many extra songs. R. R. G. 


i At the Copley-Plaza Hotel last even- 
iiiij, for the aid of the Jacoby Club. 
?.Ime. Naardyn Lyska sang a group 
of folk songs of exotic origin — devo- 
tional songs of the Indians, of the 
Japanese, of the Portuguese, Malabars, 
Uoumanians. Egyptians, Spanish and 
Icelandic, as well as a negro prifoii 

in the manner of the 
l-iitiuel Mellpr. althoufrh 
.r dark vivacity, Mnu>. 
to thoso songs the strange 
he sometlnios metallic hnrsh- 
sofc crvonlng In the lower 
that they demand. And as she 
she grew more ardent, her tones 
resonant, although there was no 
vocal beauty in her sinRlnff, and her 
voice seems almost untrained at tim>^s. 

Prefacing each group of songs, she 
explained their origin, iheir use and, 
meaning: and whether sho sang the 
{■trange street song of the Maiabarese. 
a medley of Arabic, Sanskrit and of 
Persian dialects, or the wild haunting 
air of the Roumanian women, there 
was a darlc intensity, and an untamed 
aest in It. An exotic Czech, who ha3 
ventured far afield in her search for folk 
song. The audience was small, and j 


nagged by his ^> 
able ilttlp daugh 

who visits them. ■ ■ ■■" ■; 
plished nagger. She has '\'^"}'[^*'\^^ 
a perfect husband. She deMghts In 
contrasting Kd. with him. Poor m 
cannot smoke his pipe In peace. He 
has been debarred from playing the 
mandoline. His wife Is bound " 
insufferable daughter, little f'^tf^^ 
who is thoroughly spoiled, P'^Sglsh 
finding with her father rejecting 
his caresses, paying no attention to him 
when he tries to talk with her. 

Next door live the Sheridans Mrs 
Sheridan left the stage-she had aken 
, minor parts in revues and "si^al 
^medies-to n.arry Bert, a ^^'^^,11' 
I fellow rude, sneering, a dead beat 
She ^ves music lessons to children- 
"one, two, three, four." at 50 o-ntf f " 
. hour The Sheridans are constantly 
lowing, and the wife is not to b ame^ 
; The neighbors cannot forget that she 
has been on the stage. Lonely, insult- 
ed by her husband, she wonders why 
she left the bright lights of New joric, 
, for the dull village. As h^r telephone l 
I is out of order, she runs m frequent y 
; to the Grahams and there strikes up 
1 a friendship with Ed. 

Little "Sister" goes to a party ana 
the St. James Theaitre Je^^rday ^ ^^^j^^^. 3^^,^^ accompany her. Sher- 
idan leaves his wife to spend a week- 
end in the city. He must see a man 
who may have a PO^'t'o". f"''.,'^''"^, 
old storj', and the wife is t^Ted of It. 
She sends for Kd, to keep 'lier com- 
pany and asks htm to bring his mando- 
line Thev play and sing; she gives 
him high "balls, for though the grocer 
is not paid and the garage man 10- 
ceives a worthless check, there is al- 
ways Scotch in the house. She makes 
Ed comfortable, asks him to smoke his 
pipe. Little by little ?^ph i^l'l.f/ 

afternoon, the People's Symphony, con- 
ducted v by Stuart Masotu wid with 
Jllddred Cobb, soprano, as the soloist, 
pave the loMowlng progi am : Dvorai, 
P\mph'onv Ko, 5 in B minor, op. 9o ; 
Faure "Pelleas and Mellsande" suite 
for orchestra from the incidental music 
to Maieriinck's play; Puccini. Aria, 
to Maeterlinck's play; Puccini, Aria; 
Butterfly" ; Chad-w-lck. Anniversary 

The orchestra was apparently In line 
fettle yesterday, and In both the Dvorak 


New Park — "Spin-Drift," a 
comedy by A. E. Thomas with 
Wallace Eddinger, Margaret 
LaAvrencc, Henrietta Crosmann 
and others. Second week. 

Plymouth— "The Goose Hangs 
High," a comedy by Lewis Beach 
with Norman Trevor and Mrs. 
Thomas Whiffin. Second week. 

Shubert — "Chauve Souris"; 
Baileff and his players return 
with a new entertainment. Last 

Wilbur — "Beggar on Horse- 
back," satirical comedy by Kauf- 
man and Connolly with Roland 
Young. Last week. 

Colonial— "Kid Boots," Zieg- 
feld's musical production, star 
ring Eddie Cantor and featuring 
Mary Eaton. 

Majestic— "I'll Say She Is," 
musical revue starring the Four 
Marx brothers. Sixth week. 

fettle yesterday, and In both the Dvorak P^^"^^^ ^t home. Ed. blossoms out 

symphony, which r.r»ngriy enough has They dance; he kisses her several 
— - —-times. Sheridan returns, for he finds 
tlmt his wife had taken a check from 

not been played here before this 
season, and in the subtle, Impression- 
istic reaches of the Faure music for 
"Pelleas and Mellsande" whicJi Mr. 
I Monteux played last a season ago, 
I there was a rare restraint and a lack 
of edglness In .their playing. 
; Mr. Mason jilayed the New 'VVorld 
[symphony with its eloquent and thinly 
I sputi melodies. Its occasional orchestral 
I opulence, and its tawdriness at times, 
! without bombast, or exteTiuatlon of its 
j well worn tunes, as so many conductors 
' are accustomed to do. 
I And in the music of Faure, music 
I more definite and rounded In outline 
thin Is Debussy's for the opera, more 
p-lpa*»Ie than the slim, uncertain sug- 
I gestlveness of Debussy that Is so at 

his pocket. As he is trying to get the 
check-which she had given to the ga- 
rage man-he grows brutal. ^Ed. comes 
in from the kitchen and orders Sheri- 
dan out of the house. The lamb has 
become a raging lion. The young wife 
and Ed. know that they should have 
Len husband and wife. It's rot too 
late They will run away. , 

Ed. goes home to pack Ws bag and to 
meet her at the station. The flight is 
"genlously prevented. As the naggers 
^ ar! all upstairs. Mrs. Sheridan co^cs m ) 
more beautiful than ever. Ed beg ns to 
weaken. How will they register r.t a 
hoter Will he find a position. Then 
woman, in a charmingly _simple and 

gestlveness of Debussy that is so j the woman, in a. l,u>x. ..^..e,-., 
one with the mysticism of Maeterlinck \ pathetic scene tells him should stay 
i_„i/i.„toi ,Y,„»in Mr Mason „♦ She can make her way aione, 

—in this Incidental music, Mr. Mason 
was delicately sensuous, sharply lim- 

Although she chose to sing the 
threadbare aria of Cio-Clo-San froni 
"Madama Butterfly," Miss Cobb sang 
w-lth warmth and a resonant tone In 
her lower register, clearly, flexibly and 
w^th a smooth and beautiful tone in 
her upper reache s. Only once was there 

rhoml^ She^ can make her way alone^ 
for there Is the stage, but never will she 

a suggestion of metal tn her uppe 
notes, and when she repeated the aria, 
by request, this disappeared. Ari "Amerl-| 
can who has lived for a long time In 
Italy, ehe has the advantage of an ex- 
cellent Italian, to which she has added 
clarity of diction. 

Next week Ms. Mollenhauer will again 
resume the conductor's post, and Har- 
ry Farbmann, violinist, will be the so- 
loist. The program will Include; Bee- 1 
thoven, overture "Leonore," No. Ill, I 
op. 72; Paganinl, concerto for violin, 
in D major, (cadenza by Emil Sauret); 
Salnt-Saens, symphonic poem. "Le 
Rouet d'Omphale," oP. 31; Tschalkow- 
sky, symphony No. 4 In P minor, op. 38 

E. G. 



Hollis Street Theatre: First perform- 
ance In Boston of "Xext Door," a com- 
edy in three acts, by Dorothy Parl-er 
and Palmer Rice. Produced by Richard 
Herndon with the title "Close Har- 
; mony" at "Wilmington, Del., on Nov. 21, 
;1924. Produced at the Gaiety Theatre, 
New York, before an invited audience. 
I on Xov. 30, 1924, with Miss Lyon, Miss 
i Curtis and Mr. Spottswood in <.he 
I The players here : 

' Haristt Graham Valeria Valalre 

Sister Graham Arline Blacltburn 

Annie Q-Connell Marie Fanchonettl 

Ada Towsetey Marie Curtis 

Mrs. Sheridan Wanda Lyor 

Ed Graham James Spottswood 

Bert Sheridan.-. Franklyn Fox 

Bin Saunders C. H. Carlton 

Dr. P.obbins James feeeley 

It is said that the authors first 
thought of "Soft Music" as a title for 
this comedy. "Close Harmony" was^ 
better, but either one of the two might! 
have given a false idea of the play's 
nature. "Harassing Domesticity" would 
be more informing. 

For this comedy is photographic of 
married life in a small town, a "dump," 
as young Mrs. Sheridan describes it, 47 
minutes from the Grand Central sta- 
tion. EJd. Graham, a meek man. Is 

Ifind another man like Ed. Aft<^r she 
j goes, Ed. thinks it all over. He order."! 
the aunt to leave the house, as she ir, s 
'fond of her perfect TIenry. He smokes 
i his pipe and throws ashes on the rug. 
I He reads the riot act to his wife. Vhen 
the little girl asks him to stop playing 
the mandolin, he rushes up stairs and 
spanks her. Henceforth he will rule thej 
h house. When his wife says there willj 
be only eggs for supper— while he was 
with Mrs. Sheridan in her sitting room, 
he had forgotten the roasting leg of 
lamb at home— he says severely: "All 
right, but don't let it happen again." He 
will be comparatively happy; he will be 
let alone; but will he ever forget Mrs. 

The comedy is faithful to life, a com- 
' edy that is amusing from beginning to 
end, though it Is not without bitter- 
ness, not without a cynical view of 
married life when a couple is mis 
mated. The dialogue might be heard 
in many homes; the nagging was prob 
ably appreciated by many in the audi 
ence. Yet there is no palpable attejnpt 
to preach a sermon. The mirror Is 
.held up, but the dramatists hold it 
Lvlthout explanatory or moralizing com- 

^ f This play is capitally acted. Mr. 
Spottswood's portrayal of Ed. is real- 
istic with the realism that comes only 
from art. The good nature, tlie in- 
herent kindly disposition, the patience 
of the man; his longing for affection; 
his realization of how a woman like 
young Mrs. Sheridan could have been a 
comfort and a source of happiness; his 
final revolt and airs of domination — 
all this was ' expressed without a trace 
of exaggeration, yet with an ever pres- 
ent vitality that prevented Ed. from 
being lovable but weak. 

And his rehabilitation he owed to Mrs. 
Sheridan, as played by Miss Lyon, who 
would have turned the head of any 
man. Miss Lyon did not make the 
mistake of forcing comedy In its more 
serious phase Into melodrama. Even 
tempting Ed. to run away with her, she 
did not "vamp" him. She should have 
been Ed.'s wife; he should have been 
her mate. She respected him, loved 
1 him too honestly, to make him un 
I happy. A charming portrayal of a 
frank and fascinating woman, with all 
her slang and views of life. 

The two were naturally the dom- 
inating characters. The others In the 
company were adequate. A large audi- 
ence was unmistakably pleased. 


COPLE THEATRE— "Dear Brutus," 
comedy in 3 acts by J. M, Barrie. The 
Boston Repertory Company. The cast. 

Sil^. ; .Bl«petl. Dudgeon 

Mrs. Coade. jeVsamine Newcombe 

Mrs. Dearth.... irucy Currier 

I,ady Caroline Law Katherln" Standing 

.Toanna Trout Francl" Oompton 

Matey victor Tandy 

Jf" W wVi; 1 Alan Mo'v-bray 
Mr. Purtlje wordlev Hiilse 

Mr. Dearth j jjgy j^ij^, 

Margaret .. 

surely an odder play never was set on 
the boards. Full of fancy and con 
celts one might expect it to l^^, Barrie 
wi-ote it. Pretty sentiment by the 
same tok«i, one would ook "Ot to 
say a little sentimenta Ity; °f 
ter quality there was less than Rome 
times happens. Of wit there was plenty 
and humor; of poesy a "tt^, not too 
poetical, If a frank opinion ."'ay ^® 
down. There was comedy '^'^hty arnus 
Ing. A certain vein of silliness 
scarcely be denied. A^frrcas 
These elements, ,f fr 'de' 

form Barrie' s dramatic stock In trade. 
But for this "Dear Brutus he drew 
freely on yet '-^""^her elemen that 
which, according to modern criticism 
permeates every intellectual and "tis 
ilo effort, be it a curate's s«rmon, a 
, portrait In pastel, or a nocturne for 
iplanoforte-the element, no less of Irony. 
1 It was bitter irony. 

Barrie will have It, ^"h the eu 
thority of no less a Pers°". ^5.^" ,?,^f w 
neare to support his view, that 
humans do not learn ^'^ ^^PfJ'^^^^^ue 
we are given a second chance to make 
Tomtthifg better of our lives and of 
ourselves instead of pouncing upon It 
°" Francis preached 

we, hlce the hsnes s"^' q^^,- 
to orefer to jog on the old wa>. -1 ne 

„rs/f oSrs 

Mrs swing's ^°^-"V.'"';^fits these 
^I-r D^eX" ^^Ta'^d/^dr^ew 
n^fHv too Mr. Clive characterized a 
?ood-nat'2?ed painter driven to the dogs 
?,„ .irlnk- with real power and remarK 
able'lacikl play he Pictured the man , 
misery when he '^o, wm ' 

;,r. t?jrr».s^»r s. 

g^ed valiantly with a role that 
fax Mabel Taliaflerro herself. 

i fi^"st'and thira acts -re heartily 

applauded .y a J-|e audience. ^The 

Ttti J they were la^t nig^ht 
Interest any audience. 

was a dancer and Joseph Schrode was 
a stork the queerest perfect fool of 
a stork 'that ever wobbled into a house | 
carrying a baby. , 

Albert Shaw and Samuel ^e^- J° 
eether with Ed, did Spanish guitar 
fhings and songs that would astonish 
Andalusia and turn the head of old ^ 

^"The Rose" was a thing of rarel 
beauty with Jay Velie as a dreamer, 
Janet Velie his d^-^^m bride and sup- 
plemental girls as petals that helped 
to make it a bewitching dream. In the 
"apartment" Ed Marion Fairbanks 
Jay Velie and rrtore girls, who at first 
seemed to be dressing case, couch 
settles etc., made a nest for which 
any young bachelor would wUlmgly 

pay high rent. 

A remarkable scene was that In a 
restaur,-mt that Ed had opened In 
Glasgow, where he learned that a 
"Scotchman is not like a canoe— because 
he never tips"-and other things, and 
where three Ormond girls with bare 
I knees that no sensible censor will order 
'covered and the three Le Grohs danced 
filngs, highland and lo;^-'«-nd, that 
fould make Ben Lomond tremble with 
pleasure. These La Grohs, by the way 

^how by thei'r;rank^ and novel twist. 
?hat they come from a French branch 
of the family of Otto, SheUey. May. I 

*'ln act 2 Ed has a livery stable with 
horses of breeds never dreamed cf m 
Arabia or Samarkand, and even Ed 
couldn't manage them Just as he 

rTh'e Vo?ga boys, eight Cossacks, whorn 
Ed swore he found sitting on the 
fteppes of Russia, -'ertainly l?oked real, 
and everyone who likes the \olga hoat" 
men's song should hear them sing U 
thfey 'should hear all ihe other Cos=acK 

^The-'Xsing "ballet of the north' 
wind " with Riggs and Witchie as lead- 
ers, in strength, beauty and grace is re- 
pleie with loveliness in color, movement 

'^^'n'thTfinafe.'something entirely new 
of ?hl kind, the chief contents of the 
Grab Bag are reviewed by Ed are 
tucked Into a huge bag and then to 
Himself rings the bell and lies dmvn to 
well-earned repose. ^ J ^ j 

Isn't Life Wonderful?" Story 
of Germany After War i 


R. R. G. 


When Ed Wynn presented himself, as 
he says, at the Tremont Theatre last 
night to open , his "Grab Bag," every 
person in the houseful that greeted 
him recognized lilm at once as the per- 
fect fool of 'Uvtf years ago and the 
"laughquake" began. It broke all the 
laughquakeographs at once and Im- 
mediately turned into laugh simoons, 
typhoons and hurricanes that chased 
each other through all the variegated 
scenes till the actors "were tucked away 
in a huge grab bag by Ed himself at 
the end of the finale— and the 2a00 (or 

LOEWS STATE— D. W. Griffitn s 
film of "Isn't Life Wonderful?" based 
on the story of Maj. Geoffrey Moss, 
with a cast that Includes Carol Demp- 
ster. Neil Hamilton. Marcia Hams, 
Luplno Lane and others. 

Despite the ineptitude of its title. 
■Isn't Life Wonderful?" which Mr. Grif- 
fith and his cohorts made in Germany 
last summer, is the most straight- 
forward and the least embellished of 
his films. There are still traces of the 
i Griffith sentiment, of the heavy under- 
scoring in titles, of the obvious ma- 
chinations that always mark his films 
with the taint of the studio. Yet there 
I is simplicity, a wistfulness here, a lack 
of melodrama and pathos. 

There is little substance dramatically 
in his story; it is merely a romantic 
episode staged in post-war Germany, in 
Copenick, a suburb of Berlin, where 
Polish refugees and others have estab- 
li«!hed temporary homes, waiting apa- 
thetically for a change In their -or 
tunes. . 

\nd with the faint chiaroscuro that 
surrounds each of his films, Mr. Grlf- 
fith has captured strange, twisting 
cobbled sU-eets; a hill topped with a 
windmill, a river with boats, a barge- 
man sitting idly with his three stolid' 
children, playing his accordion; the 
panic of the bread line that followed . 
the depreciation of the mark, th« oc- 
casional American at the Night Club. 

Yet, somehow his Germany lacks 
conviction, perhaps because he nas 
chosen for his principals American 
actors and actresses, who never lor 
once suggest either Poles or Germans^ 
It Is only in his incidental persons that 
he has drawn from the native stock. 

And with the slow-witted professor 
and his family: the brother Theodor 
goggled evad, a waiter at the isignt 
Club to preserve his scholarly Integ- 
rity In the day; Inga, the girl, wide- 


fved and dogK<-d. ^ ■ 

dowry that .he 'i'-''"'"'"^';"*. ".'aek 

stro.s. and Paul, ^vho l'">l<l%fl"/'!,'^y 

;' , M has somehow inan- 

,i 10 ii create with , 

An interostlng film, yet it »om«7^ I 
misses Its mark, partly because of 
^n<Pv endlnir Mr. Griffith has been i 
obUg;d to add. and r-uHy because of , 
the oastlng. Carol Dempster as the, 
cirl pla.ved with an unaccustomed slm- 
v'lk-it ' and naivete, a ,^le 'i«t<-;'"'"Vl 
tion ' that "was admirable, and Nell 
lalniUon as Paul. P'-y-?.^"',,,;-""-, 
vlo.ion. But the most ,^1^'' "> °' 
.•^. liMs was that of the Insatiable I.u- 
pl,u> l^ne, a music hall comedian, who 
.;.r., 'l the rovlnpr Rudolph, an actor 
', ^ Perhaps Mr. Griffith will do 
n working without elaboration. 
, . illv, and the next time be more 

-:<-ul." ^ °- 


ST. JAMES theatre;— First per- 
rirance in Boston of "Lazybones." 
•hronlcle of a country town." in 
i ts, by Owen Davis. Staged by 
; Godfrey. The cast: 

Tuttl* i. ...Anna L<ayn8r 

-ler Louis Leon Unll 

I'annlnj. . . .' Olive Blalceney 

n.iUlsttr. . .N Roy Elktns 

. Fanning Barbara Gray 

I uttle , John Collier 

I '.innlnr > . . . .iMarle LaJloz 

Elsie Hltz 

l.-xy SIsle Roberta Lee Clark 

. i chie Houston Richards 

Giles Is again blazing the trail, 
.1 time giving fresh production to 
1 Pavls's play for the first time In 
i'!ty. The "Boston titter" was 
^• much headway last evening. 
:ig an otherwise beautiful per- 
. i .ince. Mr. Godfrey could stand it 
' longer, and at the conclusion of tlie 
• coiid act stepped In front of' the cur- 
• lia and rebuked the "titterers" In" a 
, \v frse sentences right out from the 
: Tulder. He -was warmly Indorsed by 
large audience. 
This Is not the Davis that wo knew 
In the daj's of sizzling melodrama at 
th ■ uptown theatre, griven to wild ex- 
g-f^eratlon. to artifice of the theatre, 
i ut i-ather the mellower playwright 
settled down to more delicate stroke, 
•o finely etched characterization, to 
flfsh and blood people. Nor has he 
found it necessary, in this tale of the 
countryside, to resort to the old for- 

Fifteen years elapse between acts 1 
and 2: five years between acts 2 and 3. 
Lazybones is all that his name Implies; 
^ rk to him Is somebody else's concern. 
f:ut he will fish with the t>est of them. 
Up by the beaver dam he hears the 
n i.ispering katydids, drawn in their di- 
■■p.-tion he finds a baby, and home to 
MoUier Tuttic in the basket he brings 
her. Mrs. Tuttle, kindness itself, takes 
the little one cheerfully. Then the testy 
and hysterical Mrs. Fanning points the 
linger of suspicion at Lazybones, who 
N keeping company with her daughter, 
rlclentally it develops that her other 
nghter, Ruth, Is the mother of the 
Id, who confided her predicament to 
..-zy bones, who knew not only where 
to g':t the child, but how to keep a 
si^cret for all time. 

Mr. Davis has drawn Lazybones with 
unerring hand and Mr. Collier has vi- 
talized him beyond the reach of his 
' ' ai s Mr. Collier's performance was 
■\ni]y conceived, free from any sem- 
r, Inn. e of theatricalism, unblemished by 
.ii i, ature; he might have walked onto 
he stage of the St. James direct from 
' A ( ountrj'side : a performance that 
J lyurs well for the future of this unas^ 
riiug young actor, who apparently ha.s 
. l!i> before him. Miss Hitz clearly 
r rfntiated the Kit of Ingenuous child- 
••1 and the more subdued Kit of ma- 
't> and her wooing of Lazybones 
, - a picture to think about. Anna 
■ - ■ US was always in the picture as 
1 jrtlia Tuttle, kindly, sympathetic, just 
irh a woman as we find in every New 
);ng-land village. For the others, each 
contributed to the illusion, and Mr. 
Godfrey may well plume himself on his 
production. If we could only feel, after 
i admonition and plea, that the veil 
■■• ould enclose forever that "Boston tit- 
t' r," what pleasure In store for future 
udiences! T. A. R. 

, l.-issical s' l 
oral recalls. , _».-ir,es 

K.1...11V leading the comedy o««''"f-^ 
W.AS Charles Withers. In an "P';°f^'""« 
travesty on the old-style ^ ''"^''^y };\^, 
pram, common In rural communlti.s 

not -o many years mto- T-*^'* '"f "f^t 
Silas SpHven'B SUvertown band, the 
thrilling screen drama, " '^^' ^J^" 
niacksmlth's Daughter," an '""^t''*'''^ 

.n? hit of early vintage. «nd /''f 
c.ny scene from "Romeo and J"' 

.\nother th"^ 
,ncnselv popular vvas Montana, the coW" 
l.ov banjoLst. who demons. ra ed he was 
as' much at homo with a stringed n- 
I.Mrumont as his more famous proto- 
Itvpo was In the saddle of a buC'<ln«: 
' broncho. Ted Trevor and DIna Harris, 
In their first appearance in America 
direct fro;n London ballrooms, gave a 
new dignity to the dances. 1" w"'^.'' 
they were supported by Paul Fried s 
jazz orchestra from Chicago. 

Completing the bill were the Aerial 
Smiths, intrepid trapeze artists; C'auclla 
Coleman, In characteristic studies of 
feminine types; Mack and Rossiter. in 
"A Mpdern Occurrence," and Claudia 
Alba and company, introducing Enrope s 
famous feminine athlete. Aesop a 
Fables. Topics of the Day and Pathe 
News Avere screen offerlnigs. as usual. 

was n lui'isllle. O) In tl. 
tlio ITlh ci-ntury tho word 
to a barrier across a wui, 
stream; a watrr-gato, l^. 
water to flow, but obstru.i. i , , 

also a lock on a navigable river. (H) 
About 10(8 "turnpike" came to mean 
"a barrier (orlg. of the nature of ft 
turnpike In sense 2, later a gate or 
gates) placed across a road to stop pas- 
sage till tho toll Is paid; a toll-gate. 


One of the most diversified biUs 
offered at Keith's Theatre for some time 
opened laat evening with a larger pa- 
tronage than Is usual at the beginning 
of the week, aasslcal, comedy, terpsl- 
chore and variety acts provided a bill 
that appealed to an appreciative audi- 

I Judging from the applause, Harry 
f, composer and musical comedy star, 
•.ose versatility Is apparently Inex- 
austlble, shared the headline honors 
A-lth Nellie and Sara Kouns. noted 
linglng sisters who have starred in 
lumerous musical revues. The for- 
mer's interpretation of "modern' 
jreek dances, and the latter's recital 

The London Times reprints para- 
graphs pubUshtd m the Times 100 years 
ago. 1^ 

March 2, 1825: "A witness produced 
the Times of July 25 containing a cer- 
tain advertisement. Mr. Gurney ob- 
jected to the advertisement being read, 
as there was no proof that the plaintiff 
had ever seen It. Mr. Scarlett observed 
that a gentleman having a town-house 
and a country house and a counting 
house In 'Change-alley, would be sure 
to read the Times. The advertisement 

was read." 

This reminds us of a little story. A 
lady in Boston was regretting that one j 
of her friends was connected with an ' 
influential newspaper in town, but not 
with the one that she preferred. "AVhy 
don't you like the Bugle Horn of 
Libertyr' "Well, you see, none of my 
friends die In the Bugle Horn, \^hereas 
the Owl makes a specialty of deaths." 


(The word "relatlvated" has received 
the sanction of a local body.) 
Our chairman, whe Is used to taking 

An expert In municipal affairs. 
Can sit on bores and speakers contu- 

But he Is uncommuntcatlvatlous. 

The ratioclnativated clerk, 
Skilled in interpolatlvate remark. 
Oft from the point meanders all be- 

Dinning our ears most selfassertlr- 
atedly. A. "W. 

"Turnpike" was also a wire Knare set 
by a poacher across a hare or rabbit's 
run. It Is an obsolete term for a turn- 
table on a railway. In Scotland a stair- 
case winding round a central axis, a 
spiral or winding stair, was called, per- 
haps is today, a turnpike. 

In Susan Warner's "Wide, Wide 
W«rld," a book once dear to thousands 
some one says: "I am scalding this 
meal with It to make turnpikes." This 
was In 1850. In tho same year a writer 
In the Knickerbocker Magazine spoke 
of little yellow cakes called turnpikes, 
"used, I believe, for some purpose or 
other in baking bread." Can anyone 
tell us just what these turnpikes were. 
Webster in 1S06 admitted the verb to 
turnpike, "to form or erect a turnpike." 
Turnplkers were foot-travelers. Bos- 
ton Gazette, 1812: "The heroes, who 
were to have mounted the heights of 
Abram, are yet in tho garb of turn- 
pikers, unaccoutred and undisciplined. 

"V. F. will find pictures of English 
turnpike tickets in Charles G. Harper's 
"The Brighton Road" a volume of that 
entei-taining series: "Histories of the 
Roads," published by Edwin Valentino 
Mitchell, Hartford, Ct. "It was neces- 
sary for the traveler to know his way 
about, and if he were going through, to 
ask for a ticket to clear to Brighton; else 
the pikemen would Issue a ticket which 
cost just as much, to the next gate 
only when another payment would be 
demanded. These were 'tricks upon 
travelers' familiar to every road, and 
they earned the pikemen as a class a 
very unenviable reputation." 

As for Dick Turpin's famous ride on 
Black Bess, the story Is now said to be 
only legendary, without a historical 


BIr. M. J. aiacManus in "A Jackdaw 
in Dublin" thus parodies in "The Phil- 
osopher Gives Some Advice to a Hus- 
band in Distress" the prose manner of 
James Stephens: 

" 'I'm in great trouble this day. said 
Paudeen, 'and it's asking for your ad- 
vice I'd be, sir.' 

" 'You shall have It,' said the philoso- 

" 'More power to your honor. It Is 
the wife 1 have and the heartscald she 
is to me. She does be making my life a 
misery from one week's end to the next 
and every day longer Uian the day be- 
fore If I was to tell you all I have to 
put up with fiom her it would make 
your hair stand on end. 

" 'It would not,' said the philosopher, 
'I am growing bald.' " 

n; MfndelHuohi 

IS a son of H^nrlqu 

Itiiii , oini^""*"' '^' 

:,iKi. II., 

• •lii.«n , (HiiitrlffH, Ini v 

li, IPJii li" |,lnyed In ili, 

I.iPt .iBUviHiy hn was 
'ooneort of the P«opI»'« >^i>'- 
.rlientra In, and lu' i^' 
,'\(ih the ordiostra hV« latli, ) 

I hc name of Vllla-Ijobos U not f«- 
Imiliiir to our concert gocri-. Manic by 
him ban biien perforniod In Parld In the 
fours* of the lust two years. Tli" Siiltn 
:li«aril last night In lia«ed i": i 
yolk themes. They her, 
to tvplfy dolls, ono of «hlto i ■ ' 
Creole doll of papl"" niachc, a liift/.ili.iii 
Indian doll of terra cotta, n mulatto doll 
<i( rubber, a negro d^ll of wood, a rag 
c'.oll. Punchln<-llo and a witch. "TlK-ie 
wRR a onco popular Hong, "All Cooiii 
I^k Alike to .Me." While thene Mra- 
alllan dolU do not all sound allk*. no 
nne hearing them, without the program 
.11 hand, could say, "That ono U porce- 
lain: that one l.s made of terra 'oti.-i. 
ibut this one Is a wooden doll. " Vill i - 
lAjbos Is evidently acquainted with the 
Kvorks of Claude Dcbu.«ay. The latter's 
influence was especially noted in the 
first two movements. In the nrst. one 
was convinced that there were liberal 
duotations. or that the pianist, tired of 
Villa-Lobos. thought to himself, ".Now 
1 11 Interpolate a few measures of De- 
bussy's." The folk tunes themselves 
ivould probably have been Interesting 
I In their nudity. The most effective, the 

most poetically characteristic was "The ' 
Poor Rag Doll." wistful, pathetic, and 
the simplest. Recalled after this group. 
Mr. Oswald played a Brazilian Tango. 

Mr. Oswald has an agreeable touch 
and a fluent mechanism which was well 
displayed in the third of the pieces by 
Bach. His playing greatly pleased an 
audience that should have been much 
larger, for the recital was In aid of the 
South End music school. 

First in Series of Handel- 
Haydn Society 


As the World Wags: 

The Herald's editorial on the old 
Newburyport turnpike was most in- 
teresting. The great changes In traf- 
fic within 50 to 70 years are amazing. 
Fancy, If one can, old Rowley having 
16 coaches a day passing through. Gone 
are the coaches and the branch rail- 
ways have gone under, ail making way 
for "Sir Auto." Who can tell me why 
this old Newburport highway, like so 
many others here and in England came 
to be called turnpikes? AVhat, where 
and why did they get the name? In 
my early days one had always to see 
that there was money enough In one's 
pocket to pay the pike when driving. 
What a pleasant memoryjs the picture 
of Dick Turpin on his famous Black 
Bess with mane and tail flying, scorn- 
1 ing to pay toll by jumping over the 
Igate. Toll-gates and turnpike gates are 
j now about extinct. Boston had her 
gate out on the milldam not so many 
I years ago when on Tuesdays (Brighton 
market day) hundreds of horses, oxen, 
sheep, etc., passed through. I am 
curious to know where, when and why 
highways ever got the name of turn- 
pike. "^^ ^ 

"Turnpike" is here elliptical for 
"turnpike road." De Foe spoke of "one 
of the worst turnpikes round about I 
London" in 1748. The phrase "as plain i 
as a turnpike," was used in a debate 
in tho United States Congress in 1802. 
(1) A turnpike was first of all a 
spiked barrier fixed in or across a road | 
or passage as a defense against sud- 
den attack, especially of men on horse- 
back. It does not appear certain how 
this was originally constructed, or how 
it acted; later writers identify it with 
the cheval de frise, but the other 
senses suggest that -in older use tho 
axis was vertical." The earliest quota- 
tion under this head In the Oxford dic- 
tionary la dated "about 1420." (2) 
"Turnpike" a century later was the 
word for a horizontal cross of timber 
turning on a vertical pin set up to ex- 
clude horse traffic from a footway. It 

As the World Wags: 

"Tarbellus," in your column asks how 
the last syllable of "figure" should be - 
pronounced other than if it were spelled 
g-e-r. As it is perfectly evident that 
he believes it should be pronounced in \ 
that way, we should just love to hear 
him try it, feeling very sure that to \ 
Bostonian ears it would sound like t 
g-a-h And his "were" would sound 
like "wear," and for the authority of 
an American dictionary he would feel 
perfect Indifference. 

Tell him, in that graceful manner 
which so distinguishes you, that when 
people from different parts of Great 
Britain speak so differently, an Eng- 
lishman ought not be surprised that 
since Bostonlans are separated froin the 
mother country by 30«0 miles and 300 i 
years, we have a few fashions of our 
own. And as Oliver Wendell Holmes 
said some time ago concerning anoth-r 
matter, Tarbellus could not pry the pe- 
culiar habits out of a Boston man, not 
he had the tire <jf all creation 
straightened out ^-^-^-"-^-•^cH. 


AKredo Oswald, pianist, gave a re- 
dtal in Jordan hall last night. His 
urogram read as follows: 

Bach. Chromatic Fantasy and Fugue, 
Bach-Busoni, Chorale In E flat; Bach. 
Pr«lude and Fugue, A minor; ^ m^- 
Tnbos The Baby's Family (Suite in 
Mghf movements); Chopin. Impromptu. 
Vociurne in C sharp minor. \ alse In 
TE minor. Etude, C minor < Re^o.- 
umlonary"); Schumann. Romance. 

At Svmphony hall, yesterday aftemon. 
the Handel and Haydn Society, with 
Air MoUenhauer as conductor. Miss 
Mary Dyer, soprano, as soloist, and 
Wank Luker as the organist gave the 
fouowlng program for the °' f ' 

series of two young people's concerts^ 
Blessed are the men who fear h m 
("Elijah"), chorus; 1 est doux, .1 es 
'-Heriodiade.'' Massenet), sung b^^^ 

Mlss Pyor; Chorum of Ke-^^;- 


Aeternam C ^^«^^'^™'seleciions from 

concerts >\f^'=„^^ .lrd Glee Club, of In- 
music by the f fj'^^ Boston Sym- 
h^^ as well 
S Ernest ScnelUng's Saturday morB- 
i^ortirins^rurr. ^:lceris there. 

^ ^';i:„e":rsch'elling has' added amusing 
.^^"quaint illustrations besu^^ 

TrrTherare^Twiys extensive pro- 

"^""But'Cthe concert yesterday aft.r- 

rn'd'^^e'rrsInrrhU^ o 

Cod " from Mendelssohn's ' Eilja.i, 

a Kllghtly changed program. h.. u. 

Eh-ery man has got his Three Selves: 
The first is the Idealized Self as he 
contemplates his own capabilities and 
gifts and merits. And many a one sees 
this Self as the spectre of the Brocken, 
exaggerated to a hundred-fold his real 
size. The second Self Is the man as 
seen by his Maker, and few there be 
that get a glimpse of that, and that Is 
j precisely what In tho Christian church 
we are urged to endeavor to sec. The 
third Self is that aspect of us which 
presents Itself to our fellows, generally 

L'tlnies our admirers. 
Is usually an exasKern- ^ 
luutlon of th6 truth.— S. 


are at least three books pur- 
to give c-crworsatlons with Ana- 
6 Franco. One, "Anatole France fii 
ntouflejs," has been severely criticised 
Paris as a book Injurious to the 
reputation of the p-ent man. His sec- 
retary, J. J. Erousson. Jotted down 
every chance remark, every free Jest, 
splenetic comments, reminiscences of 
early and late amorous adventures, as 
if his Intention was to belittle the mas- 
ter and represent him as nothlnsr but 
a cynical satyr. (The book Is trans- 
lated Into English but In a necessarily 
expurgated form.) "Anatole France a 
la Bechellerle," by Marcel Le Goff, Is 
chiefly concerned with the talk of 
France, the Socialist: his views about 
politics and the war. These two vol- 
umes were published after his death. 
The more familiar one — Paul Gsell's 
■'I>es Matinees do la Villa Said" — the 
one most favorable In English-American 
eyes to Anatole France— was published 
in 1921. 

We mention these books because 
France is represented In them as a bril- 
liant talker, while Henri de Regnier, 
poet, novelist, member of the Academy, 
says in one of his weekly feulUetons for 
Figaro that FYance "the delightful writ- 
er, one of the most perfect and purest 
writers In one language, did not seem to 
me to have any of the qualities of a 

■ talker." Regnier, meeting him fre- 
quently, was struck by the difficulty 
he had In expressing himself, of his 
embarrassed and confused speech, of the 
scattering thought In painful digres- 
sions. "Nothing more hesitating, In- 
volved, wearying in its obscure and be- 
wildering- sinuosities than the conversa- 
tion of France; without counting the 
fact that he kept taking up Certain sub- 
jects with too great obstinacy and im- 
posed them on the hearer with a com- 

I plete indifference to whatever might 
have drawn him from them, France, 
the "causeur," seems to me to 'inswer 
very well to the formula by which M. 
Jean Cocteau defined the conversation of 
the late Robert de Montesquiou-Fezen- 
sac: 'The mlnotaur who has .swallowed 
his labyrinth. ' " ' 

And Regnier contrasts France's talk 
with "the dazzling spirit of Dumas the 
Tounger, the bitter repartees of Henri 
Becque, the charming fantasies of Al- 
phonse Daudet, the delicious ingenui- 
ties of Stephane Mallarme." 


(Fot As the World W«g») 
I lonir to be a Nordic, 

And with the Nordics stand! 
How fine on all the other folks 

To have the upper hand! 

I long to be a Nordic, 
Two-fisted and red-blooded, 

And so perhaps be written up 
By men like Lowtop Studded. 

I long to be a Nordic, 

With blond hair on my noodle, 
So that I might be counted with 

Such toffs as Prof. MacDoodle. 

I long to be a Nordic, 
All other strains to slam — 

But what's the use of wishing 
I must be just what I am! 

DENIS A. McCarthy. 


As the World "Wags: 

Mr. W. L. — George says in LlbeHty: 
"I do assert that the marriage most 
likely to \)e successful Is one where 
both the man and the woman are of 
the same age." 

But what, I ask you, of that mar- 
riage in which the man is of the same 
age and the woman is not. 



As the World Wags: 

Just as the harmonious voices of the 
alumni of Dartmouth College inform us 
of the origin of their alma mater 
"And its whole curriculum 
Was five hundred gallons of old NeTV^ 
England rum," 
so now does Solicitor-General James M. 
Beck advise us that the constitution of 
the United States, in its beginning, 
flowed from a cask of porter, a fact of 
high historical interest, explaining! 
much, as it does, of the inconsistency 
of the 18th amendment with the funda- 
mental principles of "the most wonder- 
ful work ever struck off, at a given 
time by the brain and purpose of man," 
and the clinging to those principles by 
those citizens constitutionally inclined. 

On May 16, 1787, a considerable num- 
ber of the delegates to the constitu- 
tional convention had arrived at Phila- 
delphia. Washington had been one of 
the first to arrive there. He "at once 
repaired to Dr. Franklin's home to pay f 
his respects." As Mr. Beck says, "it \ 
may well be that these two very emi- 
nent and also very practical men then 
made their plans to bring some measure 

of hamlony ou; in -ordant ele- 

ments that were .i. i ut to (jather." At 
the time of this conference on May 13 
Dr. Franklin had received a cask of 
porter, and Immediately after It he 
Invited all the delegates who had ar- 
rived to dine with him on the 16th, 
being, as Mr. Beck says, "as aiwaj-s the 
utilitarian philosopher," and recogniz- 
ing "that the current of good feeling 
frequently runs with the flow of the 
gastric Juices." 

On May 18 Dr. Franklin wrote of the 
occasion to a friend: "They did me the 
honor of dining with me last Wednes- 
day, when the cask was broached, and 
its contents met with the most cordial 
reception and universal approbation. In 
short, the company agreed unanimously, 
that it was the best porter they had 
ever tasted." 

Thus was the harmony which so dis- 
tinguished the convention and led to its 
gi'eat accomplishment established. The 
possibility of unanimous approval had 
been demonstrated. 

Amherst, N. H. ABEL ADAMS. 


As the World Wags: 

Did you ever hear the story of the 
western road which had a complaint to 
Its Pullman car department that a pas- 
senger had been annoyed by insects in 
his berth? The complaining passenger 
was very much pleased to receive a 
polite letter of apology and explanation 
from the railroad. His satisfaction was 
somewhat mitigated by finding his own 
letter attached lo the reply. Across the 
face of it had been written in blue pencil 
"Send this guy the bed-bug letter." 

A few days ago, following my own 
usual custom, I jotted on the corner of 
a letter containing some disturbing 
news the suggestion to my secretary, 
".Should we not wire Boswell, express- 
ing anxiety in 10 words?" The sug- 
gested telegram came through to me 
as follows: 

"Mr. Boswell, 

" , Tex. 

"Anxiety, distress, trouble, care, 

disquiet, concern, uneasiness, sus- 
, pense, solicitude, apprehension." 

Needless to say, my secretary is a 
cross-word puzzle fan. 


^c^L i< cur 



Eva Gauthier, assisted by Messrs. 
Laurent, flute; Sunderson and Werner, 
violins; Fiedler, viola; Langendolen. 
violoncello (all of the Boston Symphony 
orchestra), and Gordon Hampson, 
pianist, gave a concert last night in 
Jordan hall. 

The hour of beglnnliyc was an- 
nounced as 8:15 o'clock. The singer 
with the pianist did not come on the 
stage till 8:30. 

The program was a long one, com- 
posed of five groups. Old French, Ital- 
ian, English and Spanish airs arranged 
In turn by Deems Taylor, Saint-Saens. 
Samuel Kndlcott, Joaquin Nin, and 
Kurt Schindler. They were with pian.o 
accompaniment. The songs had, per- 
hap.s, a historical, archaeological, or 
ethnological Interest, but of purely mu- 
sical interest there was little, nor did 
all the necessary shouting and whoop- 
ing In the Spanish songs make one for- 
get the blessed Chabrler, Debussy, 
Ravel and De Falla. If the "Grana- 
dlna" and the "Malaguena" are the 
Simon-pure Spanish article, give us 
I the adulterated, sophisticated, tinkered 
1 and sand-papered exports. The most 
endurable song of this group was "Les 
I Belles Mannleres," which was sung with 
the appropriate archness. 

Then came a group of Sliakesperian 
songs with piano accompaniment by 

rSchubert, Sullivan, Castelnuova-Tedes- 
co, Ourney, and Ayres. Schubert's was 

I the familiar "Hark! Hark! The Lark," 

I sung in a matter of fact manner. 

This group was followed by chamber 

I music for voice and various instru- 
ments. Old John Dowland's "Fi-ora 
Silent Night" with violin obbligato was 
long-winded and singularly boresome. 
Mr. Laurent played with beautiful tone 
and brilliantly the flute part in Rous- 
sel's "Rosslgnol." There was a wild 
N. A. Indian love song. Peterkln's 
"Piper" (with viola obbligato) had 
charcter, but the feature of the group 
and in fact of the whole concert was 
Joseph Marx's "Valse de Chopin" f«r 
voice and string quartet, originally ex- 
pressive, free from banality, without a 

; trace of laborious effort. Arthur Bliss 

I was shabbily rep»esented by his 

i "Buckle." 

Songs by Franck, Dukas (a porten- 
tously dull "sonnet"), Stravinsky and 
Ravel followed. The chosen Americans 
were Carpenter ("Le Petit Cimetlere"), 
John Beach (Carl Sandburg's "Clarke 
Street Bridge") and Campbell-Tipton's 
"Beside the Winter Sea." Of tiiese 
Americans, Carpenter easily led the 
way, with the otliers far behind. 

Miss Gauthier has been famous fsir 
arranging unusual programs. She lias 
had the courage and the taste to brini; 
before the public songs by unknown 

composers who today are Tecognlzaifl, 
oven in Boston, as men of musical Im- 
partanoe. .She has heen fortunate In the as an excavator, a resurrectionist. 
She was unfortunate last night in her 
cJiolce of a program. 

Not only in the oharactep of the 
chosen son.iys, hut in their relation to 
her vocal eqaiiiwnent. The greater num- 
ber of the songs were outside of 'tlio 
sensuous and appealing tones of her 
voice. T'nere wa-s in the first halt of the 
recital prevailing hardness, not to s.iy 
shrillness, that became wearisome and 
nerve-freHIng, nor did the diction of the 
slnser. admirable as it is, make amends. 

Skilful diction is indispensable, but 
an interpreter is doubly an interpreter 
when her tones are grateful to the car, 
charged with emotion, when the text 
calls for it. Mozart said long ago that 
nTusic should "sound," and this is espe- 
cially true of a singer. 

An audience of good size applauded 
enthusiastically everj'thing. It was evi- 
dently prepared to applaud anjthlng. 

Ayr.?s, folk sonss and madrigal: 

Transcrbled and arranged by 

Jc sula trop Jeunette CFrench air 141h 
century) Taylor 

Alia Rlva del Tebro (Madrigal .. Palestrlna 
Triinsc. by Salnt-Saens 

The Spinning Song (18th century mel- 
ody anon) Endlcott 

Granadina (Chants Popularies Espag- 
nolas) Nln 

Malaguena, (Coplas Populares) .. .Schindler 

Les Belles Mannlerea (French air 18th 
century) Taylor 

Aid and rnodern settings of Shakespeare 
Hark! Hark! the Lark Schubert 

Orpheus with His Lute Sullivan 

Silvia Castelnuovo-Tedeeco 

Under the Greenwood Tree Gurney 

Where the Bee Sucks Sullivan 

Vocal chamber mu.^ic 'for voices and 
vai-ious combinations of Instruments: 
From Silent Night (A Pilgrim's Solace) 

1612 Dowland 

(Transc. by Warlock ahd Wilson) 

Rosslgnol, mon Mlnon Roussel 

Tuari Arr. by JacobI' 

A Piper Peterkln 

The Buckle Bliss 

Valse de Chopin, "Pierre Lunalre" 


Modern French and ciUJtexDporary Rus- 
sians: "S'tl est un charmant gazon" 


Sonnet Dukas' 

Mysolis, d'amour (leurette. .'. .Stravlnskyi 
Le Pigeon | 
Rousard a son Ame (Rousard 1923) 


Oh! La Pitoyable Adventure (L'Heure 

Espagnnl Ravel 


l.p Petit Cimetiere Carpenterj 

Clarke Street Bridge John Beach 

Beside the Winter Sea. iCampbell-Tlpton 

The program of the Symphony con- 
certs tomorrow afternoon and Saturday 
evening announces the performance of 
some unfamiliar works. The "Sinfoni" 
from Roland Manuel's opera-bouffe 
^ "Isabello and Pantalon" is really an' 
overture, for in going back to the old 
.Italian comedy the composer remem-l 
bered that the word "symphony" wasi 
applied to any Instrumental movement! 
In lyric composition. Adolphe Borch- 
ard's symphonic poem, "L'Elan," was 
suggested by some lines of Henri de 
Regnier. The "Dance" of Debussy, 
written for the piano, was orchestrated 
with, a "Sarabande" by Ravel for one 
of Mr. Koussevltzky's concerts in Paris. 
Andre Caplet is a name well known 
here, for he conducteti performances at 
the Boston Opera House in the years 
1910-14 and disported himself in other 
ways. He has busied himself in Paris 
as conductor and composer. As a com- 
poser he has written much sacred music. 
His "Epiphany" for the violoncello and 
orchestra (the excellent Mr. Bedettl will 
be the soloist) was Inspired — if "in- 
spired" will turn out to be the fitting 
word — 'by an Ethiopian legend in w^hich 
Melchior, one of the three royal wise 
1 men at the cradle in Bethlehem, makes 
I his little negroes dance to amuse the 
I Divine Child. The piece is in three 
'movements; the procession, the ecstasy 
(of Melchior seeing the Infant Jesus) 
and the dance. The "ecstasy" is in the 
form of a cadenza. Tchaikovsky's Fifth 
Symphony is also included. It has not 
been played at a subscription concert 
of this orchestra in Boston since De- 
cember, 1910. 

The program of the concerts of next 
week, as now arranged, will comprise a 
Concerto Grosso by Locatelll, Scriabin's 
"Pfometheus," the dances with chorus 
from Barodln's "Prince Igor" and 
Rabaud's "Nocturnal Processlon,"which 
was performed earlier in the season. 
The Cecilia Society will furnish the 

The ancients knew the amateur mu- 
sician. Here are lines by Leonldas of 
Alexandria, translated by F. A. Wright 
in "The Poets of the Greek Anthrology," 
an uncommonly entertaining volume, 
published by E. P. Dutton & Co.: 
Without one single stop the whole night 

Johnson performed upon his piccolo, 
^is neighbors one by one were dying 

None could withstand that fierce cre- 
scendo sound. 

inonilng came deaf *P35nriBone re- 

He'd lost his hearing, but his life he 

Wo hasten to add that Mr. Herkimer 
Johnson does not play any musical in- 
strument, not even the concertina. 

Burton Holmes will repeat Jils Trav- 
elog, "Imperial Rome," tomorrow night. 
In Symphony hall. Next Saturday after- 
noon, "Glorious Switzerland." I 

Carol Robinson, pianist of jchlcagOM- 
will give a recital in Steinert ' hall to-3 
morrow night. She has already played^ 
in Boston. 

Next Saturday afternoon Bruce Sl- 
monds, pianist, will give a recital in Jor-, 
dah hall. He played here at a Sympho- 
ny'iconcert conducted by Vincent d'Indy 
on Deo. 9, 1921. His program for the re- 
cital is unusual and should be interest- 

Next Sunday's concerts: Syniphon> 
hall, 3:30 P. M., Mme. Schumann-Heink 
St. James Theatre, 3:30 P. M., People's 
Symphony orchestra, Mr. Mollenhauer, 
conductor; Harry Farbmann, violinist 
Symphony hall, 8:15 P. M., Carlos Sal- 
zedo, harpist, the Salzedo harp ensem- 
ble and Delia Baker, soprano. 

It is the general Impression tliat Mar- 
garet Lawrence played in Boston for the 
first time when she appeared at the New 
Park Theatre in "Spin-Drift." 

She was seen in Boston long ago. In 
"Over Night," a farce by Philip H. Bar- 
t tholomae, brought out at the Shubert 
Theatre, In August, 1911, she took the 
leading part of Elsie Darling. One en- 
thusiastic critic then wrote of her: "She 
is such a winsome little body that 
whether she is in smiles or tears one 
takes equal pleasure in watching her." 

When the farce was again seen at the 
Shubert, in Augrust, 1912, Elsie was 
played by Fraijcine Larrimore. Mary 
Young took the part at the Castle 
Square Theatre In the fall of 1914. 


Notes and. Lines: 

In regard to the words of the song, 
"The Two Bad Men," sung by Marie 
Williams and William Gill in "Babes in 
the Wood," as given by F. H. B., I 
would say that there were several mis- 
takes made. As I recall them, these 
are the words: 

Oh, it's two bad men we are. from the 

West we came afar. 
And we beat our way from there upon 

the cars; 

Oh, when they found us there, Jthey put 

us off with care. 
And we went in search of the conduc- 



With our bowie knives in bell, 
Our presence may be felt. 
By the odor of the crimes which from 
us shoots. 
Of us two it may be sung. 
That if we should not be hung. 
You can bet we both will die SAme 
in our boots. 

WTien we stop a traveler we most expe- 
ditious are; 
If they don't give up we simply ait 
their throats. 
We of pistols have a score 
And of knives as many more. 

Which we carry in our pantaloons and 


W. H. S. 

Notes and Lines: 

Among my programs I find o:ie ■>!' 
the Boston Theatre, May 15, 187S. in 
which Marlon Elmore is billed as Bally 
with Willie Edouin as Tommy ("Sweet 
Intants. delightful Toddleklns, who took, 
first prizes at the Baby Show") ini 
"Babes in the Wood." \ 

Maria Williams was the Bad Man,| 
William Gill, a Very Bad Man, Alice 
Atherton, Lady Macassar, though I havW 
an excellent photograph of Alice in co3-j 
i tume as the Bad Man. | 

I heaid Alice sing "Strolling in the 
Woodland, etc.." also other songs, when 
she was with Rice's Surprise Party, onci 
of which dwells in my memory, the re- 
frain, "Good-by But for a Little While,"! 
song and chorus, which had to be le-l 
peated and repeated. 

A program of the Globe Theatre, Feb-j 
ruary. 1879, gives the Colville company 
playing "Robinson Crusoe." Marie Will- 
ams as R. C. and William Gill as Fri- 
Jay. Miss Williams's costume, I think, 
.vas a copy of Lydia Thompson's. Lina 
•Merville and ."Majion Elmore appear on 
the bill, but neither Alice Atherton nor 
Willie Edouin. Yes, those were "glorl- 
jus days of the theatre." At any rate, 
they seem so to us, as AVe look back 
through the long years. 

Dorchester. CHARLES DUNCAN. 

Albert B. Sweezey published the 
"History of the Amphion Club (of Mel- 
rose) for a Period of 33 Years." The 
rc(X>rd of tbls club la an houoiable oue. 


W« hav« recelred oommunlcatlons in 
pros* and verse, each one oontalnlnc a 
"nice derangement of epitaphs," In- 
vclKhlnr against the United SUtea 

How much simpler and mer« effectlTa 
^■as la^o'a sneer. 
Brabantlo. Thou art a yillaln. 
I«»o. You are a senator. 

As the World Wags: 

Mr. Qoodwln's campaign for safe 
highways, and tlie poem In your column 
last Tuesday morning, suggest this one: 
"Here lies the body of John McKay, 
Wlio died In a fight over rl^ht of way. 
Ke was right, dead right, us he <rov*i 

But he's Just as dead as If he'd been 


"HOW?" ! 
As the World Wags: ' 

Your correspondent deplores the lat- 
i ter-day tendency to mispronounce cer- 
Italn words. Good old Sargent's Fourth 
[Reader had clearly deflned Ideas re- 
Igardlng pronunciation. The pupil was 
urged not to say akyount, meeount, 
sperrltt, creown, inseks, destitoot, be- 
yound, adjine, re-nyown, alrnest, caoun- 
cil. wuss, feound, caoward, blllng, dook. 
subdoos, keows, Artie, aout, etc., etc! 
Are the old Yaoikeeisms still indigenous 
to New England soil, or has the lan- 
guage of the freeman perished from the 
earth? COLIN DASH. 


As the World Wags: 

Doc Dan Kress, chairman of the 
national anti-tobacco committee, says 
the people will soon "rise in righteous 
■nxath to pass laws to wipe out the to- 
bacco curse." But whafs the use? If 
the people ever did rise In their 
righteous wrath to wlpe>put the tobacco 
curse, the reformers would then sic 'em 
on to arise in their righteous wrath 
to wipe out the chewing gum curse, and 
then the hot apple pie curse; next, the 
damnable strawberry sundae curse, and 
after that the club sandwich with mus- ► ^"'i composer lUiene-Barton, 

tard curse. To a reformer life is Just ! T '^"^ ■ _ '*' ' 

one darned curse after another. 

R. H. U 

1 , . 1 email. I ll up,~BlIt'wTn be on h«ti<l 
ab'^itn, still posing as a chicken, at the 
next eclipse. 

Dr. Percy Pus, practising chiro- 
practor, was held today as the alleged 
leader of a robber band.— Bloomlngton 
(111.) Pantagraph. 

Mr. and Mrs. C. E. Dye are receiving 
congratulations jn the arrival of a 
daughter. The little girl has been 
named Doris May Dye.— Jaclcsonvllle 
(Fla.) Times Union. 


(Front 'Tli^ Cobweb" In Ladles' Home 


He . . . grasped her arm. She 
wrenched herself free. ... A pain 
swept through her shoulder blade. 
"You brute, you have broken my collar- 

The Countess Vllma Hanky, "twenty- 
two and beautiful," arrived at New York 
on her way to Hollywood. She told a re- 
porter that she did not wish to be called 
Countess; that she did not wish to be 
interviewed. "It Is of little conse- 
quence what I think or say." Admirable 
Countess! (A few weeks ago an archi- 
tect in New York left by his will a 
handsome legacy to his secretary be- 
cause she Imew horw to keep her moutli 

And by keeping still the Countess 
Vllma Banky gained more publicity 
than If she had talked for hours about 
theatrical conditions in Budapest, Jere- 
miah Smith, and censorship of screen 
plays. . 

which must hav • 

(Tiim with the hlgii ..^.iw.. i a ilrlnk- 

Mr. Smith B«ng with excelVnt voire, 

i l illlant In Its upper and m r- 

' it>>rs, wh<"re niso Us me.- '< 

• xtfonK^lv ri'Mn>; I lit. .Mwn y 

tile nil- b.v lir.-iry, i-;.lH'i:i:illy Uial In 
praise of drink, and In the RonKs with 
text.s by MBsofleld, the word.-) of which 
ho uttered with unction. The songs by 
WMIIams and D6bson, the former 
charming, the latter good of Its kind, 
he sang admirably. Though Mr. Ellmer 
7,oller played the accompaniment to the 
Vaughan Williams song well, to some 
other accompaniments he did not do 
full Justice. R. B- a. 

As the World Wags: 

As recently as last January, while in 
London, I heard the term "half dollar" 
used several times In the music halls. 
It is a cockney term for a half crown, 
which is shillings — in other words, 
considerably more than our half dollar. 



"His ^loquentla corporis may be un- 
derstood in two senses, for he is most 
comprehensive format." — From an ac- 
count of the French orchestra conductor 


IToT As the World Wags) 
The pregnant Earth 

1b crouching 

o'er her mysteries. 

The forming bud 

Is felt 

tho' yet unseen. 

And whilst 

the snowUt stream 

to the plashy 'bank ^ 
And reeds 

stand palely tall 

like wraiths 

of yesteryear. 

The trees all tense 

with Inward 

pulsing life 

Which e'en 

the little stones 

along the path 

seem wont 

to share. 

The Slother, Carth, 

awaits her hour 

of Spring. 

Brookllne. MARGARET LiLOYD. 


As the World Wags: 

Under the caption 'More on tht 
Make," I note your correspondent In to- 
day's Herald speaks about hearing a 
pheasant "Immediately after the first 
^rernor." This crowing of the male 
pheasants when they hear thunder or 
iny reasonably heavy report 's usual 
rom fall to spring — I don't recall hear- 
ng them night crowing after nesting 
Season begins, but I have heard them by 
he hundreds In the English preserves 
vhen it has thundered or any other 
oud report has sounded: poachers locate ; 
pheasants by their night crowing. I j 
don't recall that they "whirr" their 
•vings when crowing on their roosts, I 
but at nesting time, and when on the ! 
?round the males crow, the "whirr" im- 
mediately succeeds the crow. This 
^eems to be akin to the peacocks 1 
;creamlng and running for cover when | 
a, brass band or blare of any kind 
starts; one great difference is that the 
peacock looks terribly excited at such 
times, but the pheasant If on tho ground 
frees along as unconcerned as if nothing 
unusual had happened and that his crow 
and whirr were part of the program. 



(For As the World Wage) 
The Lone Wolf roams 

Through the newspaper page, 
The Blue Hounds cfliase herrings 
And bellow with rage; 

The only sure method 

Of capture, of course. 
Is for some one to chase him 

On Calvin's Furd-Horse. 

Who'll iflrst slit his windpipe 
Or beat out his brains. 

Should be given a Bok Prize 
Aa reward for his pains. 


(Trom the Detroit News) 
Phyllis, who long ago quit having 
birthdays, expected to go back to roost, 
viewing the eclipse or whatever it was 
hat took place In her kimona, which 
ooks like a card Index of flapper colors. 


Wellington Smith, baritone, sang last' 
night in Jordan halL This was his pro- 
gram: MIt Vlerzig Jahren, Kommt dlr 
Manchmal In den Sinn, Feldelnsamkelt, 
Brahms; O'er the Forest, Shepherd, see 
thy horse's foaming mane, Korhay; 
Ariette from "Rose et Colas", Mon- 
signy; "Songe enchanteur," "Lalsse en 
paix," from ''Anacreon," Gretry; La 
Vague et la Cloche, Duparc; Amour 
d'antan, Chausson; Dansons la Glgue, 
Bordes; At the last, Bax; The Roadside 
Fire, Vaughan Williams; Cargoes, Dob- 
son; The West Wind, Vieh; Sea Fever, 

Mr. Smith brought to nts concert sev- 
eral axemplary features. He began it, 
for Instance, at precisely one minute 
past the advertised hour, a mark of 
courtesy all concert-givers do not pay 
their audiences. He ended it not much 
above an hour later — officially, at least; 
the audience had the air of intending to 
ask for many more songs. 

They had already heard some exceed- 
ingly good ones, for Mr. Smith is 'by no 
means a person, like the vicar of Wake- 
field's son, to "pursue novelty and lose 
content." Nor, on the other hand, does 
he stay prudently on the bca;ten path. 
From Brahms, he chose two quite un- 
familiar songs. Duparc's superb .^ong 
is not exactly overworked in concert 
halls, the lovely song by (ihausson still 
less so. Bordes rarely appears/— strange- 
ly enough, If he has written many songs 
a,s effective as that of ntglit. 

But it was in his delving into old 
archives that Mr. Smith achieved his 
greatest success. Recognizing that It^ 
compositiiin In the 17th and ISth cen- 
tury by no means Insures music's value. 
Mr. Smith evidently searched till He 
I found in the airs of Gretry and Monslgny 
music worth listening to today, music . 
of grace and elegance, and at the same 
time amazingly expressive of the mean- I 
Ing of their, texts. All baritones should 
be grateful to this enterprising singer 
for them a gratefully written 
song t,hat combines the classic air 


At S.vmpliony hall last cvculnET. 
Rachmaninoff gave his second concert 
here this season, with the following 

Oaprif-e. Air de Ballet, from Alceste, 
Gluck-Salnt-Saens; Thirty-two Varia- 
tions. C minor, Sonata .-Vppasslonata. 
Beethoven; Prelude, B minor; Ktudo, 
C major, opus Z?,-. Etude, A minor, 
opus 30; Etude, E-ilat minor, opus 39; 
Etude, E-flat major, opus 33, Rach- 
maninoff; Konnetlo del Petrarca, 
Polonaise. Liszt. 

Stalwartly avoiding the moderns, with 
the exception of Rachmaninoff, for his 
second concert here this season. Rach- 
maninoff chose a strange and decorous 
program that commenced with the me- 
anderiTig Saint-Saens arrangement of 
the Gluck air de ballet from ".Mceste," 

i including the 32 variations in C minor 
and the Sonata Appa.ssionata of Bee- 

ithoven, one of Liszt's Petrarcan sonnets, 

Jand a Lisztlan polonaise. 

f There is no pianist concertlzing today 
who can summon so vast and reverber- 
■atiijg a tone, such intellectual and emo- 
tional calm, nor such sombre passion 
to his playing as Rachmaninoff. So it 
was in the Appasslonata, in his own 
music, and in the Liszt, rather than 
in tile fragile figurations and tlie sug- 
gestions of the ballet of the Gluck air, 
that he Was at his best last evening. 
For the ballet music his manner was 
too ponderous and dry. 

But with the Appassionata, to which 
he gave a stern and poised intensity, a 
tremendous vigor and richness of lone, 
an elegiac dignity and beauty in tlio 
andante, and in the Petrarcan sonnet, 
with its lyric melody and its sugges- 
tions of impressionism, he made one for- 
get the earlier piece. And although he 
did include live of his own compositions, 
they were those least familiar, four 
etudes and the prelude In B minor, all 
of them sombre, dramatic, reveling iu 
chordal progressions. And, naturally, 
he played them as they should be and 
rarely are played. 

The audience, which was large, was 
Uoudly enthusiastic and demanded nu- 
'merous encores. E. G. 

Mme. Savitzkaya, Harpist i 

While facing compulsory de- [ 
parture from thi§ country after a • 
six months' stay, Mme. Lydia 
Savitzkaya, second harpist in the 
Boston Symphony Orchestra, and 
the only woman member of that 
organization, has obtained a special 
ruling from the immigrati.^n au- 
thorities by which she may remain 
here six months more. 

This ruling. Issued from the depart- 
ment of labor at Washington, comes as 
a great relief to Mme. Savitzkaya, who 
had been worried over her future, she 
having expended considerable time dur- 
nig the last two months trying to con- 
vince the immigration authorities, both 
here and in Washington, ot the merits 
of her plea for a further extension of 

Mr. Koussevltzky, conductor of the 
Boston Symphony Orchestra, who sum- 
moned Mme. SavitzkayEt, from Paris at 
the opening of the concert season, also , 
was keenly interested In the outcome. | 
Under the terms of the "visitor's" per- | 
mit. under which the harpist was ai- i 
lowed to enter this countr.v for a six ! 
months stay, she was supposed to leave 
the United States by April Ifi. This 
would have precluded i>er remaining 
even to the end of the present eortcert 
eeason. The new ruling allows her to 
stay until Oct. 16. 

A Russian of arlstocra/ttc lineage, 
Mme. Savitzkaya was admitted to this 
country last Octotwr as a "«ion-aIlen," 
the quota of Russians already having 
been fl'.led. But the permit and her 
vise were granted previously in Paris 
only after she had satisfied the Ameri- 
can embassy officials of her high char- 
acter and integrity, and had produced 
evidence of her contract with Mr. 

' ' , , 1 .•, I, I i inpped ^ 

I. illliMt Of Its OPPOI ' 

111.: In r ciircnr. MiH' 
.slrouM of remaining I 
er and hopes to he s-l'l" K"l'' » 
further extension of tho time noi 
lolled hor by the Immlgnillon am 
Hies. Her husband, forinorly a cai'' 
Of nrtlllery In the RuBHiaii nrniy • 
HUbnequently lidjulntil niilHarv .itln. . 

'at the RuKnlan fnibn»«.v In IlolUnd. t'> 
which country he erciiped from i-»ii 
(Ivlty In Germany during llin war, La 

I now In ParlH, but lie hopes to be able 
to Join her here «« soon as a new quota 
Is to be admitted. 

Mme. Savitzkaya has had an en- 
gaging and plrturosquc career. Ah a 
child, she attended the fanioiut Smolny 
school In St. PelernburK. foundi-d by 

I Catherine the Great and nmhitalncd 

I exclusively for children of the nobility. 
There, beside a genei-al oduciillon, hhe 

I received hor first lesHons on the Imri). 
Empress Marie, mother of the late 
C7,ar, was the patroness of the Institu- 
tion, and on one of her frequent visits 
the chlld-harplst was called on to play 
for her, the girl's talent earning the 
warm praise of the empress. Several 
years later she played Ht the palace 
of the Grand Duchess Olga, sister of 
the Czar. 

After studying for five years under 
Mme. Walter-Kuhne, Russia's greatest 
harpist, at the Petrograd conservatory, 
she became a member of the Russlari 
Imperial Society Symphony orchestra 
and plaj-ed under such well known 
directors as Glazounoff, NIklch. Salan- 
off and Mengelberg. For four years 
during the war, Mme. -Savitzkaya 
played In the Patriotic Concert Society, 
Petrograd, which functioned principally 
for the benefit of returned wounded 
soldiers. During this period she also 
gave solo recitals in numerous Russian 
cities, receiving a medal from the Czar 
for her patriotic service. 

Mme. Savitzkaya fled Russia in 1917, 
six months ax'ter the outbreak of the 
revolution, and thereafter, except when 
playing In various cities of England and 
the continent, made her home in Paris 
with her husband. There she studied 
under Mile. Relne, a noted teacher, for 
three years. 

■z If 



lihe, 20th concert of the Boston 
Symphony orchestra, Mr. Kousse- 
vltzky, conductor, took place yes- 
terday afternoon in Symphony hall 
Th^ program ■was as follows; Ro- 
land-Manuel, Sinfonia from "Isa- 
belle et Pantalon"; Borchard, 
"L*Elan"; i;e.b'--iv-Ravel, Dance; 
CapJet, "Ep'.phany," a Fresco for 
violoncello and orchestra (Mr. Be- 
detti, violoncellist) ; Tchaikovsky, 
SvmpHony No. 5, E minor. 

BorcKard's piece, dedicated to Mr. 
Koussevitzky, was performed for the 
first time. Ravel s orchestration of De- 
bussy's Dance was heard in Boston for 
the first tim«. Roland-Manuel s Sin- 
fonia (overture) and Caplet's "fresco 
were performed, probably, for the first i 
time In America. 

Mr. Koussevltzky gave an Intensely 
dramatic Interpretation of Tchalkov-" 
skVs hvmphony, in the only way ttiai; 
thi's symphony should be interpreted. 
Did the composer have a definite pro- 
gram in his mind? A Ru.ssian critic has 
declared that the music '"seems to set 
forth some d^rk spiritual experience. 
Tchaikovsky wrote to Mme. von Meek 
an elaborate program for his f-^""" 
symphony. He said of the '■Patlietic 
that the thoughts inspiring It. if they 
were published, would cause astonish- 
ment. , . . , J, 

Without conjecturing what Is behlntt 
the Fifth Symphony, is not the music 
a human and personal document? Per- 
sonal as the expression of the self- 
torturing Russian's dark moods, his de- 
Ispair, his vxiln attempt to come out of 
jthe shadow, and at the last a brave tor 
deavor to be l\erolc, defiant of Pat^j 
This music Is a* "human document" a3 , 
ivhe resounding voice of "the complain- i 
Ing millions of men." 

Tile best, the only explanation of the ■ 
music, if music can be, or should be, 
explained, is the life of the; 
his letters reveal his gloomy moments, 
his downcast hours, his dread of death 
and dissolution, his illusions, his timid 
hopes, his joy in creative work 
quenched by self-depreciation and the 
ho-stility too often shown by his own 

When in this symphony, he, seeing ail 
i things black, shrieks in his agony, the 
violent musical expression should not 
be softened, sand papered, polished by . 
conductors standing In awe of that 
fetish, the symphonic form. He should 

lot iu, r.iSe ana rave. INor 
; ! ' i res be read per- 
1 il over, aa too 
.nul.^'i.K- i ithoiloxy. 
.oiisseviisky, conducting the mu- 
evoaled tho oimiposcr, In his 
Sth and his weakness. For once 
heard an irresistibly emotional per- 
jrmnnoe of this dramatic nmsic: The 
t>Rssiinato outbursts of revolt; the 
b.r. Id L-ind swoepinff iyrlc lints; the con- 
< - : ' s of the soul, not intimate and 
i! as with Schumann, but as 
theus of Aeschylus called on 
: inajestr o£ his mother Karth, 
«nd tiu- lisht -diffusing aether, to behold 
the wroncs ho suffered. 

Th,) Finale, to many a stumbling 
' ' \. was yesterday Imposing, over- 

T-ui unfamiliar compositions were of 
uneven Mvrth. Roland-Manuel's "Sin- 
fonla" In which he epitomizes th3 
Ht -y of his oiier.i-bouffe, an opera in 
■spirit of the old Italian comedy, is 
do ;;htfully Ironical, with the irony of 
K vel, his master, in "L'Heure Espag- 
lou "; ironical even In the short senti- 
mental episode that Is artfully con- 
trasted with the gay and raocklnfi: mu- 
sic that pi-ecedes and follows. Charm- 
ing too is Ravel's instrumentation of 
Debussy's early piano piece. 

No doubt many found Borchard's 
"L'Elan" pretentious, bombastic, fu- 
tile. The score bears a curious, not 
wholly intelligible, quotation from Henri 
rte Regnier. "\Ve are told that the com- 
poser endeavors to express "the In- 
toxication of movement, the gesture of 
line stretching hands towards the In- 
finite." This is all very fine, but the 
(cstatic endeavor is too laborious. Bor- 
cliard visited Boston 14 years ago as a 
pianist, and played so well and in such 
respectable manner that no one would 
then have suspeoted him of this bois- 
terous rush towards the Infinite. Nev- 
ertheless we owe Mr. Koussevitzky a 
debt of gratitude for producing it. 
New compositions should be heard, for 
then.<me knows what to avoid in future. 

Caplet's "Epiphany" pictures Mel- 
chlor, one of the three vjise men, lol- 
lowina- the star to Beth'ehem, where, 
lost iiv adoration, he became ecstatic, 
and called on his little negroes to 
dance in honor of the divine child. 
(Melchlor's ecstasy takes the form of 
a cadenza for the violoncello, accom- 
))anied only by monotonous beating on 
a tambourine.) This composition is In- 
teresting not only by reason of its 
hartwcoio scheme and the instrumenta- 
tion; contains passages of exquisite 
beauts^ The first section is too long 
spun «ut. so that the effect is wealc- 
enedi^ut the cadenza is a monologue 
of slnirular eloquence, and the dance 
is free from the banality of pseudo- 
orieniBiism. What a relief from the 
cut-and-dried violoncello concerto! Mr. 
tudetti played in a masterly manner, 
f. ith artistically varied expression, with 
!uil Insight into the character of the 
.-nusic and with keen appreciation of It. 

The concert will be repeated tonight. 
T'ne protT.-am of next week will be as 
'ollows: Handel, Concerto Grosso, No. 
5, D ihroor; Scriabin, "Prometheus: A 
Ponm lit Fire," for orchestra, piano 
(Alixandpr I^ang Steinert), organ and 
chorus iCecilia Society); Rabaud, "The 
Norfturnal Procession"; Borodin, Po- 
lovisian Dances from "Prince Igor," 
for orchestra with chorus. 

the .newly married pair away, it was 
seen that the horses harnessed to it 
were black, and had long tails, and 

I were, in fact, those employed to draw 
hoarse.>i. The adinlral was so Indignant 
that he sent the carriage away and In- 
! sisted on Its being horsed with ani- 
mals of a different color. Not all the 
white favors on hat and whip of the 
driver could compensate for the fu- 
nereal complexion of the horses." 

I W. writes to The Herald as follows 
"There are those alive today, doubt- 
less, who will grow to maturity andl 
pass on without ever seeing a real old- 
fashioned funeral — the long line of 
hacks, each drawn by a pair of coal- 
black horses, passing at a walk from 
church to cemetery. 

"It Is only within recent years that It 
has been thought proper for automo- 
biles to accompany a body to the grave. 
N'ot long ago, if an automobilo did 
enter a funeral procession. It did so 
unostentatiously, crawling along in the 
rear. Even a stately limousine would 
follow unobtrusively, as if, just hap- 
f ptnlng along, it did not presume to 
i push on In advance of the dead. But 
now a funeral Is all automobiles, and 
our last ride Is often as fast as any we 
ever took before. 

"The modern funeral is all automo- 
biles, but there Is an unwritten law 
which regulates the arrangement of the 
cars. "Whether there is any unwTltten 
legislation governing the priority of 
other makes of cars I do not know, but 
the law says: 'The Fords shall come 
last," and this law Is never broken." 


This reminds us of a story In S. 
Baring-Gould's "Early Reminiscences," | 
a most entertaining book recently pub- 
lished by E. P. Button & Co. Baring- 
Gould's father, Rdward, was married to 
the daughter of a British admiral In I 
1832. j 

" Wlnen the carriage came to take 


As the World "Wags: 

The new building of police station 2 
undoubtedly provides many comforts 
1 and conveniences for Its guests, in- 
cluding longer rides than heretofore. 
But It will never give them the pleas- 
ant thrill that came to the guests in 
the old building on the night of the 
N'lles building tire. The fire threatened 
to destroy the station liouse, but the 
guests. In their slumbers, did not hear 
the clamor nor realize that their alco- 
holic content rendered them more than 
ordinarily intlammable. Their hosts saw 
the danger, however, and, without trou- 
bling to awaken them, pushed, shoved 
and carried them across PI alley to the 
nearest place of safety. 

Some Instinct told them they were 
in familiar surroundings. One by one 
they awoke. And to each then came 
the thrill. They found themselves on 
the sawdusty floor of the rendezvous 
of the Gulney Guards. 

Some thanked the officers for traiLs- 
ferrlng them from cell to saloon. Others, 
the e.Ktent of whose earlier libatlon.s 
had made them Insensible to the fact 
of their Incarceration, assumed their 
status quo had not been Interrupted, 
and ordered another round. 


As the World Wags : 

She's standing in a doorway and it's 
raining. Evidently In a hurry, because 
stie keeps looking out Impatiently. Tou 
step in the doorway, too, because she's 
pretty enough to make you dizzy, and 
you have to stand still a while to re- 
cover. Her glance at you Is not exactly 
Impersonal, but not exactly friendly, 
either. What to do? Being exemplary 
is as good as being dead. 

This one has been tested and is guar- 
anteed reliable: "Shall T call a taxi, 

! or — er, will you call a cop?" 


As the World Wags : 

"The continued cases of Mrs. L/Oulse 
"WTiynott and Gustav Lindholm, charged 
with operating automobiles while under 
the influence of liquor came up before 
Judge Thomas McAnarney In the dis- 
trict court today." 

'^Vhy not?" .said Lioulse to Gustav as 
she stepped on the gas. L. R. R. 


CiBeaTcr Falls (Va.) Tribune) 
Jennie Close of 28 Beaver road. Se- 
wickley, bad her left amkle broken below 
the knee on the Glenwood hill, Ambrldge. 
\v'lien the sled on which she was coasting 
crashed into a telephone pole. 


I .\s the World Wags: 

! Tt is surprising haw ordinary people 
arc narrow minded. Is it due to the 
educational system of today? I venture 
to ask. 

At a boarding house where a number 
of college boys eat meals, cons'ider- 
able heated discussions were In the 
lair over the. fish dinner on Friday. The 
; discussions were mostly concerned with 
the recent quizzes. On hearing the 
word "Infinity," I took a chance: 

"Does any. of you know what one- 
half the infinity Is?" "That's infinity. 
Just the same," were the quick answers 
from fish smelling mouths of several 
students. I shook my head. So, the 
inevitable challenge, "What Is it, 

All the freshmen and sophomores 
jumped on me, when I said, one-half 
the Infinity was one-haJf the infinity. 
"No, no, one-half the Infinity is in- 
finity." "Tou are wrong, you are 
wrons;." It was almost near riot. They 
told me why one-half the infinity Is In- 
finity . . . repeated just exactly 
word for word the proof given by the 
professor of mathematics. Oh! poor 
boys, they have just been moulded at 
college so that they can see things just 
In one perspective In which they were 
taught. Getting disgusted, I said, "Oh, 
forget It!" and left room. I have the 
feeling that they will be talking why 
one-half the Infinity is infinity for the 
rest of the year. K. M. 


As the W'orld Wags: 

I know a man who cuts up his meat 
and mashes his potatoes all nicely be- 
fore he begins to eat — exactly as if he 
were his own precious, 'ittle boy. I 
feel like giving him a dear, little mam- 
ma-hug. Would it be perfectly proper? 



As the World Wags: 

The "Beloved Vagaixtnd" thus laments 
the passing of the old Paris cafes: 

Paragot, "where h. 
gooo ordler of the cafe Conli r 

He would play bllllard.s with his nose, 
and a little pug noso at that, my chii-' 
dren. AVhcii it grew Bre,iay he would 
chalk It deliberately. Once he made a 
run of 246. The cafo itself? Swept 
long ago into the limho of dear Immem- 
orablp dissolute things. Then there 
was the cafe du Bas Rhln on the Boul. 
Mich., where Marie la Democrate drank 
o5 bocks In an evening, against Heleno 
In Sevre.s, who drank 6J. Where are 
such women now, oh, generation of 
slow worms?" j^, 


Carol Robinson, pianist, played this 
program last night in Steinert hall: 

Italian sons (16th century), trans- 
cribed by Alaleona; Glguc, from Par- 
tita In B flat. Bach: Andante and va- 
riations, Haydn; Prelude, choral aad 
fugue, Pranck; Sonata, op. 90, Beetho- 
ven; Polonaise, op. 26, Ballade, A flat, 
Chopin; Boris Godounow (transcrip- 
tion), Moussorgsky; Ettude, F sharp 
minor, Etude C sharp major, Bortkie- 
wlcz; Scherzo B minor, Balaklrev; 
Prelude and capricclo, Carol Robinson; 
Waltz, B flat minor, Carl Beecher; 
Moonshine, Winter, MacDowell; Bour- 
ree fantasque, CThabrler; Rhapsody No. 
XIV, Liszt. 

Though less of It would have been 
sufficient, the program was not without 
Its good features. Especially Is Miss 
Robinson to be commended for the suc- 
cessful originality of her grouping of 
Bach. Haydn, Franck — admirably they 
played into each other's hands; and 
Beethoven and Chopin, romantics both, 
bore each other company very well. 
She also found unfamiliar muslo to 
• hnng to a hearing. There were brll- 
jitantly written studies by Bortklewicz, 
I n pupil of Llodov, In 1902 at the Liepsic 
j Conservatory, a man with a symphonic 
I poem to his credit, a piano concerto and 
I one for violin. He lives now In Con 
stantlnople. By Balakirev she at least 
ptrt her hand on something that was 
not the Islamey fantasy. 

Miss Robinson's own piece, aa well as 
the waltz of Carl Beecher, a composer 
about whom information is not easy to 
come at, were given a very late place on 
the program. It was a pity, too, to 
lose Chabrier's Botirree. 

Since she played In Steinert hall a 
year ago. Miss Robinson has advanced 
in her art. Her brilliant technique has 
gained in soundness. Her singing tone 
is fuller and sweeter. Her chief aim 
no longer appears to be speed. 

The dramatic element in music ap- 
pealed to her powerfully last night. 
Her appreciation of it enabled her to 
play parts of the Franck prelude mov- 
i Ingly, the polonaise, most of It, with 
contagious enthusiasm, and much of 
the ballad with effect. 

But Miss Robinson has yet to learn 
the necessity of contrast. Even when 
Franck pointed it out, she, ignoring the 
hint, played his choral in much the 
same stormy vein as his prelude. In 
the four pieces of the Russian group, 
noise ran riot. From the Haydn varia- 
tions — not too soothingly played, by the 
way— to the last of the Russians there 
was scarcely a bar of music calm or 
quiet. Miss Robinson, in.stead of trust- 
ing only her fervor and dash to please, 
should remember that people of many 
temperaments seek the concert hall; 
some of them like to be charmed and 
rested as well as dazzled and roused. 

Surely Miss Robinson can accom- 
plish anything she sets her mind to, 
for she Is a player of uncommon talent. 
In a year's time she has taken a long 
step forward. If in another twelvemonth 
she can bring herself to recognize more 
keenly the pure beauty that lies in all 
good music,, the poetry that lurks in 
jmuch of it, she will make a further 
stride ahead. R. R. G. 

West Wren- 

i:. ' ,i, .11, iintll his death 

j was intorei^iod as librarian at Brown 
University, Provld^iJCe R. I. From thla 
college his two soiia were graduated." 
I It was stated in 1817: "In point of 
popularity his (Watts's) Psalms and 
Hymns far exceeded all publications of 
the last century, and it is said that for 
many years past, communibus' annos, 
nearly 60.000 copies have been printed 
of tliese in Great Britain, Ireland and 

Emma C. Moore of Leominster writes: 
"Among my heirlooms is a copy of 'The 
Church Psalmody," a collection of psalms 
and hymns selected from Dr. AVatts and 
other authors by Lowell Mason and 
David Greene. 1831. This edition was 
published in 18'39 by Perkins & Marvin, 
Boston." Miss Moore quotes from thfs 
book, "And are wretches yet alive." 

"On page 546 is 'Hark! From the 
Tombs a Doleful Sound.' That was one 
of the hymns selected for children to 
learn in the Sunday school first or- 
I ganized in my father's native towii, 
I nearly 100 years ago, whea- he was 12 
j years of age. Some of the others were 
I 'Life is the Time to Seiwe the Lord,' 
'Mary to the Saviour's Tomb' and 
'Now in tlie heal of youthful blood. 
Remember your Creator God; 
i Behold the months come hastening on, 
i When you shall say, "My joys are gone." 
j 'Behold the aged sinner goes, 
; Laden witli guilt and heavy woe.s, 

Dcv>n to the regions of the dead, 
' With endless curses on his head. 
■ 'The dust returns to dust again: 
The soul in agonies of pain, 
Ascends to God; not tlierc to dwell — 
But hears her doom and sinks to hell. 

"My father could repeat one stanza or 
more of eacli hymn when 90 years of 

Another hymn is quoted by Miss 
Moore, which in "The Church Psalmody" ; 
is headed "A Warning from the Grave." j 
In "Watts and Select" the heading is 
"Funeral." The hymn, which would 
cast a gloom over any funeral, was 
taken from Pratt's collection. 


"Beneatli our feet and o'er our head 
: Is equal warning given; 

Beneath us lie the countless dead, 
; Above us is the heaven! 
' "Their names are graven on the stoae, 
i Their bones are in t)ie clay; 
I .And ere another day is gone. 
Ourselves may be as they. 
"Deatli rides on every passing breeze, 
And lurks in every flower; 
' Each season has its own disease, 
I Its peril every hour!" 

There are four more verses, and the 
moral ending is: 

"The forms which underneath thee lie. 
Shall live, for hell or heaven!" | 
Miss Moore writes: "In 1875 three | 
stanzas (or more) were sung at thej 
' funeral of a cousin, a good young man, i 
though not a professed Christian. Thai I 
being the first funeral of a relative at- 
tended by th& writer (then an 11-year- 1 
old girl), it made a deep impression on: 
the mind. These items are mentioned 
to show -the great change in the .selec- 
tion of hymns for special purposes." 


ft A- 

A week ago a correspondent asked 
where he could find old church hymns: 
"Hark! From the Tombs a Doleful 
Sound," "And Are We Rebels Stjii 
Alive," and "Lo, On a Narrow Neck of J, 
Land". We then referred him to the 
fat little hymn book, "Watts and Se- 

jlect," published in Boston in the forties 

I and fifties. 

I We have received several letters about 
; these hymns. The inquirer misquoted 
the first line of one. We quote the 
first two verses, headed "Repentance 
Flowing from Divine Patience". 
"And are we wretches (not rebels) 
yet alive! 
And do we yet rebel! 
'Tis boundless — 'tis amazing lovt 
That bears us up from hell! 
"The burden of our weighty guilt 
! Would sink us down to flames; 
And threatening vengeance rolls above. 
I To crush our feelile frames". 
I Mrs. C. P. Pratt of Maiden found 
I "Hark from the Tombs." in an old 
! volumne of Dr. Watts's hymns. 
I "On the fly leaf is tiic name of my 
; great grandfather 'William 'WilUams, 
1 June 26, 1767'. He was tha minister of 

j Jlrs. G. E. Bailey of Tewksbury writes 
j thai she has two copies of "Watts and 
.Select," one published in 1845, the other 
in 1856. "I would bo verj' glad to give' 
'Observer' one opy if it would be otj 
interest. . . . Try to imagine thesel 
hymns in use in our churches today." 


As the "W'orld Wags: 
* I went to look at an apartment in a 
spiffy new building. "There is no built- 
in bookcase," said I,'^ "nor flo I see 
where my own bookcases would fit in." 
"Books!" said the sleek young agent, 
"why, madam, no one needs books 
these days, with tlie radio!" 



Mr. L. "nv. Buell has uominatdd R. 
Barba & Son for our Hall of Fame. 
They "conduct a tonsorial parlor" In 
staid old Hingham. 

As the Weald "Wags: 

This Is surely the age of j«zz when 
delightful renderings by an artist like 
Henry Burr is dominated by that 
dreadful instrument the saxophone (and 
orchestra generally), an accompaniment 
that reminds me forcibly of the "wail of 
a lost soul." I have eschewed the radio 
till recently, but now I am, cured. 1 
will liavo to content myself with the 
liloria Trumpeters and Dr. ('adman. 


- — 


As the World Wacs: 

I have rect i vi'd an Interesting lettir 
from a Mr. J uua of Soutb Jiadlcy rcU- , 

Some, they are not a few, ar. ri"^' °°-> 

b^au-e Mr. Koo.seviUky has u..r.a..o. .... . ':'\''^'"'ZTZ 

whool. is continuing to produce them, and, we earnestly hope, will go 

on producing them. 

■ That there ii^ a revolt is not surprising. Free discussion should be 
.•Bwuraged. when the arguments pro and con are reasonable, when the 
dliputants argue with some show of intelligence and are^ not like the ; 
P«PJ*ry gentleman who shouted: "I ain't arguin'. I'm tellin yer borne 
en* Mifi of deep thinking but disputatious Germans years ago that when ; 
two of them entered into an argument, one at least should be tied securely 

to hla chair. | 

The composers, unknown here before Mr. Koussev-itzky's arrival, and 
now under the ban, are called by the poker-backed listeners revolution- 
aries, anarchists. No leader of a progressive movement has escaped blaz- 
ing hostilitv. It is not necessary to go back to Monteverde. Mozart, 
B^thoven,' Schumann, Berlioz, Chopin, Liszt, Wagner were in turn 
rwndly abused as dangerous fellows. But this is ancient history. 

Here in Boston when the amiable second s>-mphony of Johannes 
Brahms was performed for the first tin« (1879) many ^^''^y 
t Dwight, then one of the leading critics in Boston. He declared that 
h» could conceive of Stemdale Bennett writing u better sj-mphony. 

When Strauss's "Till Eulenspiegcl" was first played here at a 
Symphony concert (1896) there were letters of protest and a Prominent 
erISc a well-grounded musician who had studied in (Jermany, accused 
in Ws review the composer of being insane. mrqq where 

When Cesar Franck's symphony was produced here (1899) there 
wue -till angrier protests. Mr. Gericke was harshly condemned for put- 
ting it on the program. There were persons who for some years refused 
t. attend any concert in which a work by Franck was performed. 

Knd was not Debussy at first characterized as an insolent poseur 
a man who having been denied the gift of melody hoped by musical 
eccentricity to attract attention? Did Ravel at first fare much bet r? 

When Mr. Ellis brought out Puccini's "La Boheme" at the Boston 
Theatre old opera goers could not see anjthing in it. "There are no 
tomes.- was the opinion of the great majority that night drawn to the 
theatre by Mme. Melba, not by the wish to hear a new opera. 

We do not say that the men whose ii^7sic has been heard at Syi^phony 
concerts this season are embryo Strausses, Francks. Debussys, Ravels 
We do not say that the music has always been of a high order. There 
were one or two pieces that we found pretentious, laboriously eccentric 
and dull Other performances might weaken, might even remove this im- 
pression. But in nearly all the instances the composer had a right to be 

heard. - 

Mr Koussevitzky would be unfaithful to his trust if he did not ac- 
«»lnt us ^^ith the works of contemporaneous composers, especially those 
«f the Europeans who are influenced by contemporaneous life and opinions 
«nd are honestly seeking new forms of expression. 

Stra^■in3k^''s niano concerto; Arthur Bliss's concerto for two pianos 
and ^ind instruments; and Copland's symphony excited particular hostil- 
ity These pieces were certainly out of the common, often disagreeable to 
ri,e ears, that is to ears as yet not accustomed to new idioms. It was 
vary easy for anyone to say: "I don't like them." It is also easy to say, as 
eome have said: "We pay our money to hear music that will please us. We 
don't wish to hear music that is freakish, full of discords." 

How many of these objectors would agree on a i)rogram to be handed 
In to Mr. Koussevitzky? Would they agree even on Goldmark's "Rustic 
Wedding," Mendelssohn's "Calm Sea and Prosperous Voyage" or Raff's 
*l«r.oie- symphony, pieces that would be surely demanded by some? 

There are many' in every town who, attending concerts, would like to 
hear only the music they have known from childhood. They would like to 
hear eight symphonies of Beethoven every season. (The ninth is to 
them still a stumbling block.) If they go to a song recital th6y feel safe 
when they see the names of Schubert, Schumann, Brahms, and a few 
American composers on the program. They shake their heads and are 
oncomfortable, when Gabriel Faure, Duparc, Debussy, Bax, or some 
Frenchman or Italian, now li\-ing but utterly unknown to them are repre- 
laented. So it is with piano recitals. These hearers fear for the worst. 

"Music softena moroseness of tei isslpates sadness and 

dncca affability and a sort of gontionikiiiinc juy." 

They might change "geiitlenianURe" to "ladylike." 

Many who cry out against this "new" music are pleased by picturea 
that would have distressed their paronta. They read and, ctiscuss 
extremely "modem" novels und plays, they even wax enthusiastic, in 
praise, but they draw the line at music. 

They arc honest in their disapproval and dislike, and for this are no 
doubt to be respected. Unfortunately they have no wish to become more 
Intimately acquainted with new musical thought. 

It has been said of a little mutual admiration of writers in New 
York that they sit at a lunch table and solemnly declare that nothing 
worth while in art, literature, the theatre, music occurred before 1914. 
There are many in Boston, as in New York and London, who really 
believe that there has been no progress in music since the death of 
Johannes Brahms. 

There is so much music that they do not wish to hear for the first 
, time. 

Yet their objections and this dissension are not to be deplored. 
I Without controversy art ^s stagnant. Once in Paris a duel was fought 
I o\'er Sarah Bemhardt's portrayal of Hamlet and her expressed opinion 
that the Prince of Denmark was in reality a woman. 

It would be a pleasure to find two subscribers to Symphony concerts 
entertaining opposite views, fighting with rapiers, or exhanging shots on 
Bcston Common, say at high noon so that pretty shop girls could enliven 
' the scene; whose bright eyes would "rain influence." What a glorious 
death to die, sword in hand, or even an axe in hand, defending the good 
old conservatives, expiring with the name of Mendelssohn on one's lipsl 

The negro preacher at Richmond, Va.. exclaimed: "The sun do move." 
The musical world has moved, is moving, will move. 

No work of genuine strength or beauty will die. No worl; that is 
inipotently pretentious will live, no matter if for a time It soothes the 
oars of fomplacenl conservatives. We are creatures of our time and 
environment. We must hear music of our time, as v.ell as the music 
OL glorious masters of the past, who speak to us as from another planet. 

If Stravinsky is putting too much importance on unusual rhj-thmic 
devices, liii; sin will surely find him out; his very extravagance may 
benefit composers to come, who, not following him blindly, will find a 
freer and more eloquent expression. 

As for Mr. Bliss there were pages of genuine beauty in his wild 
and whirring concerto. 

Is Mr. Copland, then, a hopeless case? Is his symphony the abomina- 
tion of desolation spoken of by the Hebrew prophet? Mr. Kousse\itzky 
has thought of a second performance, for he regards the composer as a 
man of pronounced talent. If there is a second performance, it might 
occur at.the end of a regular concert, so that those who did not wish to 
iiear it, might leave, and others might stay. Mr. Monteux thus arranged 
tlie- second performance of "Sacre du Printem#s." But those going out! 
lioiild not scowK make threatening gestures, stamp on the floor, or curse i 
composer, conductor, and those wlio remain. P. H. I 

In the Yfears Gone By 

1 These praisers of times past, patrons and admirers of dead com- 
posers, insist that at concerts nothing unusual, nothing surprising should 
ohake their equanimity. They would agree to the dictum of Athenaeus: 

tive to my query on the town or village 
of Ireland, Mass., and his letter con- 
firms a bcUer whicli I have had for the 
past five years 4hat the manufacturing 
towns and cities of Massachusetts wera 
built and stabilized by people from Ire- 
land. This belief has been backed up 
by tacts., 

Thi.s was not only true during the 
Iffth century, but was a fact as far 
back as the 17th century in this section 
and other sections of the countrj-. 
Ilfre in Lowell (we will celebrate our 
first centenary next year) there was a 
colony of 200 Irish Boston who 
'uilt canals, onills, streets, churcht-^ 
and boarding houses iji the pioneer 
period. In the Middlesex registry of 
r], , ,ii .-o.-.-p J r,, . ■„ ^^.^ maps, oi- 

ted Dubliti and 

j Cork streets, ihdlcating the Irish ele- 

When Lawrence was built, in the 
mld-19th century, colonies of able- 
bodied Irish lived in shanties and dug- 
louts whUe they built the manufactur 
ing part of the town. In Holyoke ;ii 
the same period whole colonies wen 
transported from Ireland and otlii?^ 
parts of New England to put into bUji 
ing the plans of the South Hadloy 
Wafer Works Company. In Worceste;. 
Fitchburg and other points their mus- 
cular and mental efforts of the Irish a> 
! builders — practical builders— are now a 
1 matter of history. Educational advaJi- 
'tages to their children and descendants 
lhave made the race today an importan; 
asset in th« government of the state. 
, Lou ell. , GEORGE F. O DWTTER. 

1 — L — 

Messrs. Seymour and Griffith Write of 
Old Players and Their Homes 

The Dramatic Editor of The Herald: 

When my father and mother, Mr. and Mrs. James Sej-niour, -s^ere 
members of the stock company at the Howard Athenaeum in 1853, under 
the management of Henry Willard, they lived at the Hanson House, on 
Scollay square, the site, as I remember my mother telling me, of Austin 
& Stone's old Museum. It (the hotel) had a large inn-yard, where the 
farmers put up their teams in the early mornings. The hotel was b 
favorite resort of the actors of those days. The proprietor was nndoubt- 
cdly the father of the Frank Hanson of whom "F. E. H." has recently 
written in The Herald. . -. 

When I Ame to Boston, in 1879, the Hanson House was on the corher 
ci Howard and Stoddard streets. Among the actors wiio resided- lat the 
"old" Hanson were James Coolje, "Jim" to his friends, a popular actov 
of melodramatic parts at the Howard, and MacDonald Macgregqr, fanipub 
in Scotch characters. At this time my father, the principal Trisli come- 
dian of the Howard, and my mother, who played the "chambermaids" 
and "soubrettes" (synonymous with the ingenues of today), received the 
magnificent joint salary of $30 per week. But a few years later. Law-, 
rence Barrett was paid as leading man of the Boston Mu£>eum, the sin 
of $38 per week, and had to furnish his own "wigs, tights, shoes, swords 
and laces. • • 

A few years later at the Boston Theatre (then called the Boston 
Academy of Music) the play of "Hamlet" was given with the f(*lIo'\v1ng 
cast: Hamlet, E. L. Davenport, the Ghost, James W. Wallack. Jr.; t^aertes, 
William Wheatley; Polonius, Mark Smith; the King, Charles Kingsland; 
Horatio, Charles Barron; First Grave Digger, George H. Andrews; Sec- 
ond Grave Digger, Walter Lennox; Player King, John AV. Blaisdell; OiSit, 
Sophie Gimber; Ophe'li?., Mrs. Julia Bennett Barrow; Queen Gertrude, 
Mrs. James W. Wallack, Jr.; Player Queen, Julia Irving. 

The next evening, Friday, Feb. 21, 1862, the five-act play bf "Jane 
Shore" and Frederick Reynolds'-^ comedy in three acts called "The Drama' 
tist" were given with all of the above named artists, and, for this Cntei-- 
tainment the following scale of prices prevailed; "Parquette, Parquetle 


y, 50 cents. ('No extxu charge for reserved seats; -^Beats 
days in advance.) Family Circle, 25 cents; Amphithtehttw, 
joors open at 7. To commence at 7^." 
.-ume the amphitheatre was the same as the pit, to which* itt 
ij-s the price of admission was 12^ cents. Is it a wonder that j 
I'list's salary was small. 

Monday, March 9, the night of which I began my season here in 'The 
^joose Hangs High," was the 119th anniversary of the birth in Philadelphia 
of Ed%vin Forrest, "and not a line to do him reverencn" in any paper or 
journal that I saw. Edwin Forrest made his last appearance on the stage 
in Boston at the old Globe Theatre on April 2, 1872. in the character of 
Richelieu, and I had the honor of playing Francois with him. I fear It is 
a sad distinction that I am the only living member of the company* that 
supported him on that occasion. He died the December of that year. And 
here I am, 53 years later, acting in Boston again, and as enthuslafetic and 
ambitious as f was then, a youth of sixteen. I must dmit that my es- 
teemed and long-time colleague, Mrs. Thomas Whiffen, is Just ae en- 
thusiastic and hopeful of her profession as I am. With us, indeed, "The 
Goose Hangs High" upon our stage of life. WILLIAM SEYMOITR.- 

The first time we saw Mr. Seymour on the stage he played Francois 
in Bulwer's drama, but Forrest was not then the Cardinal, nor was th« 
performance in Boston. Mr. Seymour writes: "I feel that in a profes- 
sional way I belong to Boston; the Globe, 1872; Boston Museum, 1879; 
Tremont Theatre, 1889, and now the Plymouth, 1925."— Ed. 

The new discussion on the sins of first-nighters suggests the reflectioti 
that the policy of managers in this matter has varied. The Bancrofts 
certainly did not always encourage stalls filled with guests, nor were the 
stalls sold to selected first-nighters. On the first night of "Man . and 
Wife," for instance, speculators reaped a rich harvest and got rid of stalls 
at as much as five guineas apiece. Perhaps the cullnination of first-night- 
mg was in Irving's great days at the Lyceum, and the supper parties that 
followed for privileged guests, the most famous of their kind in the his- 
tory of the theatre.— Daily Chronicle (London). ' ^ > . 

" This reminds us that 20 years ago Irving was seized with ifttaj ^11- i 
ness at the Midland Hotel, Bradford, after he had returned from playing i 
in "Becket." It is now proposed to place in the hall of the hotel a bj-ass 
memx)rial plate recording the fact. 

The Dramatic Editor of The Herald: 

I recall with much pleasure at this time, the great interest many of 
my age at the time when stock companies possessed numerous members, 
who had endeared themselves to the theatre-going public; had in every- 
thing pertaining to their favorites, whether of walking, ridmg, or Imes of 
travel as well as their residences, each of which- possessed a vital interest. 
In those days of the late 60's and the first of the 70's, "where they .lived, 
was quite familiar to many of us schoolboys, the more especially to 
those, who, like myself, "suped" at one or other of the theatres whenever 

possible. 'W' V' 'tsk" 

It interested me immensely to know that the great actor, ¥;., J/..Dar- 
cnport, lived at 48 Centre street, Roxbury; and that another ; idolized 
actor, Charles Barron, lived in Roxbury also. His real name, however, 
was not Barron, but Charles H. Brown, and he lived at 50 Shewiian street, 
then extending from Dale to Bower street, but which later was .cut 
through to Rockland street. - • ^v' 

William Warren was a picturesque and well known tigure ,,pn %M 
■street, familiar to almost everyone, and his boarding place, for he lived 
and died a bachelor, was at Miss Fisher's famous and exclusive estebhsh- 
ment, 2 Bulfinch place, which also entertained on their \nsits to .Boston, 
niime'rous other high lights of the profession. _ Vi /ii 

Adorable Annie Clarke, and her mother, lived for a time at, U Allen 
treet, a short time after removing to Indiana place, a little -in frctn 
'remont street. Nate Salsbury also boarded at 14 Allen street. 

Mrs. Vincent, whose name is perpetuated in Boston in various ways, 
icept a costume renting establishment at 60 Chambers street opposite ; 
the end of Green street, under her then legal name of Mary A. W.ilson, 
her second husband having been John Wilson, the juvenile man at the 
Museum a few years previous. He and the favorite leading lady, Kate 
Denin, left the Museum at about the same time. Mrs. Vincent-Wilscm 

'^'^ Of managers, R. M. Field of the Museum lived in those daj's ^*t- 138 
West Concord street, and Eugene Tompkins made, his home-, with his 
parents at 1540 Washington street, in the middle of a block of-"swcai- 
front" houses, on the east side of Washington street, between Massachu- 
setts avenue, then called Chester Park, and Springfield street. . It was 
i there that his father. Dr. Orlando Tompkins, died, and there that Edwin 
! Booth often stopped as his guest when playing at the Boston Theatre, 
ivjgene went to the Dwight school in Springfield street, as also did I. 

To the present generation it should be explained that most of the loca- 
tions I am here giving were then, oh, so different, from their pl^feSfent- de- 
^nerated condition. The famous "Jim" Fisk lived not far from th'.^ 
Tompkins home, in Chester square, in what was called a palati^l.iresidencc. 
The house is still there. The Elevated railroad caused a blight, like^afrost 
belt, through an early cornfield. _ ^ ^ 

Good old J. H. Ring, "Jimmy" Ring, lived over Beacon Hill at No. . 
Revere street, and R. F. McClannin, "Bob." McClannin, a most' Jkmdl:,- 
man, walked back and forth bet-A-een the Museum and 22 S. Russell street. 
The'Hill was a favorite near-by place for several. Frank Hardenbergh, 
"Hardy," had only a short walk— to No. 2 Bowdoin street. 

That charming actress, Louisa Meyers, first of the Continental The- 
atre and then of the Museum, lived with her mother and two brotfcers. at 
7 Lagrange street, and later at 670 Wa'shington street— fancy that. Tliif; 
place was either what is now 898 Washington street or the .raexb dcfo.- 

south. ••• " ' : ' 

-Originally there was a block of four brick houses, the ^uthetn" front 
corners of which came "catty-KJomer'^ to the streec. Two of these housei 
are still standing. 

Shirley France and his wife, Rachel Noah, lived at 27 HaOnson ave 
nue— "think of that, Hedda"— and ,"Jim" Burrows at 9 Lowell street, 
I where I frequently called on him. , 
I Louis Aldrich lived at 27 Union Park, and Dan Maguinnis— "Hand- 
Dan," as he was' frequently called, but as he was fond of describihg 


^''Ind^'n/p^nr h"*"' Schumann-Helnk, contralto, 

and Florence Hardeman, viollnl.t. See special notice. 

Kent H"i;thl?H" Ztilallan, contralto. Margaret 

Fll.rt B ?>' accompanlrt. Rossi, Ah rendlmi; Bach, My Hear? ?s 

Come, Love, Across the Sunlit Land; Rachmaninoff, At Nlflht; Watts 

WEDNESDAY— Jordan h^ll, 8:15 P. M. Julius Rliim;in i . o 

Goldberg, pianist. Brahms, Sona a D minor b'"-^ « ' 


'^'^Vn^o^v'^'^""^'""'*^" ^'^^ Mildred Cobb, soprano Jessie F.em 

S?sn?vrKy^rn7o^t^:•. ^o"' "x'^. Sc'oTt, 

FRIDAY— Symphony hall. 2:30 P. M. Twentv first . ... 

symphony orchestra. Mr. Keussevltl'y "c^nduTto?°" See s^pe ial TouL" 


Maedchenlied, Das Maedchen sprTchi, An ein Ve Ic^en r T'"' 
wird mein Schlummen. Minnelied. 4chubert f!vp I IT'Z 

tence. Recitative and Aria from The Mount of Ollv^^ i,' 

lit ?r.-"™-s,i."S.i:'o- JS: 

Symphony Hall, 8:15 P. M RenetitMn c- u . 

concert. m. petition of FHday's Symphony 

New Plays 

Social satire, dressed fajitastl- 
cally, symbolically, along the lines 
set by the expressionists of Cen- 
tral IDurope, is slowily inserting 
itself into the plays of the younger 
Americans. There were sugges- 
tions of It in O'Neill's "The Hairy 
Ape" with its fragrmentary symbol- 
ism of the parading mannequins; 
and with "The Adding Machine", 
of Elmer Rice it was full bom. 

With the plays of the Capek 
brothers, "The World We Live In" 
and "R. U. R.," with "Liliom," 
and again consequent on the Thea- 
tre Guild's production of Andreyev's 
"He Who Gets Slapped," followed, 
last season by the ill fated "Masse 
Mensch" of lOrnest Toller — this 
voluminous and tearing critique of 
our materianstlc and niachinlzed 
civilization became intensified. 

Last season added the swift iron- 
ies and the piercing charm oj Kauf- 
man and Connelly's "Beggar on 
Horseback." And now close upon 
the heels of John Howard Lawson's 
"Processional," there Is a play by 
Dana Burnet, "It Ts a Strange 
House," a play published in book 
form by Little Brown & Co., and 
as yet unperformed. 

Hitherto known only as a writer 
of conventional short stories and 
of poems. Dana Burnet has wTit- 
ten a play of strength and of 
imagination, at times sheer poetry, 
arid always dramatic so that one 
reads it from beginning to end, 
avidly, fascinated. In the Strange 
House he symbolizes modern so- 
ciety; in it3 many and sepai-ated 
rooms the hierarchies of our tocial 
order — the Factory Room, the Base- 
ment, etc. Its denunciators and 
saviours are the poet Stressman 
and the girl, Laura, who revolts 
from her Imprisonment in one of 
the upper rooms, demands reality 
In lieu of "illusion." His symbol- 
ism is intense, yet unlike Andreyev 
he is never abstruse. 

In "Processional," Lawson has 
written of things as they are, has 
burlesqued them, rhapsodized jazz- 
wise. With "It Is a Strange House." 
Dana Burnet has reconstructed a 
possible new world, somewhat 
Capek has done in "R. U. R." with 
Laura and Stressman returning to 
the garden to commence aijaln, sim- 
ply, wise, and unashamed. 

The social satirist has always dis- 
guised his tirades, his denunciations; 
to give his Ideas body and verisimili- 
tude and to protect himself, he has 
either created imaginary adven- 
tures and strange impossible coun- 
tries, a land of the Lilliputians, or 
a Penguin Island. Or he has seen 
*he world through the eyes of a 
rlous protagonist, a Pantagruel, a 

Gulliver, or a Don Quixote. 

And in each of these expressionis- 
tic plays, stemming in part from 
the symbolism of the Russians or 
the psychological discoveries of 
Freud, there is a racy; philosophi- 
cal intensity. Some of them read 
, Infinitely better than they play, and 
some, among them "Processional." I 
Jt Is said play better than they read, ' 
their incongruities and lapses elim- 
inated in the acting. "It Is a Strange 
House," with its rushing panoramas, 
its distorted, mechanized settings, 
and its protagonists revolving for- 
mula-wise, seems more narrative , 
and descriptive in Its persuasion j 

than, dramatic. Yet its structure is 
I flawless, so that it should play well. 
"Tou'vo been gone a long time," 
says the gardener as he approaches 
Laura and Stressman. "I'm glad 
you've come back. It was all a 
mistake. (With that infinite sweet- 
ness sometimes present in very old 
men) Here. Have an apple!" With 
this line the play ends; a play of 
bitter and subtle philosophizing, of 
humor and imagination, never dog- 
matic or diffuse, always tensely 

In quite a different vein is Olga 
Petrova's "Hurricane," now pub- 
lished- by the Four Seas Company, 
a play of theatrical craftsmanship, 
and melodr.-unatics, which Miss Pet- 
rova first produced on the coast 
in the fall of 1923, and then later 
brought to New York and the Frolic 
Theatre, sponsored by Richard 

The argument is the ancient one 
of the prostitute who reforms, but 
disclovers that it is too late, and so 
drinks morphia in the presence of the 
man she had intended to marry. Miss 
Petrova has her good moments, 
however; she is honest In her in- 
tent; but she has too much of an 
eye for the theatre and for the 
actor to write with any profundity, 

lUyena, Russian born but living in 
Texas, finally escapes the drudgery 
of tne farm and the late of her 
mother and slips off to St. Louis 
with a traveling salesman. After 
various episodes and several years 
she has saved enough to establish 
herself independently^ in Kansas 
City where she meets a famous 
bone specialist who loves her hope- 
lessly; teaches her to dress simply, 
to talk giammatically and encour- 
ages her in her desire to be a great 

And before the play ends she has 
everything she wanted, fame, 
beauty gfammar: her sister is cured 
of lameness and is a graduate of the 
school of architecture at Columbia: 
and the man whose notice of her in 
Texas has spurred her to become 
an' artist is wiUIng and eager to 
marry her. Then she discovers that 
she has locomotor ataxia; that it is 
impossiblp for h^v inor.-.,. him. 

iMori-lii.i and curtail'. I A play that 
. 'nflnltely better than It reads. 
I<artuii!3rly with Miss Petrova as 
lUjena. E. O. 



Carlos ^Salzodo, harpist, with the Sal- 
zedo Harp ensemble (Marie Miller, 
Ellso Sorelle, Marietta Bitter. Edith 
Connor, lllldred Godfrey, Grace Wey- 
merl, and Delia Baker, soprano, will 
give a oonoeri In Symphony hall to- 
night. Reginald Boardman will be the 
accompanist. The program Is as fol- 

Sixth Frtne.-i Suite J. S. Bach 

The ensemble 
Chorale and variations, for harp and 

piano Wldo- 

Mlis Miller, haxp: Mr. Saliedo, piano 
Aria: "Qui La Voce," from "I Purl- 

tanl" Bellini 

Hlsa Baker 

Sarabando Couperln 

illga rjlr) : «• Corelll 

.'<n:feggletto. P. E. Bach 

Mlrare ..Salredo 

Wlll^!■.^■|nd ^. ..SalzedO; 

Mr. Salzedo 

It Was a Ixiver and His L.ass Harris 

Dawn Curran 

Don't Vant to Know Fay Foster 

Thu Answer Terry 

Miss Baker 

Danseus^s rie Delphcs Debussy 

L« DaiiMS de Puck Debussy 

La Cathedrale Engrloutie Debussy 

The ensemble j 


r icp Simonds. pianist, played this 
r .Mil yesterday afternoon In Jor- 
luiU: Bach, Caprice on the de- 
ne of his beloved brother; Cou- 
Lo carillon do Cytherc, Le tic- 
Toc, Les barricades niisterieuses; 
niann. Toccata: Franck, Prelude. 
,1. el Fugue; De Severac, 
' Dludy, Paturage; 

-Torlcsco. La slrenetta e il 
turchlno: Chopin, Nocturne' m 
Etude in E minor; Brahms, 

Not till th* early olKhfios of <^A 
century did "to sci 
unccess. The flril . 

the use of this tran . i i. i 

Jullaji Hawthorne's "Dust." The In- 
transitive verb meaning the ume wna 
for a long time put in iiuotatlon mark* 
In English Journals us colloquial 
not In good and reguUir standing, 

To Clauds Lovejoy: Tes. there wor« 
vegetarians besides Nebuchadnezzar In 
ancient days. They were found In Ro- 
man society even when feasting waa at 
Its grossly sensual height. Amnilunu|| 
a Oreak epigrammatist, but probabty h 
Roman by birth, living In the time 0t 
Trojan and Hadrian, freed his mind In 
this manner; — The translation Is by F. 
A. Wright. 

"He went among his garden roots 
And took a \cnlfe and cut tlielr throaty 
Then served us green stuff heap on 

As though his guests were bleat** 

Rue, lettuce, onion, basil, Ia«lk> 
Radishes, chicory, fenugreek. 
Asparagus and peppermint 
And lupines boiled — he made no sttnt. 
At last In fear I came away 
I thought the next course vould b* 


: raczzo in 

A flat. Rhapsodic in E 

:,iV Mr. Simonds continued to make 
I'.ich's Caprice, with its rather pon- 
plavfulness. really attractive 
. Il, nuist indeed have a way with 
I would warrant his setting 
specialist, should such an 
l, i.-;.-oss him. He has all the 
'i.s needed — rhythm unusually 
. ;. singularly pure tone which ho. 
th able and willing to color when 
the music .calls for color, deli- 
.sf-n.iitiveness to melodic line, and, 
e all else, sentiment. For Mr, 
nds by no moans holds that Bach's 
iinu ntal music and sentiment have 
ing to do with each other. 

those who will have it so, he 
: t counter with Bach's title to one 
he little pieces — "all lament." 
.>re delightfully still Mr. Simond.s 

• > ed the Couperln pieces. An ex- 
quisite grace a»id an enchanting tone 
he had at hand for "Lie Carillon." a 
sparkling brilliancy for "Le Tic-Toc." 
for those mysterious barricades a vein 
of iKietry everybody cannot find in 
music of Couperin's day. a mood of 
gentle meditation, with even a touch 
of melancholy in it. 

Much might be said in praise of Mr. 
Siir.onds's brilliant playtag of the Toc- 
cata, that piece dearly prized years ago, 
now never heard; of his grace and 
beautiful tone in the Chopin nocturne, 
and his freedom from the taint of sen- 
timrntality; of his brightness of rhythm 
everywhere; of the clear, cool tone In 
the odd Italian piece that makes onei 
hop.j lo hear the artist pre.sently play 
certain pieces by. Debussy and Ravel. 
Uut the outstanding feature of the af- 
ternoon was his beautiful performance 
of the music by Cesar Franck. 

He made it clear that, after all, this 
music has not suffered a change. 
It is, beyond its supreme beauty, 
suffu-sed with a quality of emotion 
p-^cullar to Cesar Franck, tlie emotion 

1 religious mysticism. The olosinjj | 

r.casures yesterday .shone with the! 

{ stasy of those "glories of saints and I 

• ngels" in certain old pictures of Italy, j 

. this music used to glow 20 years ago. ' 
I, lit it seemed as though Its glory had! 
■ parted. All thanks to Mr. Simonds j 
■ 'Ving to the world Us permanency. 

R. R. G. 1 

Let us Quote again from Mr. M. J. 
[MacManus's "A Jackdaw In Dublin." 
'jam«8 Joyce of "Ulysses" fame is imi- 
Itated In "Mr. Bloom Resumes his 

"Down Dame street he turned. The 
bank. One of the finest buildings in 
Europe, Yeats says. The Old House tp 
College Green. At no far distant date. 
Righteous men must make our land.. 
Never hear that now. His eyes followed 
girl In green jumper crossing road. 
Bobbed hair and cloche hat. »>un't see 
her face. Girls aU bobb«d now. 
Healthier they say. But crowning glory 
gone. Her golden hair was hanging 
down her back. Getting on the Sandy- 
mount train. "Wait. Look. Beef to fhe 
heels. Worse with white stockings." 

Nor does James Stephen escape good- 
natured mockery: 

The Jarvey shivered In the rain. 
Blew upon his fingers, and 
Muttered things that were 
Wishing somebody would stand 
A plrit or two; a pint or two; 

And so would you, and so you ■would. 

As the World Wags: 

From the current issue of the Ladies 
Home Journal, in "Where the Road 

"He was sorry for the knot of wist- 
fulness In her voice." 
Evidently a kink in her vocal cords. 

J. M. 

iijc, wiiero they hu\e i.rii; ii 
iulte of rooms, conslHtlng nt' n living 
loom, two bedrooms and bath, situated 
In the east wing of the building and oc- 
cupied by Dr. J. M. Griffin, during his 
ownemhlp of the property, as ofllce and 
waiting room. "Big" and "L«;w" will be 
domiciled In great comfort In their new 
quarters and will be at home to their 
many friends after next Sunday. They 
form a happy team of newspaper re- 
porter (Mr. Wachter represents the 
Glens Fall.H Post-Star) and undertaker, 
and cordiality Is their middle name. 

As the World Wags: 

"It Is a difficult task," said Cal, "to 
separate people from the federal ser- 
vice." Ah, Calvin, the Bible was speak- 
ing of that very thing when it said II 
was easier for a camel to pass through 
the eye of a needle. But the Bible 
didn't know our breed of government 
Jobholders, Col, or It would have said 
that It was easier for 10 camels, 25 
elephants and Ifi glrafCes, all marching 
abreast, to pass through the eye of a 
needle than for a federal officeholder to 
give up his job. R. H- L. 

haps as an antidote to the ui 
nlo of the ultra modernn 
KoUBsevltxky so staunchly 


t.Tii i: I', 
Jenxn i,f 
Fa rbman 

nrsd It with the 
>re overture to "Kl 
he vrbo'ie and d'. 

' and lli.> - 

■f which ?.t' 

I' solo with ,1, 

virtudMltj, II nuppleness und 

nnenesB c,{ lone, a maturity of sentl- 
m'»nt of which few young musicians are 
po8B«sB»-d: he Included the LIsztlan and 
programmlsllo symphonic poem of 
pBlnt-Saeiis, -l^ Rouet d'Omphale," 
irhlch wan originally a rondo for two 
>lanos and stimulated the younger 
french composers to writing program 

A substantial concert, and Mr. Mol- 
enhauer gave a good routine perform- 
inc« of both the Beeth>>v*n overture 
md the Tschalkowsky symphony; In 
Lhe Balnt-Saens he did not contrast 
pnougli the conflicting themes of (he 
resistant hero and the Insistent seduc- 
tress. There was great applause for Mr. 
Farbman, applause that commenced be- 
fore he had finished the concerto. 
I Next week the soloist will bo Jesus 
Banroma, pianist, and the program will 

"Score," the verb. Is an overworked 
word. How twisted it Is from Its 
original meaning. Our old and esteemed 
friend Mr. Jasper Ferguson, making an 
eloquent argument In favor of a new 
schoolhouee, "scores." An qrchastral 
conductor, mopping his dripping tuanr, 
"scores." And so on through the cata- 
logue of professions, trades, employ* 

"To score" meant originally (about 
1400) to out, to mark with incision*. 
_And this meaning remains. These ar« 

)the lines of Mr. A. E. Housman in *^ 
Shropshire Lad": 
"Out of a stem that scored the band 
I -wrung it In a_ weary land." 


(Headline: "Sixty years wed but no 
cross word.") 

"Darby dear, we are old and grey. 
Sixty years since our wedding day. 
And never so much as one cross word; 
Darby, Isn't It too absurd?" 

"Joan, you're right! Why, our great 

Darby III Is composing one; 
Here's a square I Now, you and I 
Both together will have a try. 

"What's four letters beginning 'J,' 
Meaning 'first'? Why, it's 'Joan' I say"; 
Well, then, five, beginning 'D,' 
Meaning 'Demon,' is 'Darby,' see!" 

Thus they started to disagree. 

A. W. 


(Georgia Ne-ws) 
' Rookford, Ga. — ^An unidentified negro 
who confessed to attacking a girl nave ; 
here yesterday morning was lynched 
about two and one-half miles from 
' Rockyford. The negro was burned at 
the stake. He was carried to a field 
where brush and wood -were plied about 
] his manacled form and after gasoline 
I had been applied to his clothing, the 
j wood was set on fire. The victim ut- 
tered but faint outcries and was stoical 
throughout the experience. Tliere was 
no disorder. 


(The ■W'arrensburgh, N. T., News) 
S. Wachter and L. F. Maynard, who 
occupy rooms In the second story of th« 
Harris block, will move Saturday to the 
residence of George Cecil. In Mountain 

Bmesttne Bchuraann-Helnk, contral- 
to, sang yesterday afternoon In Sym- 
j phony hall. She had. to help her, her 
usual excellent accompanist, Kather- 
Ine Hoffman, and Florence Hardeman, 
violinist. Miss Hardeman played very 
well Indeed, and so much to the satis- 
faction of the audience that they 
wanted more. A Tartlnl fugue ar- 
ranged by Krelsler, the andante from 
Lalo's Spanish Symphony — why are vio- 
linists so loth to play the charming 
BChenando movement? — a Spanish 
dance by Sarasate, a chanson Arabe by 
Rlmsky-Korsakov, "Hills" by Bur- 
leigh, and a "Perpetuura Mobie" by 

Mme. Schumann-Heink herself sang. 
In Italian. "Lascia ch'lo pianga" from 
! Handel's "Armlda"; in German, "Prln- 
' temps qui s'avance," from Saliit- 
: Saens's "Samson et Delilah," and. In 
English. "The Lnrd Is Mindful." from 
Mendelssohn's "St. P«ul." For her 
middle group she sang Schumann's , 
i "Frauenllebe und Leben" cycle. To 
j close the concert she chose "When ; 
Two That Love Are Parted," by j 
BeochI; O'Hara's "There Is no Death." : 
j Rasbach's "Trees." and, with violin 
obligate, the "Agnus Del" set to music 
by Bizet. It Is safe to assume that 
I the large audience, which had clam- j 
ored for extra songs the afternoon long, } 
would not have departed content till 
Mme. Schumann-Helnk had added ma- 
terially to the program. 

Though Mme. Schumann-Helnk was 
not In her best voice yesterday, once j 
more she proved herself a past mis- 
tress of the use, to their full extent, 
of all the vocal means at her com- j 
mand. Most remarkably she showed ; 
her power in the .Schumann cycle. Fine j 
. diction. In truth, can accomplish much, ] 
! especially when It is directed by ' 

I Imagination, and jdepth of feeling. Vlv- ! 

Idly Mme. Schumann-Helnk brought j 
■ home to the audience the emotions of ; 
j the woman of Chamisso's poem, and — 
I a tribute to her art and her personality 
, — nobody found them overtense. 
t Middle-aged persons and older are 
prone to rail against the ways of this 
day and generation. Small blame to 
them; there Is plenty to find fault 
with. But what musician of to- 
day of Schumann's genius — If there 
Is such a person alive and at work — 
would ever be led to set to music 
poems of a sickly sentimentality like I 
those of Chamlsso? If he did, who ! 
would listen to them?' So all Is not for i 
lhe worse In the world. R. R. G. f 

At the St. James Theatre yesterday 
afternoon the People's Symphony, con- 
ducted by Mr. Mollenhauer, and with 
Harry Farbman, violinist, as the soloist, 
ga-ve the following program: 

Beethoven, overture "Leonore," No. 
in., op. 72; Paganlnl, Concerto for Vio- 
lin, In D major; Salnt-Saens, Symphonic 
iPoem, "Le Rouet d'Omphale," op. 31; 
[rschalkowsky, Symphony No. 4 In F 
jmlnor, op. 36. 

! For a brief and eloquent week-end. 
|rschaIkowsky has seen revival here with 
two of his symphonies. With Mr. 
Koussevltzky It was the fifth; with Mr. i 
Mollenhauer the more Russian and In- 
:requently played fourth, which he was 
lhe last to perform a season ago. 
' With tb« symphony. Mr. Mollenhauer 
;hoae a stoutly orthodox program, per- 

Carlos Salzedo and Company j 
in Symphony Hall 

Carlos Salzedo, the grreat French 
harp virtuoso, Introduced his com- 
pany of artists to a large audience 
in Symphony hall last evening at 
the annual concert given under the 
auspices of the Ginter Employes' 
Beneficiary Association. It was the 


Copley Theatre: First performance In' 
the United States of "Mary's John," a 
comedy In three acts and five scenes by 
Harold Brighouse. Produced at the 
Liverpool Repertory Theatre, Liverpool, 
Rng., on Sept. 30, 1924. John Bowyer, I 
Herbert Lomas; Mary, Constance Pells- 
sier; Mr. Sharrocks, James Harcourt; 
Mrs. Sharrocks, Elsie Irving; Tom 
Sharrocks, Gerald Pemberton. 

Mary Bowyer May , Bdlss 

'.Miss Jalland Jessamine NewcomSe 

istanlev Jelves Francis -Compton 

John IBowver Alan Mowbray 

Mrs. Sharrocks Elspeth Dudgeon 

Aaron Sharrocks E. E. Cllve 

Tom Sharrocks Philip Tonge 

Max Abrahams C. Wordley Hulse 

Head Walter... Victor Tandy 

prace Neville Katherlne standing 

This is a comedy with a familiar 
! theme: the young countrj'man who 
Ithinks he can "beat the band" In Lon- 
Idon; a Lancashire Rastlgnac, who 
swears to conquer the great city. 

John Bowyer, at home in Salthley 
Bridge, shuts himself up in his room at 
niKht, locks the door and tells his 
anxious wife that he is working. Her 
parents and her intolerable brother are 
called In consultation. Is John winning 
on the race track by correspondence as 
brother Tom suggests? John has gained 
money In some way for he throws bank 
notes at his wife and tells her to rig 
herself out In fine array at Manchester. 
At last the secret Is disclosed, for Mr. 
Jelves comes from London, wishing to 
engage John as a poetical advertiser, 
for his simple and slUy verses about 
ladies' silk undocwear contributed to a 
rival house have attracted attention. 
The specimens of the verse read last 
night make one wonder at the excellent 
Jelves's enthusiasm and his willingness 
lo pay John £1000 a year for his serv- 

"^^-riie Shamrocks family Is horrified by 
John's eagerness to go. The parents 
t:ilk about London as Hmoma spoke of 
Paris to Dr. Bovary and Emma. When 
John says he Is through with cotton, 
that cotton Isn't everything, for cotton 
occupies his days, Aaron Sharrocks ex- 
claimed: "Thl has the tongue of a 
blasphemer." Mary, at first unwilling, 
not being able to live up to silk under- 
wear, finally resolves to accompany her 
John. But in comes Max Abrahams, a 
rival of Jelves, and offers John a still 
n,ore liberal sum. He hesitates; he has 
not signed a contract. Honest little 
Marv reminds him that he has given his 
Iword. Abrahms retires, baffled, but he 
will bide his time. 

This first act Is the best, as It Often 
the case In plays "f this genre. The 
characters are sharply defined; they 
are real persons; the dialogue is amus- 
ing and reveals the nature of each per- 
son The acts that fo!low are variations 
of an old theme. The second is un- 
necessarily long and it progresses too 

John In London Is turned Into a wind- 
bag. He Is bound to be In the swim, 
' to be a man of the world. He argues 
that thus a I the end of a year he will 

iliiry of £5000, ami lie 
t> as if It were iilri>aJy 
aiTos.s A'lrahinns. who 
ike htm valueless, to Julves, 
lit foi'KlVK Mary for uislsilng 
>n's rpfiisiil of his offor. John 
at oxiHMisive restaurants, dresses 
stly maniuM-. joins a club, learns 
!r. dancing lestons of Grace, a 

I'M il: tui-r. ' introduced by 
n y rebels, but from love of her hus- 
band, tries to follow step, th>ui;h she 
shudders at tl'.e thought of 1>are arms 
I'l II restaurant. 

Meanwhile John's verses fail to please 
his employer. John's excuse is that he 
is trying to tit himself for a higher sal- 
ary. Jelves, naturally, does not appre- 
ciate this reasoning. Ho la ready to 
discharge the poet of underwear, but 
agrees to wait till Mary's plan for the 
reformation of her husband is carried 

To bring a happy ending, the dram- 
atist is weaker than his hero. The 
Sharrocks family comes to town to 
decorate and furnish a flat so that when 
. John, doped. Is borne to it, he will think 
j he Is at Saithley Bridge; that his ex- 
periences in London have been a night- 
mare. He awakes, is deceived only for 
a moment, l)Ut he has written verse.-j 
that please good Mr. Jelves, listening at 
an open window. 

Abrahams is routed; Grace, told that 
.K'hn is ruined, has no use for him; 
John falls on his knees before triu'iiph- 
ant Mary. 

A poor third act, except for Mary, into 
whose mouth the dramatist puts a few 
lines of a stilted copybook order. Even 
in this act Mary wins the respect and 


affection of the audience. She Is as 
shrewd as she is simple and loving. Nor 
is she merely amiable. She can be cat- 
tish when the other woman Is In. view. 
In her pleading with Jelves for her hus- 
band, she Is pathetically eloquent. And 
one sees into the workings of her heart 
and brain as much, yes more, by the 
acting of the part by Miss Edlss than 
by the dramatist's dialogue, good as it 
generally Is. 

Mr. Mowbray made the audience! 
thoroughly acquainted with poor, 
puffed-up, vainglorious John, at last 
disillusioned and self-reproachful. We 
were all more than formally Introduced 
to the Sharrocks family, to the rival 
employers of poets, to the dressmaker, 
jriss Jalland. Thus there was pleasant 
if not exciting entertainment. 

Man," a play in four acts by Katherine 
Metcalf Roof, produced by the Theatre 
Guild of Boston, for the first time, v/ith 
the following cast: 

Jede>llah Skldmore Robert W. Kelso 

Abagail Turner f. .Leonora Bradley 

Deacon Parker Prescott Warren 

Belinda May Ethel R. Scagel 

Jacob Anable Roscoe Chaff ey 

Elisha Calnes Robert S. AlUngliani 

Pierre I-»a Tour Jose Alessandro 

Tabltha Perkins Elizabeth GerrLsh 

Elvira kHelen Gertrude Gaskill 

Martha Jane Mary E, Walker 

Capt. Cal-In Judd William M. Travers 

Although there have been plays of 
the witchcraft period, and films of the 
clipper era, the Salem of the early and 
middle 19th century has been singular- 
ly unexploited In the romantic melo- 
drama, and the costumed mystery play 
of a satiric tendency, of recent origin. 

With "The Shade Man," although 
she is at times verbose and too de- 
tailed In her exposition, Katherine 
I Metcalf Roof has glimpsed the possi- 
bilities of this period, and she has 
I taken for her hero not the seafaring 
'man or the mail robber, but an itiner- 
ant and impecunious maker of silhou- 
ettes, an ' ironic and romantic French- 
man of culture, Pierre I^a Tour, 
misplaced In this Puritanical assembly. 
As a "shade man," he has his moment.^ 
i of eulogy, C:\ rano-wise, of the possi- 
\ bllities and the importance of the nose, 
of its self-caricaturing, and of the joys 
of an artist's life. 

There Is talk of the amazing rapid- 
ity of the new and radical st«am cars, 
that travel at the phenomenal pace of 
twenty miles an hour; theie Is amus- 
ing satire at the expense of the self 
torturing, prejudiced deacons, of the 
suspicions with which each one with 
the exception of the young girl, eyes 
the "furrlner," places suspicion upon 
him. There is a delightful comparison 
of the verse of the esteemed Mrs. 
Hemans and of the French lyric. 

Strange happenings are on foot, sud- 
den -and increasingly frequent robber- 
ies of the stage coach and its passen- 
gers, and in the midst of the talk of 
these In the parlor of the wayside inn, 
the "shade man" arrives, and proceeds 
to practice his art there. A sullen and 
Insistent sailor in oilskins deposits a 

;'.irtr "heathen Idol" oii'TroT sheii oi 
ili>' demure "whatnot". Deacon Parker 
un-lvcs with his ward and her dowry 
to n\eet his nephew to whom she Is 
to ba married as soon as his ship 

The deacon and the sharp toagued 
and ardoui "shade man" dL-ipute "over 
the friendt-hlp that has started between 
the "shade man" and the deacon's 
ward. The no.\t morning the deacon 
is found murdered, and the muddy steps 
lead to the "shade man's" room. The 
strange green idol has disappeared. ^ 
t^apt. Calvin Judd returns In a storm; 
his ship wrecked, and he, nervous and 
unlike himself. Belinda wh.> has al 
ready had her doubts about her mar- 
riage mistrusts him. The "shade man" 
is Imprisoned until the mystery is 
I solved, and Belinda, rid of the captain 
offers her dowry and herself to the 
•'.'■hade man," to establish themselves 
iiemurely In Boston. 

A deft and well written plav, faithful 
•lo the 'traditions of Its kind, "yet never 
unduly melodramatic or sentimental. 
It is lis*iUy ironic, and well characteriz- 
ing, the mystery excellently sustained. 
Mr. Alessandro gave an excellent per- 
formance as the "shade man," suave 
impassioned, bitterly sardonic. Occa- 
sionally in his longer speeches he 'talked, 
so quickly that his words were almost 
indistinguishable. And he, ailmost un- 
aided, bore the burden of the acting. 
Of the rest of the cast only Leonora 
Bradley, who played the perturbed and 
garrulous mistress of the inn, an actress 
at one time with the company at the 
Castle Square Theatre, was a "profes- 
sional," so that it Is unfair to compare 
her playing and that of Mr. Alessandro 
with the amateur assemblage that ac- 
companied them. Yet Miss Seagel 
played Belinda with charm and point, 
and ttiere were excellent moments In 
Miss AVaiker's loquacious and Imperti- 
nent Martha Jane, the servant, and la 
Miss Gerrish's TabXha Perkins. 

The setting was an at'tractive one, and" 
the whole was well staged. Tlie per- 
formance will be repeated tonight 

E. G. 

ST. JAMES— "Rolling Home," a com-\ 
edy in three acts, by John Hunter] 
, Booth, first performance In Boston. 

'Mrs. AUlen Anna Layug 

Abigail OIlv© Blakeney 

iPh.vllis Weston 'Elsie Hit/, 

' Andrew I,mve Roy Elklnn 

Bol>ert Alden Ixnils LfOn Hall 

, Nathaniel Artemas Alden Bernard XDddl 

.^ruhclla AldeTi Roberta Lee OlarU 

I Daniel Mflson Houston Itichorrls 

' Gen. 'VN'ade Weston Samuel Godfrey 

'Samuel I'emlliertoa WinfleM Hyaifi 

, Cnlvln Txrwe Ricbard J. Wct'a 

' Willl.-.m Cbn'bb Ralph .^f. Eemley 

i .T. W. iSnva-'p John Hunter noutli 

George Gnilible John Collier 

The familiar tale of the penniless 
wanderer returning to his native heath 
and assuming the millionaire was re- 
hearsed once more at 'the Sit. James 
last night. All the old friends were 
there, even to the close-fisted village 
lawj'er who "suspected It all from the 

Nathaniel Alden, leaving home for 
the war, stayed away, vowing not to 
return until he could come In triumph, 
J)ringlng his sheaves wKh him. Six 
years of knocking about bhe world had 
succeeded only in dropping him in New 
York, out at heel, and nearly destitute. 

What more probable than that some 
long lost friend should 'Come upon him, 
insist on driving him home to Lower 
Falls In a glittering motor and present 
him as a Monte Crleto to the village 
where he was born. All would have 
been well had not the car belonged to 
the friend's employer. 

The town turned out en masse, flags 
flying and guns booming, and took the 
empty-handed Croesus to its heart. Did 
he promise to develop their neglected 
water power? He did. Did he offer to 
make Lower Falls a model town? What 
else? What of father with that over- 
due note? With only a ten dollar note 
In his pocket. Nathaniel Alden con- 
quered them all. And the girl he left 
behind him? They married and lived 
blissfully happy ever after. 

Mr. Nedell as the homing ragged 
robin strove manfully with the mate- 
rial given him, while Miss Hitz, whose 
duties were confined chiefly to reciting 
boom town statistics from the Lower 
Falls Chamber of Commerce, almost 
made that electric information inter- 
esting. Mr. Remley, of them all, drew 
the lucky number. To his lot fell the 
role, nearest and dearest to our hearts, 
the constable. 

An added interest was the presence 
in the cast of the author, Mr. Booth, 
plaj'ing one more business man. 

G. R. L. 

with Norman Trevo^ and Mrs 
Thomas Whiffen. Tliird week 
Colonial— "Kid Boots," Zieg- 
feld's musical production, star- 
nns: Eddie Cftntor. with Mary 
Eaton. Fifth week. 

Majestic— "I'll Say She Is," mu- 
sical revue, starring the four 
Marx brothers. Last week. 

Selwyn— "White Cargo," Leon 
Gordon in his own play. Last 


Hollis — "Next Door," comedy of 
suburban life by Dorothy 
Parker and Elmer Rice, with 
Wanda Lyon and James 
Spottswood. Second week. 

Tremont— "Grab Bag," Ed Wynn 
starring his annual produc- 
production. Second week. 

Plymouth — "The Goose Hangs 
High," play by Lewis Beach 


formance in Boston of "The Passing 
Show of 1924." Book and lyrics by Har. 
old Atterldge and Alex Gerber. Music 
by Slgmund Romberg and Jean 
Sch-wartz. Staged by J- C. Huffman. 
Harry Le Vant conducted. 

The principals were Billy B. Van, 
George Le Maire, Lulu McGonnell, Le- 
roy Duffield, Jack Rose, Ruth Gillette, 
the Lockfords. Herbert Aehton, Harry 
MoNaughton, Robert Lee, Bessie Hay, 
Eleanor WlUems, Peter Trado, Frank 
Trado, the Harrington sisters and Dan 

There are 28 scenes and the entertain- 
ment moves quickly. For fare, tnere 
are the usual ingredients of its kind, Ue- 
.acheu epi.=ouc=. iNor woulu lue euiei • 
lalnment suffer if the first six scenes of 
the tirst act were eliminated, for aie 
offering did not take on "Passins fahow 
zest until the entrance o£ Mr. Van in 
the telephone episode. Here we lound 
the comedian tnat we used to know- 
Patsy Bolivar— inasqueraumg as he was 
under the commonplace title oi Mr. 
Jones. And so, Mr. Van to the rescue, 
we were regaled with an evening ot his 
uelighttul clowneries, and again, thanks 
to Mr. Van, there was the fun that is I 
so essential to the perfection of the ] 
whole— fun that has been slipping in aie 
revues of our theatre— tun that at the 
inception of these same revues was tat 
first consideration. 

For the spectacular, and the pretty 
girls, there was full measure. "The 
JJeaded Bag," for the former, stood 
forth in its opulence, if not altogether 
in the originality ot Its idea, for the 
same scheme comes to mind as a 
ing recollection o£ "Panuora's Box ' oi 
George White's output, of a few sea- 
sons since. From a huge beaded bag, 
opening and unfolding irom tioor ic 
files, came forth the choicest of ihe 
[Messrs. Schubert s pulchritude, each ana 
every one setting life on a beaded ' ag 
i of differing design of extravagance in 
! Idea. ^ , 

For another, was "King Arthur s 
Round Table," visualizing a dream of 
the comical Mr. Van. Here was a 
pageant of the joust, of defending the 
honor of milady, travestied if you will, 
but with all the panoply, the color of 
mediaeval knighthood. 

"Dublinola, " for ensemble dancing 
feature, might be picked for the unltyi 
of its rhythm, for the "business" of the; 
colleens, for Its smack of the soil. For 
solo dancing, there was the pleasing and; 
diminutive Miss Willems, lithesorae.j 
eager; and then the rosy and more for-i 
ward Bessie Hay, untiring, pleasing m! 
■a toe and high -kicking specialty. 

For music, theer was plenty of the 
kind that will serve, smacking of music 
editorship rather than of inventiveness.; 
And for voices, Leroy Duffield carried! 
ithe major portion of the songs, and m 
this feoiture the entertainmen't has) 
plenty of opportunity for rebuilding,! 
for Mr. Duffleld's voice was continually! 
being worked beyond its range and there 
was also a continual forcing of tones. 

Tttere is real pleasure in again seeing 
Bi'lly B. Van up to his old tricks, wKh 
a turkey under his arm and an over- 
load of hooch, trying to get Into a tele- 
phone booth— six of them, in fact— and 
never s^icceeding until they are all em-i 
pty. Lulu McConnell, too. In several i 
scenes, contrltou'ted to the joy of the 
performance, and she was at her best in 
the "A* Home" scene. In whlclt she 
"roasted" hubby and then "loved him 
up" in caveman style. 

And so these revues come and go, 
setting first a higli mark, sti^vlng to 
encompass has gone before. The 
wonder of It all is that they are abla 
to outdo previous entertainments when 
ttiey all have so much In common. 

T. A. R. 

William J. Tierce l'r*tit~\ > ,. iu'' 

Al.«o a fliorus of eight 'slrla :iBd 
furniture movers. 

Back again to the Boston boai „, 
lops the girl from Oskaloosa wha knows 
what she wants and gets it, the un- 
shockable heart-bandit who finds New! 
York stupidLv slow, and when shei 
glimpses a philandering wife's Inert 
form on a divan, aska briefly between 
cigarette puffs, "Dead or fainted?" 

"Jessie James" seems not to have 
suffered from many changes of cast 
since last she clucked a forefinger here, 
and last flight many numbers were 
applauded to repeated encores by a 
highly amused audience. Music by the[ 
"James Boys,'.' a Paul Whlteman band,! 
added happily to the merry uproar and 
received appropriate share of calcium 
and applause. What threatened most to 
stop the show was the chorus dancing, 
tor the eight girls, of more than usual | 
attractiveness of form and face, left no 
lingering doubt of their dancing ability. 
Nejtt in the line of thrills was the 
shrieking tragedy of the towering Evan 
, Valentine's beetling eyebrows, funereal 
voice, and grouchy lugubrious song of( 
graveyards, undertakers, and Income 

I Without a certain automatic disap- 
I pearlng bed, which goes in and out of 
! the wall as a button is pressed, the 
j should would be something else ag^in. 
jin, near and about this piece of furni- 
1 ture the plot takes place, giving rise to 
! broadly insinuating quips and the usual 
I farce of hairbreadth escapes from hus-' 
bands, fiances, mothers-in-law-to-be, 
etc. It seems that Tommy and the wife 
; ot a bill collector are having tea for two' 
in his bachelor apartfent. His room- 
mate comes in with his fiancee and her 
wealthy mamma, and the lady is hidden 
in a bedroom. Eight more girls come 
in for tea. The man who owns the fur- 
niture comes in with a prospective lady 
client from Oskaloosa. Then comes 
daughter Jessie with her niidwestern 
brand of sophistication. Then comes 
the bill collector, just In time to pro- 
vide a thrilling curtain as his wife and 
a young man are thrown into the dis- 
appearing bed, which promptly disap- 
pears. Excellent music and dancing and 
amusing farce fill in the time ■while 
others engineer for their rescue. 

Laura Hamilton makes a re.sourceful 
and self-reliant heart-bandit, and John 
Sully's juvenile comedy is light, airy 
and really funny. H. F. M. 

I WIIiBUR THEATRE— "LitUe Jessie | 
James," musical comedy presented by' 
L. Lawrence Weber. Book and lyrics, 
Harlan Thompson, 'music by Harry 
Archer. The cast: 

Tommy Tinker ■•■ ■• .John Sullj- 

..lift Burtress ul-*' > 

Mrs. i'-'lower Madeline 

(! eru W ine Flo««r «lni»y s Baxter 

Paul Kevcre .John Jlundlcv 

S. Block Al Eayuioml 

Mrs Jamieson Clara Tiiroi>;) 

.To«le Jamitwon L«ura Hamlltou 


Benny Leonard, world lightweight 
boxing champion, at present retired 
from fisticuffs, shows that he is as much 
at home on the bare boards of the stage 
as he was on the padded floor of the 
prize ring at B. F. Keith's Theatre this 
week. Assisted by two partners, George 
Mayo and Charlie Marsh, Benny tells 
about his former fistic work and tnen 
stages a comedy bout with the pair. But 
if any of the aspirants for Benny's 
crown — the fi.stic one — thinks he has lost 
any of his speed and is "soft" they 
should promptly forget it. He is the 
same fast workman. There Is some 
good comedy in the act, but the crowd 
was out to see Benny, no matter whit 
he did. 

Sharing top honors with the champion 
is "Dr." Rockwell, a comedian with a 
new line of chatter ou how to live 150 
years.' The billing tells us we can't af- 
ford to n.iss his treatment. That is 
correct, one cannot, afford to miss it. 
The doctor should be careful or some of 
■ his patients In the audience will laugh 
themselves to death. 

One ot the best dancing numbers pre- 
sented at Keith's for some time Is that 
featuring Mile. Leova. She is assisted ' 
by Danny Dare, Rudolph Malinoft and 
the Ware sisters. The entire company ■. 
are clever steppers, doing their num- 
bers with grace and precision. 

Jack Haley and Helyn Eby Rock, a ^ 
smart pair In songs and chatter, scored 
1 high on the applause count, while Jean 
Southern, well kno\vn on th© silver 
screen, has several character numbers 
I that show talent. 

I William Brack and company, five per- 
formers in all, have a speedy acrobitic , 
act in which a couple of the members 
are tossed around the stage In whirl- 
wind fashion. 

The Merediths, society dancers, were 
well received. 

Toodles and Tod, a canine act, ex- 
hibiting some smart dogs, open the 
show; ;and the news reel, movie fable 
and topics have their usual high tond. 

The state of New York, so the news- 
papers tell us, purposes to develop the 
springs of Saratoga. A deep-thlnklng 
German, having examined them, says 
they possess "medicinal and corrective 
properties equal to famous European 
watei-s." There are Americans stiu 
thing who have thought this for miany 
veara, though some of them may have 
believed that Congress water was the 

'■7- ' 

^jjpred a fondness tor bourbon or rya. 

1p the sixties there were very few, If 
Ulf. summer cottages— ahtcks, bunga- 
flWs and palaces are now loosely de- 
' -.1 as ootta^es — and there were no j 
_>nd visitors. One's country rela- 
nvHed a family for o fortnight or : 
or even two months, In the ' 
r, and expected a return Invita- 
' the city In the winter. The two 
* summer resorts were Saratoga 
-.>wport. Saratoga btis preferred 
dv ! any on account of the medicinal 
iWiters, especially by those who had 
MTgeJ and guzzled during the winter 
and were liverish. Well do we remem- 
ber t!io hotel life at Saratoga, also the 
real Uve Indians who sold to the chil- 
dren birch bark canoes and bows and 
irron-s. Well do we remember the 
feedlni; at hotel tables. In order to be 
s\XTc of prompt table service a man on 
Ola irrfval would give the head waiter 
IS for the first week — $5 was then a 
siibst.intlal sum. The table waiter was 
tlppvl at regular intervals during the 
TOjov.n. What Gargantuan breakfasts! ; 
MeTi. A omen and children ordered many 
jisli-=. not disdaining chops — and even 
a •^niall beefsteak — eggs, sausages, 
oravk. d wheiit or oatmeal, hot rolls, 
Johnnv cake, doughnuts, always ending 
wlt:i .1 stack of griddle cakes. 

There were good orchestras at the ho- 
tels playing for dancing at night, giving 
concerts bv day. We still see Napier 
T^-.iiian conducting the overture to 
••Ziinetta" or "The Poet and the Peas- 
ant," waltzes, polkas and pot-pourris. 
The broad verandas allowed promenad- 
ing, while old bankers and lawyerswould 
sit easting glances of admiration and 
exchanging criticisms, as beautiful 
[young women. Cubans, Jewesses and 
northern Gentiles swept by, in gorgeous 
costumes of the period, blazing with 
.iii>r.i.,n'ls. So S5t !he Trojan elders 
when Helen approached the wall to see 
the fighting on the wind-swept plain. 

When we were last at Saratoga the 
splendor of the hotel life had faded; but 
John Morrisey ruled the famous gam- 
jliuf: house. We saw him one evening 
randing at the entrance when a grroup 
;■ collegians was about to enter. "Boys," 
J id Honest John In his w heezing voice, 
■you can come In and look around, but 
vou can't play here; you're too young." 

We had the honor of knowing Mr. 
Morrisey when he w'.as a state senator. 
No man was more respected at the Cap- 
tol. When he spoke, his words were 
ew, but invariably to the point, and 
once, urging the passage of a bill for 
some charitable Institution in which he 
was Interested, he wms eloquent. 

Of hope rewarded n' 
For thi • i! 
A tall fro 

ond Floor!" 

oourtier guards the 


No doubt the springs still flow, but the 
j;!ory of the old days Is departed. Not 

ir many years have we tasted Con- 
rress water, bottled, or at Its source. 
\s Artemus M'ard said to Mr. Schwazey, 
.vho was eating beans and remarking: 

"I hain't eat anything since last week; 
t eat bean.s now because I eat beans 

her.; I never mix my vlttles! They are 
I , heerful fruit when used tempritly." 

Bishop Hurd said of a contemporary 
•hat lie did not like "the doctor's long 
vernacular sermon." A London journai- 
lat thinks that Um Mcord lor long mb^ 

tenc' f is held by" literature rather than 
•iclal decrees. 

;or Hugo in "Les Miserablee,' has 
e sentence extending over a hun- 
-cd lines of type, and another French 
jthor, Leon Cladel, wrote a lucid and 
c' oua account of the campaign of 
in one sentence equal, roughly, to 
column of this paper." 
believe that a still longer sentence 
s In Haziltt's essay on Coleridge to be 
ound In "The Spirit of the Age." It Is a 
' ilicent sentence following two 
printed' octavo pages. Mr. Evarts 
imous for his long sentences ad- 
.'jEsing a jury or arguing In an appel- 
ate court. 

"Appreciative Reader" — Bless her! 
-5k3 whether any rule makes " 'easier' " 
.".ore correct than 'more easily." " 

We know of none. "Easily" was 
'irmerly compared "easlller, easUest." 


li. ii crobablo. snT' »n essayist, that no 
h»» evf-r seen a haberdasher.) 
The huge department store that lines a 

And passes clients through Its vasty 


To dress them perfectly from head to 

Provide them with a dainty lunch to 

■With kettles, mouse-traps, paper, ten-. 

nla balls. 

Unites the unfamiliar trades of yore, 
And haberdashers haberdash no more. 

No more the dapper youth with fingers 

Presents a card of buttons to the gaze 
Of bargain-sharpened eyes, to feei a 

As the World Wags: 

I I detest, abhor and abominate th«f« 
canaille who insist on using foreign 
phrases as bon mots and se.-'MUlpedalla 

I verba. It la schreckllch rather than de 

I bon aire. Doubtless, 1 am persona non 
grata for In.sisting les expressions Idlo- 
matlQuo are not au ifait or tres joUs. 
Potztausend! Sonst wird es that wa 
must parllons Hlsrpanoli or be accounted j 

ischleralels. Con amore, 


Sir Arthur Schuster has been cele- 

brating the longevity of ".sclentlflo | 

gents"; Umg-Iived although they pften ; 

work far into the night. Lord Chan- | 

ccUor Weslbury used to say: "I set i 
out in life with many dear friends who 
worked late at night. I have burled 

them all." It Is said that scientists are | 
not fond of exercise. Is this a reason 

for their longevity? In the last letter f 

that Sir William Haroourt wrote he f 

said: "Remind Spencer from me that ; 
I have always told him that exercise Is 

the thing which destroys everything." j 

And so when Mi;. Evarts was once asked i 
to what he attributed his good health 

and keen mentality, he answered: "Lack j 

of exercise." 1 


(For As the World Wagst } 
■Wear the pair ] 

As you always used to do 
"Wear the pair 

Though it is no longer new. 

Just wa-er the pa-er 

And sa-ay a pra-yer 
That you will stand by it 

As It always stood by you. 

Oh, wear the pair 

As you did those other years. 
Though some will surely swear 

And some go home in tears. 
Oh, wear the pair 
And part your hair 
I Until they jart from yo«. 


London has heard of our earthquake 
scare, "driving people out of the thea- 
tres Into the streets." A journalist 

1 recalls a similar event in London 314 
years ago. Burbages players were per- 
forming at the Theatre and the Curtain 
In Shoredltch-on April 6, 1580. Suddenly 
by "God's admonition" there was an 
earthquake shock. The ballad-monger 
and Bond-street merchants were at once 
busy. "At the playhouses," It was said, 
"the people ran forth surprised with 
great astonishment." Many were "sore 
crushed and bruised" from panic at the 
exit. The theatre had Its enemies In 
those days. Witness the earliest known 
verse on an English earthquake: 
"Comme from the Place, 
The House will fall so people saye. 
The earth quakes, lett ua hast awaye." 
William Hone recorded several earth- 
quakes In England. All London was 
shaken in 1750. A servant maid In 
Charterhouse square was thrown from 
her bed and had her arm broken; "dogs 
howled In uncommon tones, and fish 
jumped half a yard above the water." 
Hone In "The Everyday Book" quoted 
from "Zoological Anecdotes" a pleasing 
story of two cats at Messina In 1783 
who announced to a merchant the ap- 
proach of an earthquake. They tried 
to paw througli the floor. Set at liberty, 
they ran out of the town. The mer- 
chant, following them, saw them bur- 
rowing In the earth. Soon after there 
was a violent shock. The merchant's 
house and other houses fell down, so 
he was saved by tlie forebodings of the 


As tiie World Wags : 

Now I understand It ail. I have lived 
in Boston for five years and do not know 
a human being well enough to Invite) 
to sit up ■with me the night I die. I 
have frequently bewailed the fact in 
letters home that not only do the grown 
people freeze up solid it spoken to with- 
out a proper introduction, but even the 
little dhWdren refuse U> answer a wist- 
ful smile. It la true that on the night 
I of the earthquake my neiglibor who lives 

I and moves and has her being about 15 
feet above my ceiling unbent sufrl- 
ciently to speak a few seral-exclted 
words while the earth was rocking, but 
since that night she has retired again 
Into her shell. 

II When Gov. Cox was Inaugurated a 
I' few years ago I happened to be walking 
|j on Tremont street near the State House 
Lwhen a series of terrible reverberations 
ijcame from the sky. Every one was look 
Hng up. It seemed as though the gods 
j were playing a Gargantuan game of foot- 
[ball. Thoughtlessly, and forgetting 
1 was In New England, I Inquired of 
I -w-oman near me "What is it?" She rrfj^.' 

"Stem aloofne.ts: "Why, the Oov- 
1 ' • • .■ those 

. this 
, and I 

nmrinurcd. 'Lvar nie, Ui have Hat 
down awfully hard." The woman fumed 
and gave ino a searcliing gaz*'. Her fra- 
ture.s froze even morv solidly. If poPKlble, 
ond J.tie turned In undlt'gulsed disgust 
and went on her correct wa.v. To think 
that a complete utraiigcr had not only 
addressed her, but had coarsely men- 
tioned the possibility of a Governor of 
Massachusetts ".sitting do-wn hard !" 

But the little editorial in The Herald, 
"Two Little Girls," explains It all. Bos- 
ton children are taught In their tender 
years that if any one whom they do not 
actually know addresses them, to call 
a pollcetnan '■ There Is no such thing as 
a yearning smile from an honest lonely 
.stranger. It must not only go unan- 
swered, but the promulgator of the smile 
must explain herself to a policeman. 
Now I know why the children 1 have 
smiled at have looked at mo as st'fernly 
as the adults. Fortunate, Indeed, am I 
that they did not lay hold of me and 
"cling fast" to me until the officer ar- 
rived. Since drunkenness Is no excuse 
for such conduct, surely the mere desire 
for a child's answering smile will be 
regarded as emanating from a twisted 
brain. A. R. T. 


O Lady with a duster, 

Get on with your spring-clean. 
Scouring the hedge-lincrusta 

Restoring carpets green! 
How like a filibuster 

You wield your mop...ti.nd broom, 
The woods are all a- fluster 

\^'hat time you oomb the coombe. 

Sky-ceilings owe their lustre 

"To your tremendous zeal. 
The hidden primrose cluster 

Your sturdy strokes reveal: 
You stren^uous re-adJuster 

Of winter's rain and gust. 
We look to you to muster 

The usual clouds of dust. 

A. W. 

I'he only i| 
i.iv •.\lLli jou i:i fUat I found In 
in'. niou.-i word 'tru'i' pircil.' '1 \' 

uuum It: . .' ■ ■ you *r« on t. 
brink of the pit." 


As the World Wags: 

I nominate — and can obtain seconds Jf 
necessary — .for membershli) in your 
House of the Immortals: . . 

Harris Po-or\-u, real estate operator, 

A. Dinnerman, market proprietor, I 
Portsmouth, N. H. 

I don't see how you could possibly . 
shut tile doors on such eminently quail- ! 
tied gentlemen as these. W. D. i 


As the World Wags: 

In telling of a 'V\'ashington political 
conference today's Manchester (N. H.) 
Union says: "What transpired is not 

My dictionary and rhetoric explain 
that "tra.nspire" means "to come grad- 
ually to publicity; to become known." 
Andover. L. P. CARR. 

A common, figurative and correct use 
of "transpire ": "To 'escape from secre- 
cy to notice,' to become known, especial- 
ly by obscure channels, or in spite of 
secrecy being Intended; to 'get wind,' 
'leak out.' " 

Misused for: To ppcur, happen, take 
place. "Evidently arising from mis- 
understanding such a sentence as 
'■What had transpired during his ab- 
sence he did not know." Apparently began 
In United States about 1800; registered 
In Webster's Diet. 18'28 (not In Webster, 
1806)." There . are quotatlops showing 
the misuse by Hawthorne, Dickens, 
Liaurence Oltphant. 

"The other side of this is that wo are 
Jentltled to protest wlien any one as- 
■ sumes that because a ■word of less de- 
sirable chai-acter Is current American, 
it is therefore to bo current Bngli.'^li. 
There are certain American verb.s that 
remind Englishm-en of the barbai'ic 
taste illustrated by such town names 
as Memphis. . '. A very firm stand 
ought to be made against 'placate.' 
■transpire' (even in the legitimate sense, 
originally a happy metaphor for mysteri- 
ous leaking out, but now vulgarized 
and 'dead.' " The Fowlers in "The 
King's English" (Oxford, 1906), add 
that as a synonym for 'become known,' 
'transpire' is journalistic and ugly, but 
may pass; as a synonym for 'happen' It 
Is a bad blunder, but not uncommon." 

Richard Grant White: ",So I find It 
said, in a prominent New York news- 
paper that 'The Mexican war transpired 
In the year 1847.' The writer might as ' 
well — and, con^>iderlng the latitude in I 
which the battles wero fought, .-niglit I 
better — have said that the Mexican war j 
perspired in tiie year iSil. ... If I 
the pl'u^.be 'take place' can be sub- 1 
stltuled for it (transpire) and tho In- 
tended meaning of the sentence Is pre- 
served. Its use Is unquestionabl:' wrong; 
-* if the other colloquial phrase, 'leak out,' 
can be put in Its place, its usa -is 

Mr. George D. Ives In "Text, Type 
'and Style" quotes J. R. Lowell writing 
T. B. Aldrlch apropos of "the Storv. 


At Jordan hftU Iftrt evening Rose 
Zulalian, contralto, accompanied by 
Margaret Kent Hubbard, gave a song 
.recltnl with the foIlnwlUK program: 
Ah rendlmll (from "Mltrano"). Rossi; 
My Heart Is Fixed, Bach; Nymphs and 
Sh-pherdH. Purccll; The I.,ament of 
Di-idre, Gilbert; A Caravan from China 
Conies, "Warren Storey Smith; J)lo All- 
macht, Schubert: Wlegenlled, Schubert; 
Der Freund, Wolf; Mr Ist's, Wolf; La 
Plule, Oeorge.s; Hymne au Solell, 
Georges; 'Valrl Ztaghig, Mcllklan; Dony.l 
Oooy, Mellklon; O'er tho Tarn's Tn- 
rufflod Mirror, Oriffeo; Come Lovo 
.\cros8 the Sunlit Land, Griffes; At 
Night, Rachmanlnof; Joy, Winter 

Although she has sung variously be- 
fore, last night's concert was Miss Zu- 
lalian's first full length ont-, and de- 
spite a comprehensive and purposely 
exacting program, she sang with as 
much zest and vocal skill In her 
group as she did In the earlier ones. 

Her voice Is large and of a wide 
range. In its middle register of a dark 
and beautiful quality, and full of reso- 
nance; and although her head tones 
were often delicate and well placed, she 
took all dramatic climaxes In the upper 
register harshly, even metallically. Yet 
this is a remediable fault, and she has 
much in her favor — an ardent tempera- 
ment, a rich sentiment, a flair for style. 
.So she distinguished between the 
Italianate air from Rossi's reputed 
opera of "Mitrane," the light effefves- 
cence and gaiety of Purceli's "Nymphs 
and Shepherds," and the strange keen- 
ing of Henry Gilbert's "Lament of Dei- 
dre," with its Gaelic melancholy, a 
song seldom sung. 

Again in the Armenian folk songs of 
Meiikian of which she sang two, with 
a third as an encore, there was passion, 
and the tense Intimacy that the folk 
song demands. Yet she has a tendency 
to blur her phrases, to soften the out- 
line of her words, so that at times, 
particularly In the Schubert "Wleg- 
enlled" which she sang with charm 
and a caressing gentleness, her words 
were Indistinguishable. 

She seemed better attuned to the 
fragile way of George's "La Pluie" 
and his more strident, apotheosizing 
"Hymne au Solell" which she was ob- 
I liged to repeat, than to the terse and 
overwhelming drama of Schubert's 
"Die Ailmacht," and the two songs of 
Hugo W"olf. 

When she has sung more, acquired a 
firmer coloratura, a fuller resonance in 
her upper tones and a clearer diction. 
Miss Zulalian should be an attractive 
concert singer, especially of the more 
romantic lieder, and of Armenian or 
other Asiatic songs. B. G 

Scrlabin's "Prometheus: A Poom of 
Fire," for orchestra, chorus, piano and 
organ, ■n-ill be performed for the first 
time in Boston at the Symphony con- 
cert.<5 tomorrow afternoon and Saturday 
night. Mr. Koussevitzky, who was 
closely associated with Scriabin, brought 
out this tone-poem at Moscow on March 
15, 1911. The llrst performance in the 
United States was by the Chicago or- 
chestra on March 5, 1915. Scriabin 
wished the music to be accompanied by 
a color iceyboard; that is to say, colored 
lights were to be thrown on a screen in 
conjunction with the music. Thus note 
C was to be represented by the color 
red; G by rosy orange, D by yellow, etc. 
At Moscow this keyboard was not ready, 
or it refused to work. The first use of 
It was in New York, when the Russian 
Symphony orchestra performed "Prome- 
tiieus" on March 20. 1915. The result 
was not effective. To watch the colors 
and hear the music at the same time 
was distracting. "Prometheus" was 
written when Scriabin was a confirmed 
mystic, and wished to compose music In 
theosophic terms. His hero is not th* 
Prometheus of Acscliylus or Shelley. . ' 

For this performance the piano • w'Hl 
bo played by .\lexander Lang Steinert: 
the organ by Mr. Snow of the Symphonj'' 
orchestra, and the wordless chorus wHI 
be sung by the Cecilia Society. 

This society will also sing the vari- 
ous choruses of the Polovtsian Dances 
from Borodin's "Prince Igor." The 
choruses have been performed in Bos- 
ton, but not at the concerts of the 
Boston Symphony orchestra. 

The other pieces on the program are 
Handel's Concerto Gro.«so, No. .n, D 
major, and Rabaud'a "Nocturnal Pro- 
cession," which has already been per- 
formed this season. 

The Symphony program for next week 
comprises Foote's Suite, E major, fcr 
strings; Eiohheim'8"A Chinese Legend" 
fabaHt.JUUi-^A. D.); Schumann's Piano 

HI ■ Thi> pianist v 
uitlst. Alfred Cortot. 

lless will play Beethoven's pin- 
erto in O major at the fourth cx- 
noert of tho Boston Symphony or-i 
-;ra next Monday night. The pro- 
■,i will u!sj inoludo Tohalkovsky's 
■1 .".1 and Juliet." tho Si-Utrzo rrom 
I'lm's music for "A Mldsum- 
Ui's l-">rcnm," tho prelude to 
,^viu" and the Daiico of the Sev- 
«r. Nells, from Strauss's "Salome." 

T tho foncert of this orchestra In 
Lirldjge next Thursday niyht (April 
this pro^ninu Beethov. u s - Pu^to- 
symphony: Franck'a "Wild Hunts- 
. •; tho Vrelude to "LKJhengrln." Sa- 
iic s Dance. 

Notes and Lines: 

I am from the country. 1 live in Con- 
cord, Mass. I wont to tho Symphony 
concert In Bostou last week. 1 llkod it. 
[ should not say that Mr. Koussovltzky 
was a conductor. The man with gold 
on his cap and coat who took the tickets ) 
at the door seemed to me more like a 
conductor. Koussevltzky, who made the 
orchestra start and stop and turned on 
the electric Juice was the motor man. 
I may be wrong. C. 11. P. 

Frederic Frcemantel, tenor, will sing 
IS songs by Beethoven In Jordan hall 
i f\\ Saturday night. Walter Glide will 
the pianist. Mr. Freemantel, we are 
i> id. has made a specialty of these 
songs. The program will include a ro- 
citatlvo and aria from "The Mount or 

Mildred Cobb, suprano, will sing in 
Jordan hall tonight. Songs by Bantock, 
Strauss. Wolf, Cyril Scott, Sasnovsky 
and others. 

The last of Ernest Schelling's concerts 
for children will take place In Jordan 
hall next Saturday afternoon. 

\:-,y song quit..' 
a hoy. 
'n the niirhi 

■■Tl'.. I'.- 

SO milch as I .11,1 \ I ,. 
I heard Bnrnaboe sin* 

Jesus Sanroma ne.Hl Sunday aftenioon 
will plav RachmaninoVs piano concerto 
in C minor at the People's Symphony 
concert. Orcliestra pieces by Svendsen, 
Rameau-Mottl and Wagner. 

Mr. Helfetz will play the violin in 
Symphony hall next Sunday afternoon. 


(For Notes andLines) 
On the night I; heard Barnabee sing 
"The Cork Leg," 
In a lecture course held at a nelgh- 
t>orlng town, 
Crrtaln men I could mention weren't 
bald as an egg; 
Certain ladies I know still had tresses 
of brown, 
recited some verses then perfectl.\- 

On Darius the Filer whose last name 
was Green. ■ 
I I believe he sang "Simon the Cellarer," 
\ too. 

I And "Alonzo the Brave and the Fair 
' Imogene." 

Clever artists there were on the concert 
stage then. 
And their voices are always a joy to 

I could reel off a roster of talented 

Though It's no use attempting to 
mention them all. _ ^ 

' ron Whitney's name ought to com', 
first, I insist, 
haiies-R> Adams, the Winch broth- 
ers, William and John, 
I'jrgc L. Osgood. Tom Karl, both well 
up on the list, 
j Jlerberl Johnson, Joe White and Bu- 
; dolphson — all gone. 

P. H. Powers, Morawski, the Temple 
quartet — 

They were Fessenden, Fltz, Cook and 
Ryder, all (uie^ . 
D. .VI. Babcock, JCed Payson and Di . 
Gullmette, ' 
Thomas Clifford. tJeorge Parker, 
George Want and Lon Brine, 
T:\o Jlin Gilberts, George Frothingham. 
Harry Gales, too. 
.r. C. Bartl-tt. Jack Beny and (.'lar- 
encc E. Hay. 
When I think them all over, I lind — as 
win you — 
Thai some beautiful singing «as dona 
In our day. 

I hava beard oratorios, operas, jazz. 
That the radio bringa within reach of 

liS all, 

Ard I ki:'ju what fine singers the stage 
toda;.- has, 
Sonte aniniar, and bthors T fall to 

T.;t In i>ite of their tgreatness I fall to 

enjoy — • . . 
y ■, li those artists' "fOrgTveness I earn- 

"a iii .- oi'i-^ , ' .sail! tlic Uoi'ii^orin-r 

tii the late-comer at a concert, "but If T 
>vere to open the door, halt the people 
would rush but." ■-- American ijeglon 
Weekly. .. . I - . 

Julia Culp next Saturday afternoon 
will sing 12 songs by Johannes Brahms 
and five songs by Schubert. Cocnraad 
V. Boa iWlll ar<;conipany her. 

Mr. Edward- Maryon has written a 
.stiidy of Mrne. Culp. Here is one of his 
eulogisHc outbursts: "When Culp slags 
wi. scjvle It 1b like visualtzliig the best 
notes of tlie-nt(JlifiheaTe; th-c rich, redo- 
lent quality Is there, and surpassfts ttie 
winged night singing troubadour ofiioet 
.av>d lover, because out of the darkness 
comes to the hearers' imaginatkm all 
the sensuous coloring of the PJasf, nil 
the pale, delicate spring tints of the 
West, which the shimmering fields of 
Holland dazzingly express In tulip time." 
As tlic gentleman from New York re 
marked after a speech at a Deinocrati'- 
convention in Buitalo: "HI "Yi! 7Jo; 

A correspondent asks: Did Piccavo 
or Charle.s Hackett take the part of tti- 
Dukt when "Rlgoletto" was performeii 
here by the Chicago opera company? 

Mr. Hackett took Uie pan, tliou.tch foi 
some unaccountable reason. Mr. Piccn 
ver's name was on the bill, though 
Ivad already left this country. 

^— — 

The Dramatist, "a Journal of Drania- 
tology" published at Easton, Pa,, con- 
tains in the Janviary number a passion- 
ate defense of "Ladles of the Evening," 
which, regarded by many in New York 
as a highly immoral play, has been 
"pruned 6f its most inherent qualities," 
as a Vermont village politician said of 
his paj'ty's platform many years ago. 
Tlie editor, Mr. Luther B. Anthony, is 
al.most hysterical m pointing out tli*^ 
great moral lesson to be drawn from 
this play. 

"The scarlet hues of tlii:! play ni:i.\ br 
a little ovcrtinted. but should we foi 
this reason ignore the tru« moral of il^ 
te<j.chlngs'.' Because ;i blaclc pencil in 
used to shade a dra>\'ing. the. subject 
need not necessarily be dirt.v. A red 
pigment is required to paint passion and 
critics condemn the paint ratlier than 
the picture. * * Can the colors of 
everyday life corrupt us, or is It the 
lack of their acquaintance tliat cor- 
rupts? The standards of life and of 
living liave strained old boundyrirs uf 
the proprieties. Is it wiser to shut our 
eyes to this fact or to admit thai thcs<- 
conditions actually exist and meet tliera 
face to face? Society is fully abreast of 
Mr. BelasoO. We tiniff a cri.nisLm iil- 
mosphere no paJcr tiian ho paints. ' 


Julius Risman. violinist, with the help 
of Samuel Ooldstein. pianist, offered a 
program last night in Jordan hall for 
■which he ''deserved a crown of laurel. 
He began it with Brahms's sonata, ui 
D minor, for piano and violin. After 
this beautiful mus.c— still early in the , 
evening, mind — he played new music by | 
Bloch, "Baal Shem" by name, its Ural 
performance in Boston. 

Altliougli not quite vcnturesortie 
tnoush to risk a recital without a con- 
tiono, a; ail ever.ts he showed tli^ good 
Taste Judgment to play a concerto 

"by "Vieuxtemps (No. 4), which can at 
«, pinch do very v,-&ll without orchestra. 
And for his muaio In light vein, to close. 
Mr. Risman found pieces by no means 
hackneyed — a Godowsky waltz, an in- 
trada by Desplanes-Nachez, and by 
Kreisler a "Tamburin Chlnois." 

In his "Pictures of Chassidis Life," 
presumably -written since the perplex- 
ing sonata for piano and violin. Mr. 
Bloch appears to view life more pla- 
cidly than he used to. To a listener 
only slightly a.-quainted witli the lit- 
urgic music of the synagogue, the mel- 
odies of the first piece, "Contrition," 
and the second, an "Improvisation." 
seem closely akin to those of Jewish 
religious music. Thr,ut,'h of a certain 
monotony to persoiiS innnfiuenced by 
associations, the lirst "picture," grim 
In character, uncomproi-i-ilsing, with 
little or no help or contrast from its 
meagrre accompaniment, is none the 
less impressive. / 

The second, wild in mood, malces its 
rhapsodical effect without aid from 
the needlessly unpleasant discordances 
of -which Bloch used to ■'hn-.v himself 
fond. The third piece, ' " not 

so strong iu racial or sug- 
gestion as the other tw-o — i.. i:i ■ a hint 
of the gipry in its opening rhythm- 
will probably prove the most appealing 
of the three to the average audiencte. 
All three, well worth the hearing, were 
heartily applauded last night. 

Mr. Risman played them admirably, 
rrith warm, strong tone, with sympathy 
f.)r til" insistently characteristic mel- 

.uiy7" ltli rhythm mighty "stirring, and 
throughout the Imnrovlsatlon with li 
finely romantic spirit. 

In a year's time Mr. Risman has made 
pmlns. Except In parts of the concerto's 
(Inale, he has raised his tone to the 
level of his best, which Is very good 
Indeed. Although he has not developed 
into a player of marked poetic feeling 
or of notable sweetness and light, be- 
yond a doubt he approaches tine music 
in a finer spirit than lay in his grasp 
a year ago. 

In gaining mudh grace Mr. Risman 
iias lost none of his power to stir — wit- 
ness his splendid performance of Bloch's 
music. Given atioiher year of similar 
progress, ho should indeed become a 
violinist of very unusual parts. 

- R. R. G. 

M"i^3~Lillian Gish in court nibbled a 
carrot-tbe dear little rabbit. She saia 
she did this because she was nervous. 

We have consulted the wisdom of the 
ancients wttl«>ut finding the carrot 
recommended as a cure for nervousness; 
but Pliny the Elder says that the seed 
of one sort and the root of another— a 
dram weight In wine Is a suftloletit. dose 
at a time— Is a most appropriate remec^ j 
against serpents, and given in a drench 
oures four-footed feeasts that are stung 
by therm. 

In our little village of the sixties there 
^vas a -.vater cure on Round Hill. The 
doctor used to feed his patients carrots 
and fed them plentifully. The villagers, 
, hearing this, thought the patients were 
' •4haTnefully abused; they accused the 
doctor of being a niggard if not a skin. 
"Carrots? Why they are fit only for 
cattle." If anyone suggested that they 
were good for the complexion, also the 
stomach, there was scornful laughter. 
■ Now It is true that old Burton con- 
demned many roots, as onions, garlic, 
scallions, turnips, carrots, radishes, 
parsnips, as windy and bad, or trouble- 
some to the head. Diphllus, stating that 
the carrot is harsh, admitted tnat it w;is 
toierablv nutritious, and moderately 
good for the stomach," and the variety 
called "karoton," large and well grown, 
to be easily digested. Aplclus recom- 
mended a dressing of salt, pure oil and 

vinegar. . _ ^ 

The carrot, with certain other vege- 
tables was slow m coming into England^ 
In the first years of Henry the Eighth s 
reign there were neither cabbages, nor 
radishes, nor carrots. Queen Catherine 
was without a salad at dinner until the 
King summoned a gardener from the 
Netherlands. It appears from the Al 
manach des Gourmonds" that at the ! 
beginning of the 19th century In Franco 
carrots, onions, leeks and turnips were 
employed for seasoning or garnishing, 
rather than as separate dishes. The 
carrot Is of great assistance in cookery 
and the most common _^ exclplent or | 
juices, gra\-y and ragouts." 

And today little, tender carrots, 
cooked In cream, are not to be despised. 

"Tell Mother I'll Be There" will be siveli 
as a quartet by four young ladles—' 
Oshkosh News. 

This reminds me of a notice In a New ' 
Bedford morning paper some year^ ago ' 
which read, "At 7:30 the pastor will 1 
preach on 'Hell. What it Is. Wherf' It I.i j 
How to (iet there.' Take Ml. Pleasant 
car to Richmond street." 

An evening paper clipped the notice 
and headed it, "Not on Your Life Wa 
Wonft Take It." 

Hyannis. HENRY W.4,TERMA 


: (For Aa the World Wags.; | 

Woman with Dog i 

A iair. and stylish-stout I 

With marcelled bob | 

Mer skirt Is slvort 

(The unif of the hour) 

And fleshings clothe her legs. \ 

Fur is her coat 

And flowers are her hat 

Her face (she has a face) 

'Tis just unpacked from clay 

And free of wrinkles 

As of thoughts, 
j As loud she bangs 

Th' apartment door 

To take tho dog to wa',.t. 

: Woman with Child 

j Clothes not so fresh 

I Skirt not .so short 

■[ Hair not so good 

■j Eye wild and strained. 

j And bumps 'tha carriage 

I O'er the curb 

I As home she hastes 

j T' get supper for her lord 

j (A shoe clerk very likel 

i And put the babe to bed. 




As the World Wags: 

I. too, thought that Dr. Cadraan's an- 
swers were Impromptu until the moder- 
ator read a question concerning Farry-o 
(meaning presumably Pharaoh) and 
In his answer the good doctor also said 
Farry-o. This was more than enough, 
for surely there are not In all the world 
In any square mile, however populous 
It may be, two men who would say 
Farrj'-o unless one had taken It .^rom 
the other beforehand. 

It Is not yet too late to learn that 
the "y" In ".brilliant" (there Is a "y* 
sound in such .words as "brilliant" and 
••million") does not come after the 
"brill " thus, •■brilly-ant," but before 
the "ant," thus, "briU-J-ant." In the 
best English usage "Indian,' audi- 
ence" and "obedient" are pronounced 
"Ind-yan," "od-yens" and "obed-yent 

^"w6°are' undoubtedly entitled to our 
own notions In such matters, as has 
been said, but equally undoubtedly out 
notions are principally due to the illiter- 
acy of" our early teachers. Fancy an 
Englishman sounding the extra "a UL 
"extraordinary. " ^ . ^,„t, 

We were taken aback when I»rd Cecil 
(Eton and Oxford) said "organi-zatlon, 
but we forgave that when He said "Mea- 

Why don't the learned professors who 
rive us ••Versi" (and .a pain) on the 
radio try "Roma," "WIen," "Paree. 
"Llsboa" and "^'^hlco'"? 



Dear Sir: 

I As a reader of your stuff for many 
years, I ask for information. It is my 
first request; perhaps it may be rn;. ' 
last. Forty-.'iOme years ago I frequente'l 
In the night hours such places as Toir 
! Early's and Joe Goss's on Lft-gj-aftg' ■ 
I street. One of the regulars in 
I places was One-Eyed Connolly, whose 
j age at that time must have been all of ■ 
) 40 and whose vocabulary was Indecent. ' 
I In those days the excellent Mrs. Early 
I often served drinks with her own be- 
jewelled hands, and sometimes, when 
Connolly disturbed her equanimity, she 
told him who he was and why he was 
■with considerable force and fluence. 

I have assumed that Connol'r died 
years ago, and I believe that he did ; but 
ever and anon I read that he has at- 
tendexl a prize flgtit, '•crashing the gate," 
as the boys now phrase it, and al-ways 
showing up in season to get a line or 
so that should go exclusively to the 
chanlpions who tight rarely but profit- 
ably. As I remember It, the original 
Connolly had no fixed home and no wife 
who would acknowledge hlm. 

On a week ago Wednesday, to your 
excellent journal of civilization, Ed Cun- 
j'nlngham telegraphed from St. Peters- 
'burg that One-Eyed Connolly woMld 
serve lemon pop during the first game 
of the season between the Braves and 
the Yanks. The Connolly whom I knew 
would have hurled a pop bottle in face 
of the dastard who suggc^led that he 
drink pop. Inasmuch as itie One-Eyed 
Connolly season seems to be wide open. 
It is up to you to solve what to me Is 
Indeed a genuine mystery. 


As the World Wags: 

K. M.- asking "WJiat Is one-half of 
Infinity?" provides no explanation. He 
seems wise but his bottled wisdom helps 
no one. Certainly it Is possible to take 
college mathematics and get no help. 1 
did. Wisdom came of itself later. Vh 
not try to answer that question. Suo'i 
trial implies that the question is per- 
missible; but it Is not. Defining Infinity 
as the indefinitely great helps. Only tfie 
definite can be seized and divided. If 
you pluck at the infinite and fancy >'bv» 
have something you will find that you 
have made it definite by your selzuWf. 
You can't grasp it and you Can't speak 
of the immeasurable in terms of mea- 
sure. Don't trv. Q. E. D. 
Antrim, N. H. 



As the 


■V.'orld Wags: j 
unilng In Hell" will be the 
J. O. Johnson, pastor of the ] 
Ptlst Church, Sunday nl.?ht. 

Mildred Cobb, soprano, sang'this i In- 
gram last flight In Jordan hall, ; i 
the help of a singularly musical and 
able accompanist, Jessie Fleming A'ose: 
The Plague of Love. Arne-Huhn; Have 
You Seen But a Whyte Llllie Grow; 
When Myra Sings, A. L.: Verborgen- 
heit. Wolf; Wie Melodlen zleht os, 
Brahms; Heimllche Aufforderung, 
Strauss; M'ha preso alia sua ragna, 
Paradles; Poesia persiana. Santoliquido; 
Nebbie, Respighi. I<a Girometta. Si- 
bella; Spleen, Poldowskl; I..e long des 
saules, Mon Jardin, Fourdrain; SI 
j'avals vos alles. Me.ssaser; The Gar- 
den of Bamboos, Bantock; Adoration, 
Josten: The Clock, Sachnow«ky; The 
Serenade, Cyril Scott. 

Miss Cobb had tho usual luck which 
befalls concert-givers who begin on 
time. But, pray, let her and others 
like-tnlnded. keep up the good fight. 

fiho fun. i 

to "'"sr I 

■ as. 

she hit on sonss by those com- 
• „» J^tnr feti hpd as they usiuiliy 

;\w and lower medium registers: in the 
™-,rti,,m reci-^ter she is not always 
"fv^t qui """comronable. Since in the 
of a slnge«r ot flne accomplishme.U 
there is no need for nilnclng matterB, 
the opinion may be plainly expressed 
that Miss Cobb should rive heed to ac- 
' qulrinsr a neater attack, to equalizing 
ler scale. Also she should be wary ot 
^-h tones delivered with too much 
I .\ to the damage of their quality. 
These few defects apart — most slng- 
r-i have more— Miss Cobb sings de- 
-iitfuUy. In four languages she enun- 
liies 'with remarkable distinctness, 
winning her consonant.*;, furthermore, In 
the Invaluablo way that benefits the 

quAllty of her tone. She phrases n»u«l- 
cally; she knows what legato means. 
To many emotions she can give voice, 
most successfully perhaps to moods of 
'ightness, of pretty sentiment, and of 
gloom- as In "Nebble." Though vocall>- 
overtaxed by the height and volume 
called for, dramatically she did full jus- 
I tice to the air from "Alda," sung as an 
encore. Miss Cobb Is truly a singer of 
talent, richly endowed with voice, per- 
sonality and musicianship. She ought 
to accomplish much. R. R- O. 

Koussevitzky Offers Pieces 
by Handel-Kogel, Scria- 
bin, Rabaud and Borodin 

TTie 20th concert of the Boston 
Symphony Orchestra, Mr. Kousse- 
vitzky, conductor, took place yes- 
terday afternoon in Symphony hall. 
The program was as follows: Han- ' 
del, Concerto Grosso, No. 5, D ma- 
jor, for strings (edited by Kogel) ; 
Scriabin, "Prometheus, a Poem of 
Fire" (first time in Boston); Ra- 
baud, "The Nocturnal Procession"; 
Borodin, Polovsian Dances from 
"Prince Igor," for orchestra and 
chorus. The Cecilia Society assisted. 

Kegel's edition of Handel's Concerto 
oalls for two solo violins (Messrs. Bur- 
gin and Theodorowlcz) ; solo viola (Mr. 
Fourel); solo violoncello (Mr. Bedetti). 
How this music of Handel's by the ma- 
jestic pomp, the solemn beauty — and 
simple are the means employed — the vi- 
tality stands out after nearly 200 years! 
How superb the introduction! It might 
bear for a motto that sentence In the 
Book of Daniel: "Belshazzar the King 
made a great feast to a thousand of his 
Lards, and drank wine before the thou- 
sand." Hearing this introduction, the 
rresto and the allegro, and the slow 
-aov&ment tJiat has a tenderness and 
aj; -Cnearthly serenity peculiar to Han- 
sel, It may be questioned whether mu- 
sic, after all, has progressed so greatly 
.Ince Handel shook his powdered wig 
and threatened to throw the capricious 
Francesca Cuzzonl out of a window. It 
13 not necessary to go as far as Samuel 
Butler, who, offering incense to his idol i 
'jattered the statues of other Qomposers ; 
in the great temple of music; then ! 
E|0or, misguided man, tried to write mu- ' 
slo In the Handellan manner; but Han- 1 
del is still one of the mightiest figures 
In the history of music. 

There was a beautiful performance of 
Kabaud's "Nocturnal Procession," which 
"as played at a concert last February 
Repeated hearings lead one to wish 
th«.t the mood of the first section, poetic 
as It Is, were, not so long maintained. 

Borodin's Dances were performed 
^ith a charm for the first time at a 
-ymphony concert. They had been per- 
*3iTned here elsewhere. The voices 
added greatly to the contrasting ef- 
■icts. The chorus of young girls is de^ 
..iclously suave; the splendid and bar- 
Ibarld savagery of the males pfoclaim- 

li^^.. ^^i""^' °^ Khan is intensl- 

lflj°d four-fold. Thus there was a bril- 
llihnt ending. Fortunately "The Noctur i 
leal Procession" followed with the in- 
Itt^rmlsslon the tremendous climax of! 

Sic.rlaljiiis ■ I '1 oiiii-l ill u;i ' !■< (t>r oi - 
chestra, piano, organ and chorus. It' 
was natural that Mr. Koussevitzky 
should wish to have Boston hear it. ^ 
The composer was his close friend, and. i 
a6 a pianist, his .issociato In cojicert ' 
itotirs. Mr. Koussevitzky conducted the; 
prst performance of "Prometheus" at 
[mobcow, when Scriabin played the 
I piano part. 

The composer wished this "symphony 
of sounds" to be accompaniea by a 
i "symphony of color rays" and so he 
I constructed a keyboard instrument 
which should throw colored lights on a 
I screen as the music was playing. This 
I keyboard was apparently used for the 
, first time In New York. The result 
I was unsatisfactory'. Scriabin also 
wished the perfoimance to take .the 
form of a mystical ceremony, with the 
chorus clad in white, as for a religious 
j service, not a concert. In his later years) 

his mysticism passed beyond the bound 
' ary, so for his fame as a composer, he 
' was no doubt fortunate in his deafly 
before his projected "Mystery" found 
form: a work In which sounds, colors 
perfumes and movement were, with Uie 
audience as celebrants, to express one 
"fundamental Idea," 

Much has been written about the 
psychology, the tlieosophica! expression, 
the Tnystldsm of "Prometheus." The 
greater part of what has been written 
is sheer hlfalution. One does not go to 
a concert to observe through the ears 
the process of merging human, individu- 
ality In the Cosmos. A trumpet theme 
'9 not the more stirring because "it typi- 
fies "The Will to create and attain." 
1 Nor Is a thenie that sx-mbolizes "dawn- 
ing consciousness" the more appealing 
by reason of an esoteric quality. 

What is to be said of "Prometheus" 
If It is to be considered first of all as a 
"symphony of sounds"? 

In some respects it Is an advance on 
Scriabin's preceding orchestral poems. 
It is less Influenced by Wagner; it has 
passages of more individual strength 
and beauty; the instrumentation is 
more varied, more interesting, with 
greater charm ot coloring. The final 
climax— and there Is a dangerous antici- 
pation of it — is overpoweringly so- 

On the other hand, the music is too 
often diffuse and negligible. One wearies 
quickly of the "mystic chord." One 
wishes a firmer continuity, fewer epi- 
sodes that say little or nothing. 

The piano part was played by Alex- 
ander Lang Steinert, w.ho left Paris, 
where he is studying composition, at 
the repeated request' of Mr. Kousse- 
vitzky, to assist in the performance. 
The piano part, taxing by technical dif- 
ficulties and sudden entrances, often 
inconsequential as regards musical con- 
tents, ungrateful music as a rule, was 
played by Mr. Steinert intelligently and 
as far as the performance was con- 
cerned, effectively. 

The concert will be repeated tonight. 
The program of next week will be as 
follows: Foote, Suite, E major, for 
strings; Eichheim, "A Chinese Legend," 
(first time rhere); Schumann, piano con- 

I certo; Germaine Tailleferre, piano con- 
certo (first time here); Franck, "The 
Wild Huntsman." Alfred Cortot will be 
the pianist. 

Those that are not solicitous to PUQIP 
one another, but to be sociable and 
pleasant, discourse of such matters and 
handle such questions as make no dis- 
covery of the bad parts of the aoul, but 
such as comfort the good, and by the 
I help ot neat and polite learning, leai 
jthe Intelligent part Into an agreeable 
pasture and gardenof delight. — ^Plutareb. 

.\nd V ' 

It in only .11, ti .i> 111'' good oKl 
Pr. Worcesli'r omitted this hymn In hi* 
"Christian I'salmody" (1&I5), much to 
the disgust of those who wished their 
Walt.s unabridged and unaltered. In 
our copy of "Watt-i and Select" (1851 i 
the hymn Is inclo.ied In brackot.i show- 
ing Worcester's omission. By the wa\ . 
in 1835 "Watts and Select'" was cop.v 
righted by Zervla Worcester. Where 
did the Christian name "Zervla" corhe 
from 7 — Ed. 

As the World Wags: 

With all this Inquiry Into the truth 
of Dr. Ben Franklin's kito experience, 
which (In my school days In the late 
f<0'» and early TO's) was taught me as a 
fact, will not the next doubt, for In- 
vestigation, be placed upon George 
Washington and the cherry tree, and. 
following that, will the Vice-President 
be put under Investigation as to whether 
he said "Hell and Maria" or simply re- 
peated a girl's name, "Helen Maria"? 

The Herald has received from E. M. 
M. this old card of Invitation: 

request the pleasure of the company of 

Mr. and Mrs. at 12 M on the 9th 

Inst, to meet His Excellency the Envo: 
Extraordinary and Minister Plenipo- 
tentiary of the Empire of Turkey nea.' 
this country, and family. Fort Adams, 
R. I., Sept. 4, 1868." 

K. M. M. asks: "Since when ha^ 
Turkey been 'near this country?' " 


As the World Wags: 

Here Is a Watts hymn found In a 
very old volume, published In 1786, with 
the old spelling. It ranks high In hor- 

i My thoughts on awtul subjects roll, 
{ Damnation and the dead; 
I What horrors seize the guUty nwH, 
Upon a dying bed. 

Lingering about these mortal ahorea. 

She makes a long delay; 
Till, like a flood with rapid force. 
Death sweeps the wretch away. 

Then, swift and rapid she desoentf* 

Down to the fiery coast; 
— ^Amongst abominable flenAa, 
Herself a frighted ghost 

There endless crowds of sinners lie, 

And darkneas makes their chains; 
Tortured with keen despair, they cry; 
Yet wait for fiercer pains. 

Not all their anguish and their blood. 

For their old guilt atones; 
Nor the compassion of a God 

Shall hearken to their groans. 

I think this Is enough. Don't youT 

H. a 

But there Is a sixth verse. 
Amazing grace, that kept my breath. 
Nor bid ray soill remove. 


As the World Wags: 

After having read many of the vers;- 
cal contributions ot Quincy KIlby, is 
Impresses me that some Insistence 
ought to be made by his many reader:, 
that he have his Interesting lines pu: 
into book form. 

On the subjects he h^s chosen — they 
are In the nature of history — and asidr 
from their rhythmical pleasure, the\ 
present the "abstract and brief chron- 
icles" of a period in the history of Bos- 
ton amusements that no other writer 
has attempted. 

Having written that huge work, the 
"History of the Boston Theatre," he 
should now give Its readers the delights 
of his verse. The referendum is now on. 

As the World Wags: 

I'm only a poor girl, but I am bounc- 
ing around with a sweet papa who says 
he has lots ot jack, and after reading 
the London divorce case I want to 
know if when some one refers to you 
as a Prominent Club Woman whether 
It's a compliment or a dirty crack. 


(From the Baldwin Kansas, Irfdger) 
WANTED: Old horses, cattle, hogs 
or anything that will make good dog 
feed. Dead or alive. For particulars 
see Jess Saylor or call 129. 


As the World Wags: 

A learned professor of paleontology 
and geology has made a prediction, 
based on scientific study. He tells the 
world what will happen to man In 
40,000 years from now, though he adds, 
it might possibly be 75,000 years. 

"The future man is as certain to lose 
his teeth as the ape man In the past 
has lost his tail. The ape man used 
his teeth to tear sinews, break nuts 
and as weapons of offense In fighting. 
Civilization has done avmy with these 

"Hair is a defense given us by nature 
against cold. Civilization gave man 
coats and other artificial covering. 
Baldness Is ever on the Increase, while 
it probably never existed on ancient 
man. In 40,000 years man maV be quite 
as bald as a billiard ball. That man 
win lose certain of his fingers and toes 
also seems to be a biological fact. When 
man climbed trees to escape from ani- 
mals his toes were needed to give him 
footholds. Now they are quite useless." 

I wonder why he has not discovered 
that In a few thousand years or so man 
will develop another pair of eyes in 
the back of his head, so that he can 
Btc the autos coming from the rear. 
That would be quite as biologically a 
fact as* dropphig the teeth, the tall 
and the hair. No more barbers and no 
more dentists then. 


' , IhO JllKTl 


!■ , mnijii I ui . , 
Jimuae mohienln 
t"ii. And 111 .i|>i' ■ 

linvc placed the ^all^•^lt uiiU r.a.'-o.i- 
Inif vlgor.M, Ihn full grown phlloso- 
l.hles of the Capi k brothers, of 
-Molrinr, occaxlonally, of the Kua- 
^i:in-, and ot O'Neill. 

Vtt therit are Engllxh ploys that 
urr intelligent, rationalizing. Iniag- 
inntivo, some of iheni grimly Intent, 
oihor.s touched with a furtKo and 
vi.-h humor. Some of them tci- pro- 
diiillon by thp Ijondon Stag- So- 
cictv on a Sunday evening; some 
• Top up at Nigel I'iayfair's little 
theatre In Hammersmith, or with 
the Birmingham players. -And mo»t 
uf thorn never sec ix-rformance out- 
side of Kngland, unle«.>! an IntereKl- 
cd and energetic company, like that 
at the) I'opli-y, choo^'es to bring them 

Many it these have been iffwa 
roconliy in the series of "Contemp- 
urary British Dramatics" rcceiv.-d 
from ■Walter II. Baker Sc Co., Bos- 
Ion. And we have cliosen three of 
ihtm, not bei;au8e of any peculiar 
personal prejudice or preference, but 
because each of them marks a dif- 
ferent, phase and temper of the 
yovinger generation of linglish play- 

Witli "First Blood." Allan Monk- 
hou.-^e has continued in the stgrn and 
relentless tradition of th.^ Manches- 
ter Theatre. As Galsworthy did In 
"Strife," he has dramatized a bitter 
and impassioned industrial crisis, 
but lie has written with a greater 
subtlety, with more nuance and 
naturalness than did the older Eng- 
lishman. He sees the change that 
the war and trench contacts have 
made in the sons of the capitalists, i.i 
Lionel, the son ot Sir Samuel Stotts 
of Stott.s, Ltd. Yet Lionel is power- 
less, met on one .side by his father, 
ancient and doddering, and on the 
other by Tom Eden, unnialleable, as 
insistent on liis class rights, the 
wholeness of surrender, as the elder 

"You think I'm a mild creature— 
I've endured your blow — but I'm 
near losing my control. All your de- 
mauds must 'be granted every time. 
Is that the way to talk to free men? 
You won t accept my help or sym- 
pathy. You force me back into my 
class when 1 want lo be Just to you. 
You leave no place in the world for 
me," is Lionel's last retort to Eden. 

Yet he says of hi.s father, "of 
course if he, could get credit for 
.settling- this strike it would help 
him in his baronetcy.' A baronetcy! 
The world i.s shaking afrd he thinks 
of a baronetcy. He's one ot owr 
industrial leaders, he's my father 
and I've got to be loyal to him." 

.\ tine and Imaginative play, many 
pointed, intensely dramatic, and un- 
ei-ring in it.s characterizations. A 
play that has passion without ruth- 
lessness. reflection without bitter- 
ness, argument without dogmatism, 
a largeness of idea and of treat- 

glish nays 

There ta a. Constant clamor that 
there are no new plays from Eng- 
land, plays of any intellectual re- 
silience, of incisiveness and virility; 
that, with the exception of an In- 
frequent pl.iy from Shaw, from 
Somerset Maugham, or the uneven 
Galsworthy, the drama In England 
is amiably quiescent, untouched by 
the philosophical flux, or the influ- 
ence of this continent. 

Again, with like seriousness, but 
nerbaps with less dramatic skill. 
Miles Mallesoii has pleadeo tor more 
social freedom, for trial marriages, 
in "The Fanatics". In her "Mary 
the Third" Rachel Crothers skimmed 
lightly over the idea of "trial mar- 
riages," dismissed it as a wliim of 
the irrepressible younger generation. 
But there is no puerility in Malle- 
son's ptay, nor sensuality, only a 
clear-eyed intellectual attack. An 
attack tliat sometimes becomes too 
much like the proverbial question 
and answer method in the second 

Y^et there is a freshnes of attitude, 
a reasoning passion here. "I believe 
that you've got to have something 
of a fanatic In you to do anything 
worth while these days. The thing 

is to keep one's fanaticism and to 
keep one's humanity." 

A talky play, it probably would 
play better than it reads, although 
it Is . never discursive or dull, and 
the characterization is not subord- 
inated to the dialogue. And un- 
like the protagonists of James 
Joyce's "Exiles," Malleson's people 
have the courage of their convic- 
tions, so that it does not seem like 
so much futile, disembodied philoso- 

In "Peter and Paul," Harold V. 
Rubinstein has written a beautiful 
and brief summing up of the lives 
of two men, with a strange and 
glinting humor, and a touch of fan- 
tasy. There are suggestions of 
"Llllom," and again of the cros: 
roads of "Peer Gynt," in the short 
heavenly Interludes, where the a;' 
fairs of Peter and Paul are ar- 
raneed. In "Outward Bound," Put- 

W. Ryan writes to Tlie Hetald: . „ . u' 

n>n Spitzer in a recent is^ue of the Saturday Evening Post has 
• of Ethiopian ministrelsy in which many troupers and comedians 
ailed, but singularly enough, lliere is no mention of the celebrated 
rvanl's minstrels who for so many years had concert halls of their own 
in "the great metropolis. As an end man Jerry Bryant was unsurpassed, 
and as a delineator, his brother Dan had few equals as an Ethiopian per- 
former of merit, as well as a manager who sensed the tastes of amuse- 
ment seekers with more than ordinary foresight and made engagements 
with popular players that gave entire satisfaction, 

"The Bryants were Boston boys who made their first public aPP5*J- 
ances with Ordway's Aeolians, a local troupe organized by John P, Ord- 
wav, the proprietor of a music shop on Washington street, opposite the 
Old" South, When they left Boston, the Bryants had a local popularity 
that made their absence a great regret to the lovers of mirth combined 
with melody. New York received the verdict of Boston with an unques- 
tioned and rare appreciation of the Bryants, and though I believe they 
never went to England, like the Christys and others, their home reputation 
was of the best in its peculiar line. . 

"Let us not forget the Bryants, altliough there were many in their 
field, after T. D. ('Jim Crow') Rice made the dancing and singing negro 
popular upon the mimic scene." 

Does Jlr, Ryan mean to say that the Bryants— their real name was 
O'Brien— were born in Boston, when he writes that thej^ were Boston 

^^'^'^Jcrrv. the oldest of the three brothers famous as negro minstrels, 
was born at Chesterfield. N. Y. Dan (Daniel Webster O'Brien) was born 
at Troy, N. Y. Neil (Cornelius), was born at Keesville, N. ^ . He was tne 

>oungest^ first came before the public as a ballad singer in 1842. Two 
years later he joined the Ethiopian Serenaders. In 1847 he was one oi 
the original Campbell's Minstrels and in 1848 he played m London with 
Maj. Dumbleton's Ethiopian Serenaders. It was in the early fifties that 
be came to Boston and was with Ordway's Aeolians He left ^\1«54, tak- 
ing George Christy's place with the E. P. Christy Minstrels in New York, 
ilfwentfo San Francisco, then to Australia, and in 1857 wrth his brothers 
Kave the first performance of Bryant's Minstrels m New York. He died 
i'l 1861. ' 

We find nothing about Dan Bryant being associated with Ordway's 
Veolians in Mr. Edw. Le Roy Rice's" sketch of him in "Monarchs of Min- 
atrelsy. Dan went to Europe in 1865 and played Irish characters at Dub- 
lin and Liverpool. He died in 1875. . „ j ;„iani 

Neil was a member of Ordway's ;:ompany in Hartford, Ct„ m ISiU. 
it is highly probable that Mr. Bryant was with this company prior to the 
above date in the Massachusetts metropolis," He used to play accordion 
.olos; in later years he was kno..Ti as a skilful performer the f lutina 
In 1882 he obtained a government position at Washington, D. L., v>hicn 
he held until two years before his death in 1902. 

We first saw Brvant's Minstrels at their hall on the north side of 
f ourteenth street, near Third avenue. New York It was in 1868 when 
we were attending a private school in Apollo hall, kept by a Mr. Colton, 
tlie brother of George H. Colton, whose long poem "Tecumseh wa^ once 
-reatly admired, though Poe found it indescribably tedious. The hall was 
near Wood's Museum, and we used to see Lydia Thompson s British 
lilondes, gorgeous creatures with huge chignons and flowing skirts, enter- 
ing and fearing the theatre. They were playing "Ixion." (Tostee was m 
-La Grande Duchesse" at the Opera House on Eighth avenue). 

The Bryants had an excellent company, Nelse Seymour, never to be 
forgotten; James Unsworth, "Eugene" (Eugene d'Amali) whose imper- 
sonations of female characters were so remarkable that when he played m 
Berlin in 1862 Germans could not believe he was a man; Eph Horn, 
Hogan and Hughes, whose "Grecian Bend" we still remember; Dempster, 
.. sweet voiced tenor, and many others. J. K. Emmett was with the com- 
nanv for a few weeks. _ , . , , , i.-^ 

'in the fall of 1868 the prdgrams of the Bryants included operatic 
i.urlesques. They were indescribably funny— that is, they were then. 
M ould we laugh uproariously, seeing them today ? We recall a performance 
of "Lucrezia Borgia" with Eugene as Lucrezia; Dempster as Gennaro- 
l.c sang Donizetti's airs with genuine feeling and no mean skill; Nelse 
-yinour as the Duke, Was there ever a taller and thinner man outside a 
rcak show than Seymour, whose real name was Sanderson? 

We saw a negro minstrel "^w in New York still earlier-White's 
^linstrels on Broadway, nearly opposite the St, Nicholas Hotel, to the 
,cst of our recollection. The St. Nicholas and the Metropolitan were then 
ihe two great hotels in New York, with the Brevoort House patronized 
largelv bv English tourists and captains of transatlantic liners. All we 
. eniember of White's show was a steamboat explosion with a gigantic pair 
of disreputable trousers sailing through the air. 

To our little village on the Connecticut river came many negro 
ministrel companies; Buckley's Serenaders, Morris, Pell and Trowbridge. 
Sam Sharpley's, Skiff and Gaylord's and other "aggregations of mirth- 
■nakers " They would leave the train, form at the depot, for our village 
bad a depot, not a "station" in those days, and, behind a sheet-iron band, 
march up Main street tb the hideous town-hall. The minstrels laughed 
;aid smoked as they marched. Their faces were like wash-leather and the 
burnt-cork was not always off their cheeks. Before the performance the 
'.•,nd would bray lustily on the balcony of the hall. We boys were sup- 

'O brought • miiliirc ;md :ul riKiiii t ion ol" tlu' Liinl. () n 

l)arenls looked on negro-minstrcl .shows and circuses as immoral. If we at- 
tended, it vas by stealth. A severe whipping, or bed at 7 o'clock without 
supper, was ttie penalty, if we were detected in disobedience. 

It must bo acknowledged that in the sixties wandering circus clowns 
and some minstrel end-men were at times Rabelaisian in their jesting. 

These old minstrels now rise before us. Again we see the small semi- 
circle. "Gentlemen, be seated," and we hear Mr. Johnson in the middle 
inquiring solicitously after the health of Bones and Tambourine. (We 
have thought that Mr. Herkimer Johnson, our friend the eminent 
sociologist, would have made an excellent interlocutor). 

Again we hear the opening chorus— "0 Hail us ye Free" from "Ernani," 
and then the touch and go repartee, the question "Who was the father 
of Noah's three sons?" or "Can you spell stove pipe?" The shapes arise! 
"Cool" Burgess dancing "Nicodemus Johnson"; J. W. Mc Andrews, the 
"Watermelon Man"; Dave Wambold, singing "She Gave Me a Pretty Red 
Rose" or "'Twas the Flower From My Angel Mother's Grave"— "compar'd 
with these, Italian trills are tame"— Birch and Backus in a scene from 
"Othello," Backus as Salvini; Add. Ryman lecturing with indescribable 
gravity on topics of the day; Harry Bloodgood in "He's Got to Come"; 
Frillni'an, most senatorial of interlocutors, singing "Rocked in the Cradle 
of the Deep"; Delehanty and Hengler, graceful in the dance, with their 
tuneful songs; Johnny Wild, most amusing as a city negro and stage- 
struck darky; Milt G. Barlow in his "Great Impersonation of the Aged 
Contraband." Where now are the statue clog dancers that went? from 
town to town: "Ajax Defying the Lightning, "Damon and Pythias"? Gone 
with the Merovingian kings and countless actors on and off the stage. 

There are still negro minstrel companies in the West and Southwest 
and so there are circuses; but not the minstrels and the enchanting one- 
ring circus of our youth when Carlotta de Berg was in our eyes an 
enchantress, when Robinson was the most daring of bareback riders, when 
Robert Stickney set the hearts of New York belles a-fluttering, when 
there were Shakesperian clowns, philosophising in their motley. Even 
now we see the Leva ntin e Brothers entering the ring. P. H. 

ion \ arir; st-w- huavfii as ;i place of 
retribution: here Rubinstein Im- 
agines it a.s a place where lives and 
experiences are exchanged. Peter. 
TTho had wanted experience and 
crucifixion in life, receives that of 
Paul, in death. . And Paul, light- 
ened of his unhappiness. at last 
gains, for a time, until he tires, the 
long uneventfulness and the stolid 
peace of Peter's. 

Any and all of these plays are 
worth producing. They would acl 
well, yet probably, like so many 
others, they will he lost again In 
the oblivion of unseen plays, to be 
experimented with perhaps by 
curious and .■nnbitlou* aniatour?. 

"Your Voice and You 

1 y 

A Practical Application of Psychology to Inter- , 
pretative Song 

Mrs. Clara Kathleen Rogers has written a little book small in size j 
6ut weighty in matter, concerning the application of psychology to sing- 
ing The book is published by Oliver Ditson Company, . 

Let no one think that Mrs. Rogers here indulges herself in 
osvchological jargon; that Freudian complexes and sub-consciousness aro 
fn her mfnd to thf exdusion of practical advice to singers. Her experience 
in opera, conceits and a teacher, with her native mentality, leads her 
to lay down rules, not dogmatically, but with recognized authority._^ This 
new addition to her preWous works-"The Philosophy of Singing My 
Voice and I " "The Voice in Speech" "English Diction m Song and Speech 
and her "Memoirs of a Musical Career" should be of service to teache« 
as well as singers. For few have the gift or the equipment to teach 


There are fiddlers, there arc violinists, there are "creative" violinists, 
interpreters. Mrs. Rogers says there are persons who sing and there are 
si'ngers that are artists. "Of people who sing there is a motley crowd, 
ranging all the way from mediocrity to excellence. Of singers who are 
artilts there is no crowd: they stand alone, conspicuous and illuminating 
figures in the world of music. In the first named class there are, perhaps, 
^any who might aspire ultimately to become artists if they knew what 
steps to take ;^ but in thinking of the steps they ignore what is back ot t 
all, what the motive power is without which the steps falter and fall sho.t 
pf the goal. And so, they sink Rack into the commonplace. What then^JB 

this motive power? ^ 

First : "A passionate desire and strong impulse for self -expression." 
Second: "The artistic urge for perfect expression." 

Those who do not work to achieve "art by control" are amateurs. They 
'may give pleasure to their friends and to themselves; they are not artists. 

It is taken for granted that a students' organs for singing are normal, 
healthy, fit for service, but it is not necessary for a pupil to know how 
these organs operate in song. "How could it benefit your singing or help 
vou in vour practising to be told that the crico-thyroid "muscle pulls to- 
gether the tlij-roid and cricoid cartilages to tighten the vocal cords? U is 
proper that one should know what parts of the vocal organ can be mtlu- 
enced, "because the tendency is so strong to misuse that influence Ironi an 
instinctive desire to feel the parts, to be doing somethmg with them. ^This 
is wrong. To let them act of themselves in nature's way is right. I here 
is danger in tampering with the diaphragm, the abdominal and other 
breathing muscles, the tongue, the mouth, the soft palate and the ja;y. 

The voice will vield to a singer whatever he is capable of mentally 
conceiving. The student must bring himself into touch with his instru- 
ment. He must train his ear to perceive diffei-ent qualities of tone oj 
listening with conscious intent to detect those differences. 

Then follow chapters on breath control, consonants, vowels, the legato 
i in speech, tone attack— "among the average singers of the day a pcrtect 
tone attack is seldom heard"— resonance, '-liberation of consciousness. 

Suppose, now, that a singer has carried out the laws governing a per- 
fect technic. "What have you who play on it, to say?" The voice must bo- 
i come a messenger. Art must possess a soul, not merely a body. Here the 
imaginative faculty comes into play. 

The singer must not allow himself to be possessed by the emotion he 
is to portray, for if there is real emotion, physical and mental equilibrium 
will be upset; vocal processes will be disturbed. Here Mrs. Rogers seems 
to agree with Diderot in his famous paradox, if not wholly. It one s emo- 
tion is aroused by someihing that has happened, it is involuntary, it 
brings tears or sobs, or tenderness that melts, passion that is oyerpowei-- 
* ing "Could you expect to sing under any of these coudiuons . ^ 
"In the other case, that of imagining how you would feel U any one Ox 
those things had happened, the mere mental picture of it so stirs your 
emotion, though only momentarily, that a)) your organ, ot expression. 

nto an.\ nioo<J 
tinu' being real, i>et ft-iKiu.i. 
the thing you w<^ld seem to be." 

:.nd the mood is. Cor 

I ' . ofc TC a conception of tilings not aclually witliin tlie .-uigor ;.; ex- 
■.cr.oiu-i sh.iuld be cultivated assiduously. The text oi' songs should b« 
•cad thoughtfully. Thouph the words are not always signincanl, they 
nay suggest the mood. 

I lie "summarv of principles— Chapter XIII— is an excellent condcnsa- 
ion of what has been said before. There are also max|nl^5 that should 
e pondered. 

"It is only by disapproving what we have hoard that wc can inlel- 
Igently demand fr<<m ourselves a better sound. 

"In legato singing it is necessary to have in mind the next tone 
efore leaving the one you arc singing. 

"You should anticipate delight in hearing your own voice. 

"Do not strain for concentration. Remember that it is not an act but a 
iate of mind. It is a letting ko of attention to othc;- objects than the one 
•hich is your immediate concern rather than fixing it rigorously on one 
hing.'" ^ 

There is an interesting chapter on nervousness and stage-fright. 
:Why should vou be afraid to face an audience?" 

The singer is imbued with the idea that a public performance is an 
•rdcal, whereas an audience expects to enjoy the performance. He is 
hinking of the result, the praise or adverse criticism and is not intent 
in his doing what h" is prepared to do, so there is a misdirection of thought 
that distorts tt>e mental attitude. ' ■ r 

This mental disturbance is a remote manifestation of egotism, for the 
■<ingcr is" too much concerned about the impression to be made on others. 
.•<elf-consciou.<;ness is not a single-minded attitude; it is "a pamful con- 
-iciousness of others in their attitude toward you." 

"You may rest assured that for such artists as Paderewski, Kreisler . 
and Rachmaninoff, for instance, there is no such thing as stage-fright." 

There is this to be said in answer; they do not sing, they play. Great 
operatic and concert singers, male and female, technically proficient and 
loquent interpreters, have assured us that in spite of their long experi- 
ence they are nervous when going on the stage. There is a nervousness 
that leads to an even fuller display of vocal and interpretative art. 

Young singers who might please as lyric interpreters but are bound 
to be dramatic at any cost, singers Tvith pleasing voices for the gentler 
"sentiments and emotions, who see themselves as Aidas, Bruennhildea, 
Isoldes, Donna Annas, should read and reread the chapter entitled "Two 
Distinct Types of Voice." . ' r. i 

There is one statement that cannot go unchallenged. Mrs. Rogers asks 
if one remembers ever hearing from the brilliant Tetrazzini and Galli- 
Curci "an expressive cantilena? Has the singing ever moved or inspired 

^ °" We have never heard more expressive singing of the first section o£ 
Solveig's pathetic song than that by Mme. Tetrazzini; even the florid meas- 
urc-s that followed were charged with emotion. We have never heard the 
purely lyrical measures in "La Traviata" sung with more compelling enM> 
tion than by Mme. Galli-Curci^ _ d 

Mrs. Rogers ends, after a ch.ipter "How to Practise," by saying: 
"A teacher is scarcely more than a sign post which points to the 
direction vou must take to reach a given place, but the indication that 
your way'lies to the right, to the left or straight on, does not bring you 
there: you have to do the walking and also take heed that you go not 
astray." ^ _ ______ ^' 


rii n t . . 

iviis well n 'l. 
•oui murdora 
that lliey conn 

■iioin ISngland 
.: tho hld- 

■ barbarl- 

tlrs of which t)it> wire gjllty per- 
petrated on the Quakrr.^. iny regrtt vrai 
that the old nUvor M«ynowor had no', v 
sunk on th« voyage and taken the whole 
set to the bottom of the Atlantic to feed 
the flshea." 

Nor did Barinc Gould, a clerryman of 
the Church of England by vocation, 
spare his superiors and colleapues. He 
says that he did not get preferment In 
the church and from the church, because 
he was an enfant terrible, standing in 
his own lieht. "I never attend rural 
deanery meetingrs, because they evap- 
orate In tailc and do nothing. As to 
preaching, fji^i DO years I have been in 
Holy Order's I have had agricultural 
laborers, 'armers and at one time fac- 
tory hands to address. Most rarely 
have 1 spoken before educated persons 
— I mean really cultured personages, 
not merely such as can read their news- 
paper and spend their time with horses 
and dogs." 

"C— is the type -of man who will 
spend his week-days at his carpenter's 
bench, making a tea-caddy and say on 
Saturday: 'Confound it, I suppose 1 
musl write a sermon for tomorrow — 
and (he tea-caddy not finished!' " 

"One examining chaplain. Canon Faw- 
cctt, interested nie greatly. His faco 
and the shape of his bead would have 
qualilied liim for the Chamber of Hor- 
rors of Mme. Tussand's "Waxwork?-. 
One of the greatest trials in life is to 
have anything to do with a stupid man, 
whom nothing could induce to conceive 
the possibility that he was stupid, or 
with a good man to whom it never has 
occurred that he was other than good. ' 

Dr. Gilbert, Bishop of Chichester, was 
a till, handsome man, "with a face 
that apparently could not crease with a 
pleasant smile without cracking, as Ice 
v. hen affected by a swell. His eye was 
stony and lustreless, not like that of a 
parrot, expressionless, but with a look 
of the Medusa, as though being of 
stone itself it desired to petrify all on 
whom that chili eye was turned." 

And we like to read of Dr. Joseph 
Wolff, whose pulse beat 100 throbs to 
the minute. When he was about to 
start from Cairo as a missionary to the 
Bedouin-s, he was advised, "as the best 
way to open their minds to the Gospel, 
to supply them with castor oil." He 
spent £10 on over 100 bottles. "That 
apostolate did not prove a complete 

SUNDAY— Symphony hall, 3:30 P. IV1. Jascha Heifetz, violinist. See special 

St. James Theatre, 3:30 P. M. People s Syiyiphony orchestra; Jesus 
Sanroma, pianist. See special notice. 
MONDAY— Symphony hall, 8:15 P. M. Fourth extra concert of the Boston 
Symphony Orchestra. Mr. Koussevitzky, conductor; Myra Hess, 
pianist. See special notice. 

Convention hall, corner St. Botolph and Garrison streets, 8:15 P. M. 
Concert of the Odell mandclifi orchestra (mandolins, mandolas, man- 
docellos, violoncello, violoncello-bass, guitars, flutee, piano, drums and 
traps), Herbert Forr*st Odell, conductor. Marjorie Shepherd, enter- 
tainer, will assist. The orchestra will play for the first time In Boston 
a complete arrangement of Schubert's "Unfinished" symphony. The 
program v^cll also include standard concert pieces and medleys of well 
known airs. 

TUESDAY— Jordan hall, 8: 15 P. M. William Richardson, baritone. Maud 
Cuney Hare, accompanist. Lassen, My Lilly; d'Albert, Mediaeval 
Hymn of Venus from the comedy "Queen of Cyprus"; Paladithe, Pauvre 
Martyr from "Patrie"; Rhene-Baton, Je Veux; de Falla Seguidilla, Mur- 
ciana: Bertram Reyna, Deja; Schubert, Der Doppelgaenger; Jensen, 
Marie; Schoenberg, Dank; W. Story Smith, To Helen; Foote, Memnon. 
Dargomlzhsky, Eastern Romance; Elgar, Pleading; Edward Morris, 
The Wandering Jew. 
WEDNESDAY — Jordan hall, 8:15 P. M. Frances Macmillen, violinist; Rich- 
ard Hageman, pianist. Bach-Kreisler, Prelude, Gavotte. Bach, Aria; 
Bach-Schumann, Bourree. Goldmark, Concerto. Brahms, Sonata, D 
minor; Glazounov, Meditations; Winthrop Cortelyou, Allegro Gra- 
cioso; Juon, Berceuse; Randegger, Saltellato Caprice. 
THURSDAY — 3 P. M. Joseph Colman, violinist; Arthur Fiedler, accom- 
panist. Music by Tartini, Wienlawsky, Schubert, Mozart, Dvorak, 
Tch«lk0V8ky-Auer, Kreisler, Chopin, Sarasate. 
FRl DAY— Symphony hall, 2:30 P. M. 21st concert of the Boston Symphony 
Orchestra, Mr. Koussevitzky, conductor; Alfred Cortot, pianist. See 
special notice. * 

SATURDAY — Jordan hall, 3 P. M. Myra Hess, pianist. Request program. 
Symphony hall, 8:15 P. M. Repetition of Friday's Symphony concert, 
Mr. Koussevitzky, conductor. 

iDld S. Baring-Gould believe in me 
feppearanco of ghosts? His "Elarly 
iRemintscences (1834-1S64)," published 
Iby E. P. Dutton & Co., Now York, con- 
Itains many strange stories. He was In- 
Iterested years ago In singular legends, 
Ibeliefs, 8uperstltlon.s. Who has not read 
I with pleasure his "Curious Myths of th» 
iMiddle Ages," his "Book of AVere- 
Iwolves," the collections of fairy talcs'.' 
lEven in the 16 volumes of "The Lives 
lof the Sadnts" there are Incidents that 
Imigit fairly .be called supernatural. 

i iJow m this outspoken book h« tells 
of happenings that should have been 
discussed at the time by a PsycWcal 
! Research Society. Th^' the 
outspoken wlU be seen by opening It at 

In 1850 he met a Scottish faitrtly at 
I Pau. They got on fairly well untU the 
I son lent Gculd a book on "The Pilgrim 
iFathers." "I told hljn that to my mind 

V. Uably 

si. ;ilr." (• 

nr.' 11 limit : . 1. i ;. ) A colli .y 

could be wi "The Old ATp 

am," who In ivlng In hor hU: 

backed chair. Her Kliost was seen m 

several places and on neveral occasions. 

As a boy, Qould traveled In Swltrcr- 
Iniid, Italy, Oerniony, Austria, «nd later 
e paw many lands, noted customs and 
miinncrs of living, talked with men of 
hiKh and low degree, freed hl.s mind on 
all occasions. At home he survived the 
dixiuffhts of castor oil, blue pills, 
droMc.hPH of senna and salts, powders 
basely disguised In raspberry jam, Ipeca- 
cuanha doses, gargles, blisters, cotton- 
wool paddings, leeches, cuppings and 
bleedings, ho that, writing In J922, b« 
was In sound health and cheerful 
(Spirits, not praising the past to the dls- 
advantaga of tMn century, smiling tol- 
erantly or growllnsr vigorously at pres- 
ent whims, fads, silliness. 

There are many other thumb-nail 
sketches. Mark Pattison struck him as 
one who never smiled. A hearty laugh 
would shake him to pieces. "He wan- 
dered about the cloisters and paced the 
terrace, with his head down, as it in 
search of beetles and ' earthworms. 
. . . The boys thought he was a 
haunted man, and a ghost pursued him. 
Some of his sermons were published in 
1885, and exhibit, except in the conclud- 
iT;g address on All .Saints, an absence 
of anything like Christianity as a rule 
of life, and a source of hope." 

But there is in this lai-ge octavo com- 
paratively tev: pages about churches 
and clergymen. Gould traveled exten- 
sively even as a boy, and his recollec- 
tions and comments are lively and 
amusing. His memory was remarkable. 
If it failed him, he undoubtedly had the 
valuable gift of invention. Moncure D. 
Conway once said to us that a man 
should not -write his memoirs until he 
had lost his memory; then his book 
would be much more entertaining. 

A keen observer, interested in every- 
thing on the earth, in the sky and un- 
der the waters, Gould had the courage 
to express opinions that were at least 
unconventional. He is speaking of the 
neutralization of clerical teaching by 
home indifference and example: 

•'This applies to the young of slums 
in a town, of the cottages in the coun- 
try, to those of the mansions, and of 
'Society.' They are all on a level. The 
mothers of the former have no objec- 
tion to their children attending a placjo 
of worship but do not trouble to go 
themselves. The mother In 'Society' 
Alls her house with guests, plays 
bridge, or motors about the country, 
whilst the children are perhaps taken 
by the governess to church. The moth- 
ers in the slums and lanes gossip at 
their doors with their neighbors, and 
scratch their heads. So soon as the | 
children come home, parental example i 
undoes ail the teaching received In the } 
Sunday School and the Church. Of ; 
course there are exceptions in all 

Not the least Interesting pages are 
those In which Gould describes the 
members of his family, who were not 
ordinary men and women. Judging 
from the portraits of the latter, they 

But how about the ghost.stortesT (He 
regretted the exile of fairies.) 

"There has come about a rf,irulslon In 
popular feeling as to the spirits of men 
after death. In place of looking up to 
the souls gleaming In the light of Para- 
dise, as we once were led to believe, 
now we are told that they hover about 
I the 'Horse Shoe' In Tottenham Court 
I Road, so as to catoh a whiff of Player's, 
I Navy-Cut, or hatuit a lawn tennis 
ground in order to sniff up the fragrance 
I of Glen Livet whiskey, without having 
I to pay war price for it." 
! Of the ghost stories we sbAll have 
soraethinz to aay later. 


Julia Gulp, mezzo soprano, sang 
this program yesterday afternoon in 
Jordan hall: 

Brahms: Vor dem Fenster; Nlcht 
mehr zu djr zu gehen, Madchenlled, 
Das Madchen spricht, An ein Vellchen, 
Immer leiser wird niein Hchlummer, 
Minnelled. Schubert: Suleika I, Su- 
leika II. Das Madchen, Gretchen am 
Splnnrad, Ave Maria. Brahms: Maln- 
acht, In dem Schatten meiner Locken, 
O kuhler Wald, Sandmannchen, Salome, 
Von ewlger Llebe. 

Mme. Culp was given a right royal 
welcome. Richly she deserved It. In 
many a concert she has done all that ! 
mortal can do to prove to the world 1 
that warmth of feeling and fineness 
of diction are In no wise enhanced by 
harshness of sound or distortion of 
vocal line. Since, furthermore, though 
not a German by birth, she is a singer 
German trained, her exquisite song as 
displayed through the years ought to 
have gone far toward dispelling the no- 
tion that nothing good, vocally, can 
come out of Germany. But notions do 
die hard. 

Though Mme. Culp might to advan- 
tage have Included In her program yes- 
terday, songs In the Italian she pro- 
nounces so perfectly, and some In 
French and English, If only to lend 
variety to an afternoon of the Ger- 
man tongue, none the less ft wblB a 
pleasure to listen to one song after 
another, all worth an artist's slngins 
and an intelligent audience's listening 
to; that her program stood so high 
above those of other singers points to 
the imfortunately easy tcclerance of. 
most audiences today. For after all, i 
singers are ready to sing what tho ■ 
publlo wants. ' 

Though Mme. Culp sometimes gave ; 
more tone than she can at present 
make sound beautiful, her half voice is 
often still of an entrancing beauty, of 
a lustre truly splendid. Her diction Is 
clearer than ever, of a finer significance 
than ever. Her phrases often Kave a 
grace, a loveliness very rare. 

Everybody knows that Mme. Culp 
sees deep Into a song, with an in- 
sight like Mme. Schumann-Helnk's 
and that of one or two others. Yes- 
terday she seemed at times to find 
too much tragedy where there Is only 
a gentle melancholy, as In Brahms's 

To make a song's meaning clear, too, 
she sometimes drove Its points home 
too hard, at the expense of tone and 
rhythm. That was too bad. A singer 
of Mme. Gulp's extraordinary discern- 
ment and her remarkable command of 
vocal resources has no need to resort 
to exaggeration. 

Schubert tempted her to It less than 
Brahms. Most delightfully of all her 
songs, she sang, because most simply. , 
the Sulelka songs, the "Ave Maria" 
and the Serenade — an added piece the 
people would have. How enchantingly 
Mr. Conrad Bos played those accom. 
paniments! It- G. 


Ernest Schelling Talks on Percussion 
Instruments j 

Yesterday morning at Jordan hall ' 

ave the flfth and iMt 

o( children's concerts, 
icngth on the percussion Ir- 
s, the timpani, snaro and ba^^■ 
the celesta, which he himself 
In Iho •'N'litoraokii- Suite," lUo 

ided Tschiilkowsky"* 
. the Gavotte from 

Unyiln's ' •n-i-'l '■ I 

1 by requtsat, Debussy's ::ao)tt«' 
; t> Ciikew.iiK" l. ;l..s ■ '■ 
3 Corner"; "Saliii -Suen«." "Hn:'cha 
'"Jf-froni "Samson and Delilah," 
'<-h gave Mr. Sohelllng anil the or 
-trn larg-e opportunities for the use 

percussion Instruments and 

s "Espana." 

lolst'- yesterday were Mr. Ult- 
Um lor the timpani, and for the othe)" 
percussion Instruments the Messns.} 
Sternbure, Polster and Ludwlg. Then 
there was the award of prizes to those 
who had written the most complete and 
Intelligent note books. 

An admirable and enjoyable series of 
concerts, and It is hoped that the com- 
mittee that furthered them will con- 
tinue them on a larger scale another 

B. K. C. wishes to know the origin ot 
the phrase, "Everything Is lovely and 
the goose han^s hl^i." 

We quote from '"Slang and Its Ana- 
logues," by Farmer and Henley, which 
gives a plausible explanation. There 
may be other derivations: 

"An allusion to the 'sport' of gander 
pulling. A gander was plucked, thor- 
oughly greased, especially about the 
head and neck, and tied tight by the 
feet to the branch of a tree. The grame 
was then to ride furiously at the mark, 
catch It by the head or neck, and at- 
tempt to bear it away. With every 
failure the fun would get more up- 

The only quotation given under this 
head is fr6m the Round Table (N. T.), 
July 30, 1867. The writer tells the same 

Looking over the large seven vol- 
umes (double columns) of "Slang and 
Its Analogrues" — volumes decidedly not 
for family reading — one meditates on 
the vanity of attempting to compile a 
slang dictionary Including the "foot- 
pads and loafers" of speech up to the 
year of publication. These seven vol- 
umes appeared in the years 1890-1904. 
The sub-title runs: "A dictionary, his- 
torical and comparative, of the hetero- 
dox Speech of all Classes of Society for 
more than 300 years." Although slang 
Is born every day, and this dictionary Is 
therefore sadly Incomplete, "Slang and 
Its Analogues" will always be valuable, 
ves. Indispensable by reason of the 
wealth of Illustrative quotations. 

me of this cure, rmr—vntii—cn? the friend holding the glass to 
vour mouth must use his other hand to 
pinch vour nose, closing the no.'itrtl.'i, 
thus having all orifices of the head 
slopped: then the sufferer drinks all 
the water with short rapid sips. 

I h.ivc n^^ v known this remedy to 
fail. ^- 

Galen thought that the hiccup Is oc- 
casioned by any exciting cause which 
rouses the stomach to violent emotions. 
He Tecommendod .sneezing. Celsus as- 
cribed the cause to an inflamed liver. 
Aetlus gavo emetics, and afterwards 
narcotics. In certain cases he applied a 
cupping instrument with great heat on 
breast, stomach and back. Alexander is 
quoted as saying that he had known a 
draught of cold water to prove effectual. 
That learned Arabian, Alsaharavius, 
recommended cold air, cold drink and 
refrigerant draughts containing prunes, 
tamarind, camphor, etc. If you do not 
■wish to have the hiccups, do not take 
peppers with wine. 

We find these cures in "A Thousand 
Notable Things of Sundrie Sorts" (Lon- 
don, 1627). "Stop both your eares with 
your fingers, and the hickop will gae 
awey within a while after. Proved." 

"It Is proved, anfl a secret: that If 
you give to them that have the Hickop, 
every morning three houres before 
meate, one roote of greene Ginger, and 
immediately after drinking two 
draughts of Malmesey, you shall Bee 
that he will be soone cured. Emperlce 
benedlctl Victorij."— Ed. 

Sanroma, "pianist, an ilio^ soloist, 

Iho following program in the St. J:inie.s 


Svendsen, Episode "Carnival In, 
Paris." op. 9; Rachmaninoff, concertoi 
for pianoforte in C minor, dp. 18; Ram- 
0.111, three ballet pieces, arranged by 
Felix MottI; "Wagner, overture "Tann-' 

. hftuscr." . „ , 

Next Sunday evening. In Symphony 
hall, with IMl.-.f Leginska as their visit- 
ant conductor, or conductress, the 
People's orchestra will give their last 
concert of the season, an extra con- 
cert calculated to fill their coders for 
another season at the St. James. 

For five years these concerts have 
been taking place at the St. James. 
They have not been marked by a 
strange and phenomenal daring, by a 
defiance of orthodoxy. But they have 
slowly accumulated a large and heler 

'ogeneous audience, variously appre- 


' VMS was the program J^^Jf ,^^^^'[f*f,' ' 
vlrfSlst. played yesterday U. 

Palmgren; Souvenir do Mosco.l. 
"'t^'^^Heifetz gave a curious ofnf rt. 
TO his credit, be It -i^', ^-^^'^ ^".f, 
from playing a concerto, choosing In U 

extulslie taste. They played the -on^ta 
charmingly, with no striving tc<^^«» 
into bigness the creation 
^oul whose Imagination was f^f J^?^^ 
V>y tragedies and emotional Lraln- 
:forms fhan by the sight and ^o""^ 
the brooks and hills about his f'^''"'^'^^ 
country home, by the ^el'S'^ .'j ^ J° an- 
)n watching the gambo s of 
ing the vouns of goats) in a br^e-'J "P 
3and pasture? by tho pleasure he took 
in simple song of the PeoP'f;- 

Thus justly conceived, the .onata 
proved lovely music, the music of p 
genuine poel, though a ^'^^l.f^^^l^X^ 
perfect playing than that of Mr^HelteU 
it would be hard to Imagine, no only 
n Us emotional rlghtness but " ^ fe- 
talis of rhythm, phrasing and bea.Uy of 

The Great Oxford Dictionary suffers 
in like manner. Mr. C. T. Onions ex- 
plains the delay In completion by saying 
that there are still gaps In the "V" and 
"W" sections. There Is also the neces- 
sity of adding a supplement, tor which 
large collections have been accumu- 
lated. "It Is more than 40 years since 
the first part of the dictionary was is- 
sued, and In the Interval Hght 
has beeji tlirown on many old words, 
and many new words have become 
current. For all this it is estimated five 
years may be necessary." 

Well, many of us have never seen 
Carcassonne, and many of us will never 
see the completion of the Oxford dlc- 
tionan^ If anv dictionary can justly be 
said to be complete. The editors an- 
nounce the forthcoming publication of 
a dictionary that will stand between 
the Great and the Concise. 


' How many words are without mean- 
!ng to a reader of novels. Look at the 
first two pages of Maurice Drake's 
"The Doom Window." The walls of the 
remains of an "undercroft" were "good 1 
Norman ashlar." In one corner was ' a , 
stone corbel." 

As the World Wags: 

I read that an "aged Tonkers million- 
aire" whose life doctors had almost J 
despaired of because of prolonged par- 
joxysms of hiccups found relief from 
I "an old man from the Bronx" who 
called at the house, and proposed a rem- 
edy, which, tried, put an end to the 
suffering. His remedy was: "Stop each 
ear with a finger. Press firmly. 
Have some one put a glass of water 
to the mouth and drink." It Is no joke. 
My uncle. Dr. Frederick VonLleW Bro- 
ikaw of St. Louts (long since dead) told 

^°That was the best of the afternoon 
There were classics, to be sure not to 
he found fault with. But that Sara- 
bande-was It by the Mouret who vv^ote 
operas and ballets In the style of Lully, 
"Without success," as the dictionary un- 
crmpromisingly puts It? The inference 
seems justifiable. Couperms Uttle 
windmills, devised for harpsichord, lose 
half their effect when transferred to 
the violin. Bach's splendid Prelude, 
played at yesterday's pace, suffers In 
Its dignity without enough heightened 
brilliancy to compensate fj", ^'^^ 

Then came the trifles. The Italian s 
Bounded like an experiment In the odd, 
which must still be pretty, In the way 
of some of his Shakespeare songs. 
■Ravel's piece, less sought for, had more 
native charm about it. The remammg 
trifles, trivial enough, had chiefly nov 
fllty m their favor. If playing could 
have lent them excellence, Heif- 
etz's would have accomplished the feat 
The parade piece Mr. Heifetz played, 
no doubt, with perfection of technique; 
it sounded so to persons with no trained 
knowledge of the violin; et all events he 
played many harmonies strictly in tniie. 
But he had no appearance of relishing 
It to the loss of that brilliancy and 
dazzle which alone can make that sort 
of TOUsio worth while. 

Probably he despises It, and slUy 
trifles too. Why shouldn't he, a man 
of his superb musicianship? If so. he 
might venture a concert some day of 
muslo all notable, S. concert which 
would attract a different public from 
. that which fancies only virtuosity. The 
■ day may come when Mr. Heifetz will 
, be grateful for that kind of a public. 

R. R. G. 

dative of their efforts, and they have 
formed a symphony orchestra of what 
was at first only a casual assembly, 
well intentioned. This season, al- 
though there have been mad fluctu. 
ations in their playing, there has beeni 
a smoothness, an increasing uniform- 
ity a larger sonorousness, a more detl- 
niVo sense of ensemble than in previous 
vears And the concerts have seryedl 
as a local arena, as well as for visiting i 
soloists and conductors. 

Yesterday's concert commenced witn i 
Svendsen's "Carnival in Parts," ;n"rlt- : 
ten when he was in Bayreuth, probably 
I influenced by Wagner. It Is spirited 
' music, fluently orchestrated, suggest- 
ing a carnival seen through a faint 
mist rather than In the mad rush of 
its orgies, although at the close. It is 
somewhat tumultuous. 

The Rachmaninoff concerto for piano 
and orchestra is like most of this Rus- 
sian's music, vast and sunless, brood- 
ing, more intellectual than impassioned 
—a' concerto that makes a tremendous 
demand on the solo pianist who must 
summon all of the power and tonal 
^th of Rachmaninoff to play It. Mr 
Sanroma is au intelligent, and an ex 

'^'tZfl oTr^y^^^ a'" b-elufut and 
TimpiS touch And although he does 
rot nave the strength of a Rachman- 
inoff that the concerto occasionally ne- 
r>c-Bsitates ho played it with laige . 
ness and a muslclarillness that would 
do credit to a much more experienced 

^'ThT' three Rameau dances, the 
minuet from "Platee," 

the tambourln ^^'!^.,f ^^^^e;e 

as arranged by Felix Mottl, vere 
vLed with a rich enthusiasm and 
Iptrit. There was less elaboration in 
the minuet and the musette ^'th Its 
•sonorous ground bass than In me 
frmbourln, although Mottl made no 
attempt ai preserving the archaic flavor 
of these dances, any more than Cas- 
telnuovo-Tedesco does today In the 
Shakespearian songs. 

And to close, Mr. MoUenhauer gave 
an admirable performance of the , 
"Tannhauser" overture, eloquent yet I 
restrained, taking no liberties with tl e 
score. Ernest Newman, writing of this 
overture, called it a "potpouiTl feuille- 
ton forAi," that Wagner returned to 
on y one; again, after 1845. In the 
prelude to the "Melsterslngers Heae 
?he themes are still vocal In their 
origin. Instead of instrumental, and 
Wagner, although he repeats often the 
Bacchanals and the PUgrlm's Chorus 
has not as yet worked to the full the 

'The'"concert next week will Include 
the following program, with Greta 
Torpadie, soprano, as tho soloist 
Weber, overture to "Oberon In D 
major; Beethoven, symphony No. 7 In 
A major, op. 92; Bach, concerto for 
oianofort; In F major Mme. Leglnska 
Tnd orchestra; Leglnska, six nursery 
rhymes for chamber music orchestra 
and soprano, first Performance in Bos- 
ton; Wagner, prelude to "The Master, 
singers of Nuremberg. 

talk .u. ..>..[ I- ■<••> .1- h- ■ ■' ' ' 

To crown all the dashing >ounK h.T.. 
Is a clerk In a shoe shop, and younf,- 
Andy has Invented an arch or some 
thlnr that In the future will bring him 
In »BO,000 or $60,000 a y«ar. 

But Andy has a «wul above shoes, 
boots, pumps, slippers and hosiery, 
even whei#h« waits on ladles old a«d 
young. He falle In love with June, the 
daughter of the haughty Mrs. Allen^ 
June smiles on him, although she Is 
wooed by a young doctor. Andy hopes 
to be the manager of old man "Ibb » 
shop. A newspaper reporter the fresh 
Bvangellne, hears him dilating on his 
probable advance and publishes a flat- 
tering article. This antagonizes young 
Rlggs, who, kicked out of the Har- 
vard law school, returns home to be 
the manager. Andy is fired, ^"t old 
rnan Rlg7s taltes him back, kno^vlng 
that his son Is Incompetent. 

Enters Andy's uncle; who has i"a<3e / 
million dollars In Callfornla-In oil. He 
also punctuates every sentence with 
"hell" or "damn." -yhls threw the audi- 
ences last nigtit into fits of laughter. 
Uncle tells Andy that he has made h m 
Ms heir. He then flops In a chair with 
a weak heart and Is taken to a hosplta 
The banker and the jeweler solicit 
Andy's custom. His credit Is Al. 

And BO Andy. In a new and Irreproach- 
able dress suit, plug hat. smoklns a 
cigarette, goes to June's party. He gives 
her, as It Is her birthday, a peari neck- 
lace and a diamond rin«, makes love to 
her In .«iong and in speech, and Invites 
her for a ride in his motor car. Lncle 
comes In. sovnd in wind and body, Dis 
gusted at .Andy's swelling about, he tells 
the banker, the jeweler and the automo- 
bile salesman that he has disinherited 
■the boy The Jewels are returned ; June 
weaks Mrs. Allen holds her nose higher 
than ever and with the gesture of a 
tragedy queen bids Andy leave the 

The boy returns to the shoe shop 
where he Is welcomed by Jerry, the 
bookkeeper. Uncle comes In and rages. 
The banker brings the news of Andy's 
profitable invention and a check for 
$10 000 Andy heaps coals of fire on old 
man Rlggs and Ws son— who had stolen 
$400 so that his father could not meet 
a note— by taking the father In as a 
partner and the son as a clerk. This 
pleases Uncle, who slaps Andy on the 
back and invites him to dinner. There's 
nothing left for Andy except to kiss 
Jerry and assure her of his ard,ent love. 

The dialogue Is a mixture of old- 
fashioned melodrama and vaudeville. 
We have de.?crlbed the play. Mr. Mack's 
vivacity, self-assurance bordering on 
impudence, unfailing good humor, con- 
tributed to a realistic portrayal of the 
character. Mr. Poynter made much of 
the small part of eld man Rlggs. Mr 
Charters was grufi and stormy as the 
Callfornian. Miss MacManamy was an 
attractive June; Miss Louise Allen an 
agreeable soubrette after the farce com- 
edy manner. And Miss Dumont, stately 
and haughty. Is a "fine figure of a 

The audlende was greatly pleased and 
apparently Impressed by the earnest 
recommendation of shoe and motor car 


Selwm Theatre: First performance 
in Sn of "The Four-Flusher^ a 
comedy in three acts by Caesar Dunn. 
Presented by Mack HlUlard. 
_ r,.,- ..Louisa Allen 

Jerry Dean.... — Sunderland 

Bvan^ellne Gay . •MarJarct Dumont 

June Allen..... o"" fi^nrira riui 

Giles Faraday. . . . ■ v<?,!,"'f,' 


People's Orchestra Closes Its 
Regular Season 

lijor their last regular concert this 
season, the People's Symphony, con- i 
ducted by Mr. ildjlenJg.uer, with Jesus | 

Horace Br..";r.-.'.V.V. John D-'^^.f-^ 

Andy Whlttaker • j.„^"^fn" Kanna 

Llirt"Bl«» " id^^ 

P'^^^vhrnf .Spencer Cnartera 

Ij* i^M.i /..Eugene McGregor 

Mr. Rogers cherles N. Greene 

I Mr. «at"on .'"^".Ge^trnde Moran 

P'^The Play blil described the comedy as 

"radiating the hustling 'P'^' ^'''/^^ti? 
I lean youth." What more is to be said? | 

Welt, several things. i 
In the first place the comedy should 

be seen by "hustling" "«"Xe'"nge- 

thev could not help admiring the inge 
■ nully with which a imrtlcular kind of 

shoe and a particular motor ca^- are 
i recommended to the apdlence with con- | 

I Is not the term "well-known" Over- 
worked? Let a young man be engaged, 
whether It be a matter, of business or 
love, he Is "well-known," according to 
the newspapers, although in reality his 
circle of friends Is small and outside 
of It he Is merely a voter registered 
at the polls, or possibly known to the 
police. Mr. Jabez P. Green, tne "well- 
known club man," Is not on the list of 
any leading club, and Is really not so 
well known in his own neighborhood as 
the choreman of the block or the vo- 
ciferous collector of garbage and ashes. 
There are "well-known" singers and 
fiddlers, who please only a few. It may 
.vet be ft distinction for a man to be 
"little" or "hardly known," whien his 
name Is published in the newspapers. 

■Who Invented that hideous word 
"realtor"? Why, when and where? 

Efven more abominable Is "write-up" 
for "review" or "orltlclsm." Miss 
Flossie TIckleboy calls, "I'm going to 
give a recital next week In Jordan 
hall. Give me a good write-up, won't 
you?" The naturally amiable reviewer, 
hearing the odious word, is at once In- 
clined to stay away from the recital, 
or, hearing WIss Tickleboy's gurglings 

and gargUngs, to give her a "write- 
down." Miss Tickleboy Is pleasing to 
the eye. Why does she so maltreat the 
English-American language? And why 
does she sing? 

We noted this advertisement In the 
I.,ondon Times. "Joseph Chamberlain's 
vacant town house for sale. L. C. C. 
plaque on wall: 'Joseph Chamberlain 
lived here for 81 years.' Price to a 
Tariff Reformer, £2600. To any one else 

What If a Bostonlan, wishing to sell 
his house, should advertise: ' Trice to 
a Prohibitionist, $25,000. To any one 
else $85.0007" . 

■ •; of t^ ■< ! ' ■ ' 
"•ds us th»t It prints, dally, clii 

Ita coluimn of 100 y««rs ago 
.ivch 18 It published In 1826 a piua- 
ipli from th« New York Krmlns 
of Feb. IJi which Is Interesting 
...ihiir: . 

I olii> Quincy Adaaia is now the Chief 
^ .str:ita of the United .Slates elect, 
1 n'^thlnfr remains for those who re- 
■\1 It as a national calamity but to 

■ mtt In silence, it they can, to' the 
(>nt. hoping for the best, and provid- 
ing, as much as In their power, against 
the worst. It may so happen that the 
current of things may niu so smooth, 
that there mar he no occasion for the 
exercise of extraordinary temper, dis- 
cretion or wisdom. In the executive, 
and we may escape, for four years at 
least, without experiencing any great 
difficulty or danger; but God forbid 
that we Bhould, within that period, bo 
called to mount a black cockade. We 
j^hall not Indulge In any useless ex- 
pressions of regret foi- what has hap- 
pened, but we must trust it Is the last 
time that upwards of nine millions of 
people will consent to the mockery of 
being represented in the Hall of Con- 
gress by 13 Individuals assuming to 
be the proxies of states. Ts this re- 
publicanism? Is tliis a compliance 
with the maxim that a majority shall 
govern? — " 


A Yard of Ale glass of the 18th cen- 
tury was accepted on March 14 by the 
British Museum. This glass Is very 
long and slender like an unduly elon- 
gated flower vase, and It presumably 
held* a yard of ale. The holder was 

The centenary of Dr. Thomas Bowdler 
lie died In 1825 — should linvo been .-^oi- 
oiiiiily obsen-ed by the self-appointed 
( . nsiii-s of th« theatio anj) literature 
In Boston and New York. His "Fam- 
ily Slu-ikespeare In which . . . those 
W iirds and Expressions are omitted 

I which cannot with Froprloty be read 
aloud In a l''amll>- ' was his master 

' work, though he published a "Family 
iribbon." He also began to blue-pencil 
the Bible. "When he had done with 

, 'Othello' the reader could only wonder 
^. hat on earth n an the hero's grievance 
Against Desdemona." 

rOPT.EY THEATRE— "Happy - Go - 
Lucky," a comedy In three acts by Ian 
Hay. First produced hero at the Selwyn 
Theatre In 1922. The cast: 

reciulred to drink the contents at one 
draught; If h« stopped to take breath 
the inrush of air into the glass would 
squirt the ale all over his face. This 
particular glass has a flat base, but 
some were made with a round bulb at 
the end so that when they were once 
filled they had to be held until they 
were Emptied. 

We knew a restaurant In the Dresden 
c f the early '80's — "The Three Ravens'; 
— where the Pllsener beer was excellent 
It was served in a boot-like glass. Un- 
less the thirsty knew how to hold it 
while drinking, the beer would fall 
down his waistcoat and trousers, to the 
mocking laughter of the initiated. A 
sad waste of good liquor! 

So Queen Mary Is "constantly sea- : 
sick" In the Mediterranean waters, j 
Nothing Is said about King George's 
physical condition, but he has been 
many years at sea. His father, was 
something of a traveler. 

Mr. Max Beerbohm once described 
an imaginary Tlslt of King Edward's to 
a factory of cuckoo-clocks in Swltier- 
lard. After some of the clocks had 
been made to strike in honor of the 
King, ha was heard remarking to the 
President with a hearty laugh, that the 
sound was like that of a cuckoo. 

Oxford had hard luck; Cambridge 1 
won. The race was a centenary af- 
fair, and the founding of the first boat 
club at Cambridge was celebrated on 
March 15 with the Master of Trinity 
In the chair. According to a report of 
the day, one of the earliest boats was 
"a superb pleasure boat, announcing it- 
self. In golden letters, as belonging to 
■Trinity College, Cambridge,' and 
manned by nine young gentlemen of 
that college In the full aquatic costume 
of straw hat, blue jacket, striped trou- 
sers, etc. . . . No small degree of curi- 
osity was excited," for it "seemed to 
partake not a little of the marvellous." 

.'-'oms one In Berlin advertises for a 
translator, who can put Into German 
technical translations from English, 
French, Spanish, Portuguese, Dutch, 
Swedish, Danish, Norwegian, Polish, 
Ru.'slan, Czecho-Slovakian, Hungarian, 
Italian, Indian, Japanese and Chinese. 
A Knowledge of tfie Blscayan and the 
Gaelic languages Is apparently not re- 
quired. Here's a chance for good old 
Dr. Berlitz if he la still alive. There's 
only one "out": the translator must live I 
in Berlin. ' 

— — I 

JIas the destruction of Madame Tus- 
sand's wax-works exhibition by fire on i 
March 18 been noticed in the news- | 
papers of Boston? If It -was, we failed 
to see the article. It Is stated In Don- ' 
don journals that all the Napoleonic ' 
relics were destroyed, but some of the ' 
figures were saved, among them the ; 
famous model of a policeman who used ■ 
to stand within the entrance hall and ; 
was questioned by many who thought 
he was alive. It seems, that the crowd 
outside was especially anxious that , 
Charlie Peace, Crtppen and other ' 
famous criminals of the Chamber of \ 
Horrors should be saved. VTho was ' 
the Englishman that wrote an unplcas- 

it story about a man who wa.s locked 

I-«<ly Mnrton Malnwarlng. Elspeth Dudgeon 

Sylvia Malnwarlnir I^ucy <;urrl«r 

Mllroy Fra-nUlyn Francis 

Abel Malnwarlns. >r. P.. Francis Compton 

Rev. Bylands Victor Tandy 

Constance rtimer Katherlne Standing 

Richard Malnwarlng Alan Mowbray 

Tilly Welwyn May Kdlaa 

Percy Wclwyn Philip Tonge 

Amelia 'VVelwyn Ruth Holmes 

Grandma Banks Mona Glynne 

Melha Ram Bertram Barry 

Mrs Welwyn Jeseajnlne Nawcomtje 

l.uclua Welwyn C. Wordley Hulse 

Mr. Stilbottle E- E. Cllve 

Mr. Pumpherston Wesley Boynton 

Why, with so pertinent and flavor- 
some a title as "Tilly of Bloomsbury," 
with its suggestion of the sodden and 
doleful lodging houses that flank Rus- 
sell suare, did Ian Hay allow his com- 
edy to become mere "Happy-Go- 
Lucky?" Originally a novel, as a play 
it Is somewhat diffuse, and not al'ways 
dramatically skilful. But it is a naive 
and Immensely entertaining little com- 
edy, with occasional Dickenslan 
touches, particularly In the writing of 
Samuel StUbottle, orotund and metrlcu- 
lous, a seedy actor now a Broker's man, 
who In the practise of his profession 
must practise every trade from that of 
nurse maid to temporary butler. 

It is from his sharp juxtapositions 
of the Welwyns of Bloomsbury, the 
father once a fellow of Oxiord and now 
rejoicing in the bottle and the profits of 
his wife's lodging house, and the 
Malnwarlngs of the Towers, Shotley 
Beauchamp, to whom Richard suddenly 
presents Tilly, whom he has met in- 
tentionally on the top of a .bus, and 

whom he would marry, that Ian Hay 

draws the substance for his play. 

There la no attempt at fine character 
drawing, yet there Is characterization 

of a sort m the stilted -Malnwarlngs. 

heavy In their peculiar swagger, and 

in the humble artifices of the Wel- 

wyna, who would help "Tilly to keep 

Richard because she loves htm. With 

the second act there Is the strained 

and fearful tea party, suggestive of one acter Itself might 
of "Mrs. Wiggs of the Cabbage Patch," I exaggeration, 
and the arrival of the inlmkable Sam- 
uel StiUbottle to take possession, be- 
catTsS" of 'Mr. Welwyn's preference for- 
champagne. And StiUbottle, his vanity 
appealed to and his taste for the ac- 
tor's art long unsatisfied, since he mis- 
took the front legs of the theatrical 
elephant for the hind ones, agrees to 
pose as the butler, Russell, to Impress 
the visiting Malnwarlngs. 

There are the consequent breaks, the 
Insistent appearance of Grandma 
Banks, who- Interferes with their pre- 
tensions, the thunderous apparitions 
I of two warring lodgers that force Tilly 
Uo admit her defeat to the Malnwarlngs. 
I But with the third act, there Is retrlbu- 
Hion, and the good are made happy, and 
blr. StiUbottle Is' returned to the place 
'from which he has so obstruslvely 
come, with a last proud flourish of 
Shakespearian quotation. 

An amiable and unprepossessing 
piece, the company gave a zestful and 
amusing performance of it. Mr. Cllve, 
as StiUbottle, played him with the terse, 
quixotic touch that he demands, never 
exaggerating. Mlsa Ediss was a Tilly 
of ingenuousne.s3 and a sharp cockney 
persistence. Mr.' Tonge made capital 
of his few boistrous moments as the 
cycling Percy Welwj-n. Miss New- 
combe and Mr. Hulse did excellently 
as the elder Welvt^Tis, as did Mr. Mow- 
bray as Richard. Only Miss Currier, 
who was cast as the faddist, Sylvia, in- 
dulging In occasional socialism, failed 
to suggest in the slightest anything 
but the bored, mild mannered daugh- 
ter of "high society." E. G. 

i«r' Ml.- mC-ilHiv 1,1. ..i;. ' ■• ii- ullns 

might have been a slavey In any house- 
hold, hut the uncle Is a creature of the 
ii 1. pure and simple, dolngr 

t! il>la, anil Ilka the creature 

.M "bobbing up serenely" In 

the .■;o«t Impossible Hituallona. But 
let us remember that the piece Is farce, 
nd Miss TuUy may hide with Impunity 
behind Its license. 

Three chums, a young doctor, lawyer 
and associate, are "strapped." There 
Is nothing oven In sight for breakfast, 
and the landlady Is pressing hard. They 
conceive the Idea of marrying oft ^h* 
young doctor to an Invisible bride, of 
announcing the forthcoming marrla^ 
by neatly engraved cards. There will 
be wedding presents and these will be 
turned over to t:ohen, the pawnbroker; 
besides there will be a generous check 
from Hampton's uncle, who Is rich. 
Thus their Immediate financial distress 
will be relieved. The scheme works, 
but there Is chagrin at the nature of 
the presents. At this point there Is an 
automobile accident and the lifeless 
form of a girl Is carrld In to the doo- 
1 tor's office. Horrors, It Is the face of 
'the Red Cross nurse, who neatly ca- 
1 joUed them out of the money they had 
I received from Cohen when they had 
pawned the landlady's parrot. Need- 
less to say she bears the same name of 
the Invisible bride — Mary Jane Smith. 

What a way these writers of farce 
have when they are sorely pressed! 
Mai^' opens her eyes none the worse 
for the accident, for her Onkle has been 
bandaged — a bungling job after the 
manner of good farce. Enter uncle 
who upbraids the nephew, only to be 
reconciled by the charms of Mary. He 
will book them Immediately for Ber- 
muda and there will be nothing less than 
the bridal suite. Both Hampton and 
Mary are perplexed. Hampton is head- 
oyer-heels In love with Mary, and Mary 
is melting. The uncle's good humor 
takes new turn, for Mrs. Burns, Mary's 
friend. Is an old sweetheart, and checks 
fly about as so much paper. The Ber- 
mudian la about to sail and the wed- 
ding la an actuality. 

The piece was acted with speed and 
the requisite light touch so essential 
to farce. Certain It was there was 
plenty of hitchlness In last night's I 
performance, but the -wonder of it all | 
is that they do so well. No doubt this i 
defect will be remedied with future i 
performances. The three chums were 
all convincing In their perplexities, Mr. 
Kedell agreeably light, Mr. Collier as 
well and Mr. Richards best of all In his 
real humanness, not often to be said of 
Interpreters of farce. Miss Hitz as the 
fragile Mary was sweet without being 
sugary, and the Clementine of Roberta 
Lee Clark a neat bit of characterization, 
avoiding the tendency that the char- 
induce to over- 
T. A. R. 

with '. 
read well, 
bined la.' 
r.ivor will. 
hiunorouH /I. 
wore alion-n. 

H. F. M. 

Orchestra Gives Fourth Mon* 
day Eveningr Program 

For the fourth Monday evening con- 
cert by the Symphony orchestra the 
program read: Tchaikovsky's fantasy, 
I "Romeo and Juliet"; Beethoven's O 
! major plena concerto (pianist, Myra 
Hess); the scherzo from Mendelssohn's 
"Midsummer Night's Dream"; the pre- 
lude to "Lohengrin"; Salome's dancs 
(from Ptrauss's "Palome." 

Did Miss Hess plan It? Did Mr. Kous- 
sevltzky? Or was It an Instance of two 
heads being better than one? To whom- 
ever the credit may be due. Miss Hesa 
and Mr. Koussevltaky between them 
gave a performance of the O major con- 
certo so truly exquisite, it must surely 
set a standard for performances In th« 

Mr. Koussevltzky began It He cut 
down his usual volume of sound b> 
I perhaps one-third. Thus, by pitching 
his entire scale so low, he gave full 
[play to even the most delicate tints of 
I Beethoven's color scheme, and In th« 
climaxes he wa« able to achieve a 
I grand sonority absolutely free from the 
coarse harshness that too often mars 
the splendor of Beethoven's greatest 
pages. The lovell-ness of the translwon 
from the andante to the rondo, the 
I joyous lijt of the rondo Itself— they, will 
inot soon be forgotten. The orchestra's 
j fine work In- the concerto Bhould tibt 
be forgotten; It shows what can be 
I done. 

I Miss Hess in her turn pointed out 
1 something that can be done — thw trans- 
/, formation of the usual frenzhid tussle 
(j between the piano ot a concerto and the 
orchestra for first place, into a per- 
formance of a symphony of quiet beau- 
ty In -which the piano played a part not 
much more outstanding than that of 
an oboe or a horn. Where desirable, 

It sounded melodies forth; it also lent 

Its color. 

It was color Indeed, at the hands of 
Miss Hess. She played, attuned to the 
orchestra, In a low key, quietly, with 
tone always cool but none the less 
subtly and widely varied. Through her 
beautifully sung melodies she gave ex- 
pression to gentle feeling; by her pas- 
sages of ornament she added beauty 
to the whole, but never a hint of flour- 
ish. Even In the cadenza she main- 
tained with such perfect taste the tone 
Mr. Koussevltzky had set, that for once 
it did not seem like an excrescence. 

Jlore beautifully even tnan the al- 
legro Miss Hess played the andante, 
music as poetic as Beethoven ever 
penned; she felt Its poetry to the full, 
K for some reason she did not quite 
rise to the high spirits of the rondo's 
opening theme. Its second theme she 
played delightfully, and toward the end 
she had some moments that united In 
an amazing way delicacy with brll- 
llatice. The treat It would be to hear 
Miss Hesa In chamber music! 

Let people who despair of music's 
Richness of setting, beauty of motion ,Pa»'l°U3 state take hope. Miss Hess's 
.... , , rare performance was as heartily ap- 

and verve of the dancers commanded |_.„,,r^- .i,„„„,, »v.. 
.„f»,„=<„o™ „/ „„/n„„„» P'auded as though she had torn the 


The Misses Bertne ana « tain^t;Dv,a. 
Bragglottl, with a company of local 
girls selected from their Denlsha-wn 
School of Dancing, head a bill of un- 
usual variety and appeal at. 3. . F. 
Keith's this week. 

{Stock Company In "Mary's Ankle," a 
farce In three acts, by May TuUj-. 
Staged by Samuel Godfrey. The cast: 

Doctor Hampton Bernard Nedell 

Chubb Houston Richards 

Stolce* John Collier 

IClementlne Roberta Lee Clark 

Mrs. Merrivale, her mother. .. .Ann Layng. 

|Mary Elsie HItz 

iMrs. Burns .Olive ftlakenay 

■Expressman , Harry Lo^vell 

SK^arrl Ralph Remley 

Miss TuUy goes a long way In her ex- 
position, and now and then there Is 
|tho tendency to stray afield, with the 
obviousness that there must be three 
acts whether or no. Tlie piece, while 
structurally lacking in significance, is 
good for many laughs. It is a farce of 
colloquialisms, the three chums are 
skllftilly drawn — and it must be said, 

the enthusiasm of the audience 
throughout six scenes, which ran the 
gamut from slow grace and exquisite i ... 
posturing to. the fast, dazzling and^°°^"^\; 
spirited. Amid billowing veil 
dusky blue '"soaring,"' five chtldreni 
dance with rhythmic abandon and 
technique far from amateur, soft silver 
Illumines the "Moonlight" solo of Miss 
Berthe BraggiottI, and barbaric splen- 
dor of black and gold deck the slaves 
and dancers of the finale, "Within the 
Palace," a gorgeous scene In the court 
of a princess, culminating in a mad 
and Impetuous Nautch dance. Misses 
Christine Perry, Miriam WInslow and 
Barbara West were well received in 
their youthful. Impetuous "Joyance," 
and Miss Gloria BraggiottI, making her 
stage debut, excelled as the leader of 
the court dancers. 

VaMez Armand and EJmest Peres 
contributed a novelty in their dress-suit 
liim.bUng act, w'herein one Is catupuHed 
through space and land.s In a chair, on. 
tho outer's .head with knees carefully 
crossed, and placid, slightly bored exr 
pre-'Klon. Laura Ormsby pleases with 
varied songs, as do Chase and Latour in 
a dramatic sketch, "Aroimd the Comer,"' 
dealing with th« fickleness of woman 

Carl ' MtoCulIough of musical comedT 

repu-tajtlon dispenses funny songs Bn4! 
chatter and does some admirable Imita- 
tions. Kranz and White do "fifteen 
minutes of musical foolishness" ; Flana- 
gan and Edwards, the "ballroom boys" 
of motion pictures, give ccmedy of a 
vaudeville team emerging from the 
night's slumber'' and practicing Chair 
"stuff," an-d Harry Fox entertains wltb 
songs and whlnisloally maudlin antlct 
Following Jean BedJnl's juggling' iaot 

piano In pieces. 
The rest of the concert, oddly put 
needs no comment, since 
""^ everj'thlng has been recently played. 
The audience vt-as large and enthusi- 
astic. At the last concert, April 27, the 
soloi't will be Mleczyslaw Muenz, 
planlsC, R. R, G. 


Shubert— "The Passing Show," 
annual Winter Garrden re-vne, 
■with Billy B. Van, George Le- 
Maire, Lulu McConnell, Ruth 
Gillette, Jack Rose and others. 
Second -week. 
Wilbur — "Little Jessie James," 
return . engagement of musical 
comedy. Second week.. 
Colonial— "Kid Boots," Zlegfeld's 
musical production, starring 
Eddie Cantor and featuring 
Mary Eaton. Sixth week. 
Tremont>-"The Grab Bag," Ed 
Wynn's annual production. 
Third week. 
Hollis — "Next Door," comedy by 
Dorothy Parker and Elmer 
Rice, with James Spottswood 
and Wanda Lyon. Third week. 
Plymouth — "The Goose .Hangs 
High," an American comedy by 
Lewis Beach, with Norman 
Trevor and Mrs. Thomas Whif- 
fen. Fourth week. 

GeraWlne Karrar is not the pnly 
to bring out b new version of "Cai - 
n" for concert use. W« have reaJ 
at th» soviet government has Im- 
proved on the librettists and Bizet, but 
at present we do not know how they 
have dockt^d. tinkered, nltered. A dis- 
patch to Musical America shows that( 
the ingerailly of this government In 
artistic matters U beyond and above 
all whooping-. Gounod's Marguerite is 
now a Hungnrliin actress In movlngr 
pictures; Faust Is •'Harry"; Mephls- 
topiieles Is an American millionaire, 
who puts JlOO bills Instead of Jewels 
in the casket, so that Marguerite can 
sing her ' Jloney Song." Do the re- 
turning soldiers howl the "Internation- 
al"? We are told by the same writer 
than liohengrin In Russia now arrives 
in an airplane. 

It i? announced that Jlr. Challapln 
has left the Chicago Opera Company; 
that he will condescend to sing occa- 
Flcnally at the Metropolitan Opera 
House. Will he be allowed in New 
York to pluck a huge sunflower from 
Marguerite's garden and present it to 
Martha? In Boston he was the only 
blot on the excellent performance of 


(For A» tha World Way*) 
Drink and drive — 
Let the crowd look alive 
When we take the road. 

Those who don't' drink are slow 
They had better lie low, 
When we take the road. 

If we're forced to stop 
By a meddlesome cop 
It adds to the flavor. 

For the court record shows 
As everyone knows. 
The odds are all in our favor. 

So let's have a drink 
And leave others to think 

Of what they will do about it. 

For there's always a flaw 
In any old law 
And we may forget ft. 
or flout It. 

Why bother your head 
About a few dead. 

They can't live foreverT 

Our Inherent right 
To a booze appetite 
! Interfere with it? Never. 
] F. W. M. 

I To H. E.: We don't know. 


I As the World Wags; 

i With regard to the name "Zervla," 
may it not be a Yankee corruixtion of 
the name "Zeruiah"? As the sons of 
Zerulah were by royal testimony able to 
get ahead of David, King of Israel, the 
name might well have been considered 
one of good omen in a New England 
community. Aa for speeding, all things 
were possible — and are more so now. 


But would any good Xew Englander 
::ave named a child after Zerulah? This 
Zeruiah was the mother of three sons — 
fear not, O reader, we are not going 
to spring the old negro-minlstrel gag 
about Noah and who was the father of 
Noah's three sons. As we say, Zeruiah 
had three sons, Joab, Abishai and 
.^.sahel, who was as light of foot as a 
wild roe. Abner smote him with a 
spear under the fifth rib. Later Joab 
took Abner "aside in the gate to speak 
to him quietly and emote him there 
kunder the fifth rib, that he died, for the 
tlood Of Asahel his brother." It was 
en that David exclaimed. "These men 
Je sons of Zeruiah be too hard for 
ine." Was Zervia Worcester, who copy- 
righted "Watts and Select" In 1835, a 
:nan or a woman? If a man, why should 
there be a corruption of "Zeruiah"? 
Josephus, the learned Jew, says that 
he husband of Zerulah was named 
"Sourl." Others say' life is unknown; 
perhaps she married a foreigner, so his 
name could not appear In the genealogy 
of Israel. All this Is of vital import- 
ance.— Ed. 

I As the World V.'ags: 

Regarding the invitation of the late 
I General and Mrs. Sherman to meet the 
1 Turkish minister and family, I hasten 
i to relieve E. M. M. from his quandary 
■ as to the proximity of the Sublime 
Porte to this country. "Ambassador 
near this country" means "to this coun- 
try." In other words, "near this coun- 
try" modtflea "envoy extraordinary." 
and not "Turkey." A customary title 
. of diplomacy is "Ambassador, etc^, eto._. 

•^the UnllSa I 

: .(.'.-. , ..i:. ...A Mrs. Blank 
found the lobster salad, champagne, 
and Ices di'Uclous,- 1 am, eto. 


As the World Wags: 

I should Ulie to write spring poetrj', 
but I And it Impossible to do so as 
long as T keep them on. What do you 
advise? I. A. R. 

(Tor Aa the World W«gB> 
Oh bearded Hps dh'lne. 
When first they pressed "gainst mine 
The blood from my lips to my flnger 

Coursed through my veins like wine; 
And I caught a taste of brine 

A hint of tears and many beers 
On those bearded lips divine. 



(On the drinking of boiled microbe 
Jvice as a medical experiment.) 
O baclUusclous liquor. 
That makes our pulses quicker 

Than Rhelms's royal vintage! 
A draught of streptococcus 
To visions gay shall shock us. 
Nor green chartreuse Inspire our verse, 

Howe'er its bottles hint age. 

For Salmonella Juices 

Our lips shall frame excuses, 

Mine host shall diagnose us, 
Prescribing germ and toxin 
With mumps and chlokn pox in; 
He'll egg the boys on with "what's your 

Mine's boiled Paratyphosus!" 

A. W. 


As the World Wags: 

That element of the broad and round 
world wedded to race suicide is begin- 
ning to feel that time and Invention 
will prove a boon to their cause. Then 
; the .antl-suflfragists, especially the male 
1 portion, look forward to greater happi- 
ness that the progress of women is 
to be halted, anticipating another war. 
What I wish to convey is that as the 
next war Is to be fought with new 
weapons, the bombs of explosives, and 
I the canisters ot chemicals dropped from 
' the airships, with the fighting men at 
I the front and the non-combatant fe- 
' males left behind in the four-millions 
i city, town and village homes that will j 
' bo bombed, the stay-at-homes will be I 
I slaughtered. R. E. R. j 

As the World Wags: l 
The Maine Legislature ot 1925 has I 
seldom been equalled for the Important | 
work that is before it. It would seem j 
that the more retrenchment is de- 
manded In the raising of money the 
more the people call for more money. 
The state cannot raise more than half 
that is asked for and the question is how 
are the many urgent demands to be i 
met. Many will be turned down In 
"toto." — From the Old Town (Me.) En- 
I terprise. , ; 

! How Important we should all be it i 
, measured by work before us!. The' pres- 1 
lent Congress, for example. j 


At Jordan hall last evening, '.muki...' 
Richardson, baritone, accompanied by 
Mrs. Maud Cuney Hare, gave the fol- 
lowing program of songs: My Lily, Las- 
sen; Eastern Romance, Dargomlzhsky ; 
Medieval Hymn to Venus, Eugenj 
d'Albert; Pauvre Martyr Obscur (from 
opera, "Patrie"), Paladlihe; Je Veux, 
Rhene-Baton; El Pano Moruno, Segui- 
dilla Murciana, Manuel de Falla; Der 
Doppelganger, Schubert; Marie, Jensen; 
Dank, Sc'.ionbcrg; To Helen, Warren 
Storey Smith; Jlomnon, Arthur Foote; 
Pleading, Edward Eljar; The Wander- 
ing Jew, Edward Morris. 

Mr. Richardson has a beautiful voice, 
a baritone that is large and resonant, 
' deep timbred, vibrant. And with this he 
has acquired an admirable diction, 
whether he sings in English or in any 
of the continental tongues that he chose 
last evening. One would have liked to 
have heard him sing more of the Ger- 
I man lleder, for his voice is warm and 
impassioned, mobile, at once lyrical and 

Instead he chose a somewliat hetero- 
geneous program, the chief virtue ot 
which was its inclusion of so many 
songs that are seldom heard: Albertjs 
' triumphant hymn to "Venus, Paladilhe's 
'very beautiful and fervent "Pauvre 
: Martyr Obscur," supposedly from the 
! opera of "Patrie," although It appears 
nowhere in the score: two terse and ex. 
otic Spanish folk songs of De Falla.ancl 
an early one of Schonberg's, untouched 
by his later harmonic innovations. 

During the first group there was an 
unevennes.'i in Mr. Richardson's singing, 
and his high notes were not always 
sure nor his tran-sltions from the middle 
to Uio upper register smooth. But with 
the second group this disappeared, ioid 
he sang the Paladlihe song sonorously. 

tt heroic nt>i 
.... .11,. ,„.; • i.i- Spanish .mmi^ 
gave a stranse melancholy, an opulence ! 
of tone. * 

But it xt-as In Schubert's "Der Dop- 
pellganger," with its tragic Irony, its | 
dark, dramatic sweep, that he sang with 
most vibrancy and poWer. Again In i 
the naive and lyric measures of Jensen's 
"Marie," there was an Infinite gentle- 
ness In his sineiiig. Occasionally, tow- , 
ards the end of the evening, particular- 
ly in the "Memnon" of Arthur Foole.j 
his lower tones lacked full resonance. 

There was a small but enthusiastic 
audience, an audience that should have 
been much larger. Mrs. Hare was an 
able accompanist, and Mr. Rlchardsoni 
sang several encores. K. G. i 

The program announced for the Sym-| 
phOny concerts tomorrow afternoon and 
Saturday evening has been changed: 
Ravel's Valse, which was played earlier 
in the season, has been substituted for 
Cesar PVanck's "Wild Huntsman." Ar-' 
thur Foote's Suite, B major, for strings, 
will be followed by Henry Elcbhelm's 
"Chinese Legend." Alfred Cortot will 
play Schumann's piano concerto and, 
after the Intermission, Mile. TalHeferre's 
concerto. Ravel's Valse will bring the 

Place aux dames! Mile. Tallleferre is 
not wholly unknown here as a com- 
poser, for Messrs. Maler and Pattlson in 
two recitals at least have played move- 
ments from her suite for two pianos, 
"Outdoor Games," that is, games for 
children. This concerto was played for 
the first time with orchestra by Mr. 
Cortot, who has performed 'it in Phila- 
delphia and New York. Mile. Tallleferre, 
born near Paris In 1892, took a first 
prize for counterpoint at the Paris Con. 
servatory In 1914, and she took other 
prizes. She allied herself to the little 
group of composers who had the name 
"Groupe des Six" foisted upon them. 
The "Six" became "Cinq" by the seces- 
sion of a member. The hide-bound con- 
servatives In the Symphony audience who 
tremble at tlie thought of hearing any- 
thing new, especially if It comes from 
Paris, will probably not be obliged to 
take their ear-caps with them if they 
should venture into the hall, for Henri i 
Prunieres assures us that Mile. Ger- 
tpalne Is not at all a revolutionary, but 
» follower of traditions, Gabriel Faure's, 
Debussy's and Ravel's (we believe that 
iur conservative friends have become 
•ei»Dnciled to these three composers). 
Ajid M. Pruniers says she has exquisite 
feminine Bejjsibility and rare good taste; 
that she can "write harmonies full of 
saVor without outraging our ears." Well, 
we shall hear what we shall hear. 

M'Vle. Tallleferre says sdie has used 
the classic form In her concerts as a 
sort of reaction against impressionism 
and orientalism. 

She has written a ballet "The Bird ' 
Merchant" which was produced by the 
Swedish Ballet In Paris; a Ballade for 
piano and orchestra, a violin sonata 
which was played by her and Mr. 
Imand't (violinist) in New York, a 
string quartet, piano pieces; "Image" 
for a small orchestra, and she has com- 
pleted a ballet in collaboration with the 
painter, Georges Barbler. 

Other women composers have been j 
represented at these Symphony concerts: 
Miss Maida Lang with her Dramatic 
Overture (1893), Mrs. Beach with her 
"Gaelic" symphony (1896 and 1898) and | 
her piano concerto (19tK)): Llll Boulan- 
ger (Funeral music for a Soldier) 1925. 

Mr. Eichlhelm, composer, violinist, 
traveler, photographer, is an old and ( 
esteemed friend. His "Oriental Impres- i 
sions," a result of his musical adven- 
tures in Japan and China, gave great 
pleasure when It was performed at a 
Symphony concert In March, 1922. His 
"Malay Mosaic" for orchestra was per- 
fonned refrently in New York, but it is 
unknown here except by name. "A 
Chinese Legend," to be heard this week,| 
was first performed as a ballet In Chi-' 
cago. It was then entitled "The Rivals." 
Adolph Bolm and Rutli Page were the; 
chief dancers with Mark Turbyflll. Mr. 
Eichhelm conducted. Since the two per- 
formances in Chicago, Mr. Eichhelm has 
rewritten the score for a larger ordhes- 

The legend Is ot the sixth century. 
(Jen. Houang and Gen. Y'u come to their 
death through Houang's love for Mme. 
Yu. Mr. Eichhelm utilizes for part of 
the thematic material music that hei 
heard in China. ; 

Born in Chicago In 1870, he now lives 
in ^at^ta -Barbara. : After a year In 
Theodore Thomas's orchestra, he Joined 
the Boston Symphony In the season of 
1890-1 and did not leave it before the 
end of the season of 1911-12. He will 
go to Europe soon as a member of a 
string quartet organized by Mrs. F. S. | 
Coolldge to give concerts of modern j 
chamber music in Rome, Paris and j 

Scrlabin's "Prometheus," performed 
last weeki has excited lively discussion. 
Some, mostly women, <^nnot speak of 

liiut eyes batheil ■• and 

palpltiillon of the heart. ui.;u . s, male 
and female, show more moderate rep- 
tuT» in discussion; while there are those 
I who, acknowledging impressive mo- 
Imenta, find dreary stretches. No one 
disputes the magnificence of the per- 
formance Itself. 

Mr. Koussevltzky will give "Pro- 
metheus" twice in New York next week 
with the full strength of the orchestra, 
young Mr. Steinert and the Cecilia So- 
siety. He will also perform it In 
Brooklyn. The New York programs will \ 
be as follows: 

Thurs'day evening, April 9, Handel, 
Concerto Grosso, No. 5; Scrlabin, "Pro- 
metheus"; Brahms, variations on a 
theme by Haydn; Borodlnl, dances with 
chorus from "Prince Igor." i 

Saturday afternoon, April 11, i 
Resplghi, old dances and airs for the 
lute; Scrlabin, "Prometheus"; De- | 
bussy, two nocturnes: Borodin, dances 
with chorus from "Prince Igor. ' ^ 

The program of the Symphony con- 
cert in Cambridge tonight has been 
slightly changed. It now stands: ; 
Beethoven, "Pastoral" symphony; 
Brahms, variations on a theme by 
Haydn; Wagner, prelude to "Lohen- i 
grin"; Strauss, Salome's Dance. 

The program of the Boston concerts 
of April 17-18 is announced as follows: ^ 
Ba^, "The Garden of Fand" (first time I 
at these concerts); Rachmaninoff, Con- I 
certo No. 2 for piano (Mr. Rachmaninoff i 
pianist); Strauss, "Ein Heldenleben." 

Joseph Colman, violinist, will give a \ 
recital in Jordan hall this afternoon at | 
3 o'clock. Music by Tartlnl, Wienlaw- 
sky, Schubert. Mozart, Dvorak, Tchai- 
kovsky- Auer, Kreisler, Chopin, Sara- 

Next Saturday afternoon Myra Hess 
will give her last recital of this season 
in Jordan hall. There is a "request" 
program . 

The St. Denis-Shawn ensemble will 
give an entertainment at the Boston 
Opera House next Saturday afternoon 
in aid of the Wellesley College semi- 
centenary fund. 

Next Sunday afternoon John C. 
Thomas, baritone, and Mr. Zimbalist, 
violinist, will give the concert in Sym- 
phony hall. 

A "candle light" concert by the l!th 
Century orchestra will take place that 
afternoon in Jordan hall at 3:30 o'clock. 

Ethel Leglnska will conduct the last 
concert this season of the People's 
Symphony orchestra in Symphony hall 
next Sur^<lay evening. Overture to 
"Oberon"; Beethoven. Symphony No. 7; 
Bach, Concerto for piano and orchestra 
(Mme. Leginska, pianist); Leglnska, Si.x: 
Nursery Rhymes (Greta Torpadle, so- 
prano); Wagner, Prelude to "The Mas- 
t ersingers." _ 


Francis MacmiUen, violinist, gave a 
recital last night in Jordan hall. He 
played a prelude and gavotte by Bach, 
with .accompaniments by Kreisler, the 
famous G string aria, and also a bour- 
ree, with accompaniment by Schu- 
mann. He played as well the oldmark 
concerto, Brahms's D minor sonata, 
and, in his closing group, "Meditations 
by Glazunov, an "Allegro gracioso by 
Winthrop Cortelyou, a young composer ^ 
who lives in New York, a Berceuse by. 
Juon and a Saltarello Caprice by Al- 
berto Randegger. I 

Probably Mr. Maxjmillen has a fond- 
ness for Goldmark's concerto. If so he 
did it wrong last night, for if ever 
music was written for violin that de- 
mands its orchestral background, it is 
this of Goldmark's, where for pages 
and pages the orchestra bears the heat 
and burden of the day while the solo 
violin indulges in florid passage work. 
No pianist could give even a hint of 
'the brilliancy of this score. Mr. Hage- 
man, a capable player, though quite as 
heavy-handed as he need be, could do 
nothing with it at all. 

It was all a pity, for Mr. Macmillen 
played the concerts superbly. To the 
obvious melodies and rhythms he 
brought to hear the warmth, the rich 
tone, the vitality every violinist would 
bring who was fortunate enough to have 
them. But not every violinist would 
recognize that Goldmark (of all men!) 
wrote bravure passages, after the or- 
der of that in Handel's dramatic airs, 
as a means of emotional expression, 
passages to be played with force and 
fire as well as with brilliancy. Since 
Mr. Macmillen recognizes Goldmark's 
Intention and possesses the means to 
do It Justice, last night he made thrilling 
music out of measures often mighty 

The pity, though, he should not have 
had an -orchestra at hand to let the 
concerto be properly heard! 

The pieces by Bach, Mr. MttcmlUen 
played with vigor, but often with that 
disregard of tonal beauty and want of 
charm which 30 years ago used to be 
held Incumbent on all performers who 
set up really to appreciate Bach's 
greatness. Musical taste, at nil events 

Ill M'l 

SilUf till',-' 
corto took mill 
th» concert 

Mio listeners 
1 I '-.-^ iiblo to 
V.y placed to 

htkI since 
IPS iRte, 
. il at not 
s Koniitii, 
the r""0 

gr.iiii. It Is a siite Kiiesa Hi it Mr. Mac- 
mill." made much of It. The apiiliiu^o 
he received left the »u<llence's genuine 
enthusiasm In no manner of doubt. 

R. R. a. 


Trustees of the Jewett Repertory 
Theatre fund, and others connected 
A yith the erection of a Boston repcr- 
V.ory theatre, yesterday took initial 
steps to prevent the Boston Reper- 
tory Company, now playing at the 
Copley Theatre under the manage- 
ment of E. E. Clive, from using that 
or a. Blmilar titl», cUiniing scl« right 
to Hs use under their charter. 

Testerday afternoon a meeting was 
held m the Copley Theatre, at which 
Mr. Cllve addressed an audience com- 
ik*««d of the many hundred friends of 
r*.B company on the future policy of the 
theatre, and set at rest many rumors 
which have been circulatecl on the 
■tatus of the company. 

Less than 15 minutes before the 
meetlnp opened he received a let- 
ter signed by J. "Weston Allen, 
written on behalf of the Jewett 
group, on the letterhead of the tatter's 
law firm, and calling on Mr. Cllve to 
cease using the present title of his 
company or any similar one. Mr. Cllve 
read the letter in full to a sympathetic 
audience which packed the theatre. Mr. 
Clive's own verbal reply at the time 
best explains the situation: 

"Let me say before I go any further, 
th*t we as a company desire nothing 
better than to forever disassociate our- 
selves with the name of Jewett. 

"In our opening weeks here there 
was, In the face of the million of tasks 
which confronted us, one slip-up. We 
did not register our name. It was sev- 
eral weeks later that Mr. and Mrs. 
Jewett and their collaborators discov- 
ered that the name of Jewett was not 
an asset, and they then registered them- 
selves as the Boston Repertory Theatre 
Company. I did- not seek an injunc- 
on against them at that time. 

And I may say here that we shall 
ontlnue to be known as the Boston 
pertory Company, and that if Mr. 
ajid Mrs. Jewett should care to go to 
court in the matter, Mr. Clive and his 
company will be delighted to meet them 

Th« first speaker at the meeting ar- 
ranged yesterday by Mr. Clive was the 
Kev. Stjanley R. Fisher. He praised the 
company, which was assembled on the 
stage, and also Mr. Cllve. He closed 
by saying he thought that at times Mr. 
Clive and his company felt Boston did 
not love them, need them, or support 
them. "But we do, do we not?" he 
ended, and was answered by a perfect 
storra of applause. Toward the close of 
the meeting several members of the cast 
spoke, all saying Kow much happier and 
more contented they were under the 
present management than under the 

Mr. Cllve, in his scheduled speech, de- 
nied several rumors that have recently 
originated from some source unknown, 
and declared he hoped the company 
would continue at the theatre for many 
years, the present lease being for five 
and a half years. 

■Lately," he said, "a rumor that 
seemed to gain considerable ground 
was that as a company we were allied 
with the Jewetts and their movement. 
Please let me say there Is not a single 
member of the cast who would ever 
work under that management again. 

"It Is our purpose to revive the prac- 
tice of purchasing American rights to 

English plays, to be produced here be- 
fore New York and otlier centres see 
them. During the coming summer I 
Bhall secure rights to many English 
plays, and our first production of next 

• ason will be a popular London sue- ! 

-3. We will establish an agency in 
London to represent us at every first , 
night. In this way we shall not have i 
to delve into the playbooks of the last : 
century for productions." 

In closing he spoke of the incorpora- 
tion of the company, with offering of- 
stock to the public; the loyalty of the 
cast, house staff, stage staff and rnusi- 
cians, and their aim of good plays, clean 

lays, and to be "on the square." 

The Bulletin Board In our Academy of 
Fame Is now almost cx>Terod with 
names of candidates for admission. 
"The Count" writes; 'If no ordnanoa ; 
officer has been detailed for the Im- 
mortnlB, I should like to suggest Capt. 
Neville Steele Bullitt, who has Just 
Joined the Louisville chapter of the 
M. O. W. W. Capt. Bullitt Is a man of 
unusil >J penetration." He should go In 
with a* flhlai and a bang. 

Mr. Ch,arles Touchette, pianist. Is 
also up for admission. 

Aa -lie World Wags: 

T'ne following article, published In 
the Salen Observer in 1S34, may Inter- 
est your readers. M. S. 

"The flrst association for abstinence 
from ardent spirits that we have heard 
of was founded at Litchfield, Ct., on 
the 9th of May, 1789, and consisted of 
S4 members, 11 of whom are now liv- 
ing. The next temperance society was 
established at Moreau and Northum- 
berland, Saratoga county, in New 
York, In 1808. Fines were provided of 
26 cents for drinking ardent spirits and 
wine, S5 for offering them to others, and 
60 for being Intoxicated. This society 
consisted of 43 members, nearly all of 
whom are living." 


(For As the World Wags) 
Jack and Jill went up the hill 
To write a book of verse 
To metre he chose 
But found she was prose 
How could this be any worse? 

B. B. 


As the World Wags: 

Of the beer in Dresden I know noth. 
Ing, nor of Its boot-like glasses. But 
In ancient Mathachusets, In a commu- 
nity I shall designate as River Fall, 
whilom was a contest -which publican 
should serve the largest schooner for 
a nickel. Not that such emulation was 
elsewhere unknowm, but here it cul- 
minated In a beer-glass the size and 
height of a rifle barrel, though of a bore 
something less. Which glass, V fegs, 
held no more than your glass In or- 
dinary, whereas to drink therefrom, 
were it poised upon the bar, one must 
mount the back of a chair, a feat of 
no common difficulty even to one in 
normal equilibrium. Complaint was also 
rife that the glass held the liquor In re- 
tention, and that when full It could 
be turned upside-down, and the beer 
not to escape, by reason of Its being 
supported In the tube by the contra- 
pressure of the externa] air. To empty 
It would have required the prolx)Scis 
of an aard-vark. Whereby the publi- 
can's deceit did but drive trade away, 
forasmuch as the thirsty bums his cus- 
tomers sought for their nickels not the 
largest schooner nor yet the longest 
drink. If such be considered linearly, 
but the most booze with which to slosh 
their gullets. 

L^t us rejoice, then, those wicked 
days are gone, and when yestere'en I 
said in Jocularity to the waitress, 1 
would like a bottle of Bass, she replied, 
I can tell you where you can . get one 
for one dollar and seventy-five cents. 
Melrose. AH CHEE. 

(By Robert Stephen Hawker) 
At eve should be the time, they, eald, 
To close their brother's narrow bed: 
Tis at that pleasant hour of day 
The labourer treads his homeward way. 

His work was o'er, his toll was done. 
And therefore with tlie set of sun, 
To wait the wages of the dead. 
We laid our hireling on his bed. 

-I of greens" of her own h^irveitliig 
i" proper time. 
•Now one of the neighbor's boys also 
wntoJied the •flandellons, ami one dowy 
morning, companion of tho curly bride 
who like him were seeking whiitHoever 
miKht be turned to good a<-count, he en- 
tered by the foot-path through the waU, 
and unobserN-ed from tho house, being 
hidden by the shriiliberj-, ho forestalled 
all other comers by digging every pnjm- 
Islng specimen. Then, with well-filled 
basket, he emerged upon tho lane, ana 
scuttling round to the front, succeeded 
without difficulty In selling the whole 
crop (her own dandelions, mind you, 
which she HtUe suspected) to the lady 
of tho house, at a price considerably 
above the market since this merchan- 
dise was of such unsullied freshness. 
Il'hus, attracted by his round and open 
face, she rewarded what seemed toj^er 
his commendable enterprise In meeting 
'an early demand, and at the same time 
satisfied (without longer waiting) her 
urgent craving for spring greens. Not 
till later did she discover to her amaze- 
■ment that she had bought at a stiff 
Iprlce the long-anticipated profluct of 
her own lawn, from an Incipient capital- 
ist who had thus slirewdly succeeded in 
toaking "both ends" meeL 



There Is a review of Harold Donald- 
son EberleJn's "Manors and Historic 
Homes of the Hudson Valley" In the 
surrent literary supplement of the Lon- 
don Times. The reviewer mentions the 
Van Cortlandt Manor House, ML Mor- 
ris, on Harlem Heights and speaks of 
the Croton river. 

I He begins his review: "Hidden away 
in the rural areas of the New England 
states there are still standing many 
IhouseB which were built before the re- 
ipubllc came Into being." 

Tea, and the Hudson river enters Into 
the Atlantic at Boston, and Harlem 
Heights ds In the township of Palmer, 

tone wftlch can 
the concerto's last movemenw"-.^ 
these nrn not yet Mr. Coleniart>^ 

Quluter musio he piajred far better. 
To the opening of the sonata he brought 
ii.KnIty. ex'-elloiit tone and a nice feel- | 
ii< f'>r t-'i'K More mu»lcally still he, 

'.'■..1 II,. f<'inat.a's nndnnte. Tn th" > 

' .11. erlo, where all his gou<l ijuiiilllefi 
(-amn to tho fore, with a very pretty 
.tentlment to guide them. 

\\'Tiether or no Mr. Colennan will " ..r 
become a virtuoso of note Is a m-i ' ' 
for his teachers tn predict. To .1 ' 
by hta pcrformani-c of yesterday, < 
seems to he no doubt of his abllii 
become a sound violtnirt. An audlei\oe 
of good size applauded him heartily. 

R. R. (;. 

7 J 

As the World Wags: 

It Isn't the listening that majtes our 
ears tired; it's that darned thing, "I'll 
See You In My Dreams." R. H. L. 


As the World Wags: 

Mr. Maypole is right. Even he may 
not have seen the original "One-Eyed" 
Connolly. Famous heroes of pugilistic 
circles hand their names down — Witness 
Young Corbett, Young Mitchell, Jack 
Dempsey, and so on. I think there have 
been at least three "One-Eyed" Con- 
nollys of gate-crashing fame. 


AS the World Wags: 

I notice In the Traveler this heading: 
"Holy Name Society to Hold Breakfast." 
While tills may be a true statement in 
this case, I Imagine that Is more than 
some of the recent Pilgrims were able 
to do on tie first morning ou t fro m 

Joseph Coleman in Jordan 
Hall Conceri^ 


(Calendar of Pawtucket Cosgregatlonal 

"On vestibule table, a new pamphlet, 
■Rhode Island Bootleggers tnust go.' 
Please take one." 


As the World Wags: 

My friend Jorkins lives In a suburban 
house on a "two-ended" lot. The front 
end faces the principal street — shade 
trees of course, but granollthlo side- 
walks, granite curbs, and that sort of 
thing. The rear end abuts upon a nar- 
row lane, with alder thickets, wild 
tangles of goldenrod and blackberry — 
resort of Innumerable birds and chip- 
munks, and every Indication of the real 
country. A sharp contrast is presented 
by these two ends, and you would hardly 
expect them to meet. After a fashion, 
however, a missing link has been found. 

Beyond a clump of ornamental shrub- 
bery behind the house a broad slope of 
sheltered lawn stretches to the lane, 
separated from It by a rustic wall pene- 
trated by a foot path and stlle. 

Spring comes slowly up that way, but 
at last the lawn becomes profusely 
studded with the golden glow of dande- 
lions, their coming hopefully watched 
by the lady of the house, not entirely 
for their beauty but chiefly because she 
promised herself an especially succulent 

A young Russian violinist, Joseph 
Coleman, gave a recital yesterday after- 
noon in Jordan Hall, at which he played, 
with the help of Ai-thur Fiedler, ac- 
companist, this program: Sonata (Trille 
du Dlable), Tartini ; (Concerto, D minor, 

, Wlenlawsky ; Ave Mariaj, Schubert ; 

I Rondo, Mozart ; Slavonic' Dance, E ! 

1 minor, Dvorak ; Valse, Tschaikowskl- • 
Auer; Caprice VIennoIs, Krelsler; Noc- 
turne, Chopin; Zapateado, Sarasate. | 
Twice Air. Coleman chose to come be- ] 
fore the public with a routine program : 
of the xirtuoso order, as a virtuoso, no 
doubt, he wishes to be regarded. Ho , 
shows poor Judgment. As a virtuoso he ' 
cannot as yet be given high rank. An ■ 
excellent violinist and musician he may 
well be. ' 

Vv'hy even a violinist of dazzling tech- 
nical skill should care to play a pro- 
gram like that of yesterday Is a riddle 
non-vioUnlsts cannot shelve — unless he 
wants to exhibit his prowess to other 
violinists who know the music root and 
branch and so appreciate the technical 
feats accomplished. But to attempt a 
vlrt'ioso's program If one has not the 
virtuosity — that Is always a mistake. • 
Probably Mr. Coleman Is technically 
competent to cope adequately with yes- 
terday's program; violinists alone can 
determine that point. To a non- 
violinlst his tone In quick passages 
sounded thin. By temperament. In any 
case, he seems In no wise fitted to the 
task he set himself. For the second 
part of the Tartini sonata he lacks the 
Incisive rhythm which alone can give 
it life. For the last part he has not 
yet acquired the rhythmic surety which 
can save an excess of fl.^etness from 
the Bi^ggestion of a scamper. The wild ■ 
,^ii-'-ir:nn tf. r:-ps'- r!i ■■'lirr'i, t - fflendor 

Eichheim's Captivating 
"Chinese Legem!" 

The Boston Symphony Qrchestra, 
Mr. Koussevitzky, conducti>r, gave 
its 21st concert yesterday <jftcrnoon 
in Sj-mphony hall. The program -was 
as follows: Foote, Suite, % major, 
for string orchestra; Eichbeim, "A 
Chinese Legend (about 600 A. D.);" 
Schumann, piano concerto (Alfred 
Cortot. pianist); Taillcfen«, piano 
concerto (first time in Boaton, Mr. 
Cortot, pianist); Ravel, "L» Valse." 
Mr. Eichheim conducted hys legend 
M'hich, rew-rittcn for a large..' orches- 
tra than that taking part ir. the per- 
rormance, as a ballet, "The Rivals, 
;n Chicago last January, -wfts played 
!for the first time. 

The concert was one of '''^t'^ordinary 
worth. Mr. Foote's charming eulte nan 
been played twice at these coticerts. It 
vlll bear many repetitions. It is so 
-learlv written, containing fnj«h musi- 
cal ideas of an interesting nature, with 
the movements finely contra«ed -The 
hong melodic lines of the P-" ''""^^ . 
LklPfulIy treated for the « [^^^^''i 

i'Phe .Pizzicato movement 
without being laboriously so. and the 
I interrupting Adagletto Is eloc. sent. For 
the Finale Mr. Foote chose 4he fuga,l 
form; not for any vain ^^o^J?' P^^' 
antry. but as a natural and "f 
presslon. The Suite was ^^^""'"7 
played under Mr. Kouseevitzy^ sympa- 
thetic and poetic direction. ^*ere was 
Tn appropriately romanti^= i^terpre a- 
tlon. The composer was oblljid to rise 
from his seat several times so long- 
( continued and genuine was the ap 

i Mr. Eichheim is far froH. **"\f " 
stranger in Boston. He has ?ong been 
recognized as a sound and weli -equipped 
Ur.usician. Of late years .^^'T 
L-rossed in the music of Jf P*^'- 
India and Java. He has 3o"- 
tho.e lands: their .■""^J^r'*' 
Ihls soul. Auber wished thaf I eHdey! 
David the composer of ' Thg Desert 
end •■•Lana Rookh." would dismount 
fr"om his camel. Mr. Elchheit;, writing 
In this country, hears 
gongs of Oriental temples: Tjje sounds 
of street cries, wandering mlacftrels, and 
jstrange Instruments are ev\.r in his 
jears. And he sometimes heanj them in 
la Parisian atmosphere. N04 without 
jirofil did Debussy listen entranced to 
the Javanese musicians at a Paris ex- 

The Chinese legend that Inspired Mr. 
Eichheim's latest composition Is the old 
story of thd ages, the trage(^v of two 
men and a wonuin. The hvjfband Is 
killed by a rival general. Tb* wife of 
slain vows revenge and would kill him. 
They fight, but there Is a .strfcnge sppll | 
upon tlw?ni. Kxhausted they will re- 
sume the contest. She visits a shrine j 
and begs forgiveness of the god for not ! 
having brought the head of her enemy i 
a.s an offering. She prays for strength ' 
to break the spell. Again they fight, but 1 
their eyes betray mutual love. She 1 
reaches for his spear; he catches her ; 
sword. The spear goes through his | 
breast; with the sword he cuts his j 
throat. They die together In a rapturous j 
embrace. 1 

Though this music was writlen orig- 
inally for a ballot. It .serves as a sym- 
phonic poem, wild and barbaric. Mr. | 
Kichhcim uses ceremonial themes, tem- 
ple mu.=if;. the Buddhistic service for the 
dead. There is the picturing in tones of , 
•Jie .savage duels: there is a love mo- 
rlve. The exotic and tho original themes 
are used with technical sklil and com- 
ijelling imagination. There Is muoh 
more in this legend than an ingenious 
employment of Oriental Instruments. 
There Is fire, thore i.s fury; there is the 
contrasting and impressive monotony of 
the East, as In the ceremonial music at 

• , is ilu> txpppariinco 
. \,| If woman In the 
A:kI m 111. splendid savsgory 
.. Mr. Klchholm do#s not fors<'t i 
,e Is a niuslolan; that tliero may 
eauty In wlldness. lh«t (here may 
form. No wonder that Mv. Kousec- ^ 
Itiky pnr:>o>;,-s to prod\K-o the leKeiul 
in Par- ' '.lay the reception by 
the »u.^ a-.l that oven an ^ ^J" 1 

act!,,.. , , >-ould dctilre. Mr. Klch- j 

helm," condiu ting in an authorlt^tivo 
manner, reonlled several times, bore hit) 
honors modestly. 

There Is a pleasing irony In Ravel s . 
\ al'e •' No doubt some would prefer 
waltz by Strauss or Waldteutel frank- 
played, for the lovers of the obvious 
c always with us; but in Ravel's 
ere is an adnnrable mixture of sensu- 
sness. irony, even mockery. There is 
. terpsjchoroan drunkenness that Is ir- 
ifslstlble and haunting. 

U has been said that Schumann s 
loncerto is no longer suited to a great 
auditorium, tliat the meditations, the 
.^hy confessions and the dreams of 
Schumann are on'.y for a small hall 
where Intimate relations with the 
htarers niav be established. We have 
heard performances of Oils concerto 
when the "dreams" of Schumann put 
th» hearer a-sleep. Now there is viril- 
ity in this concerto as well as tender- 
ness, romantic beauty. It is not easy 
to «peak of the performance by iMr. 
Cortot and the orchtstra In measured 
terms. It was an unbaring of Schu- 
mann's soul. To mention details, to 
[^ralse this or that feature of the inter- 
pretation, and here pianist and con- 
ductor were as one, would be Imperti- 
nent. It is enough to say tliat-the per- 
formance was unsurpassable, never to 
bo forgotten. ' 

Mile. TalUeferre's concerto Is short, 
melodious, entertaining, with hints here 
and there at ISth century moods and 
manner of expression. The lively passa- 
ges for trumpet were brilliantly played 
by Mr. Mager, and Mr, Cortot, it is 
needless to say, was again admirable. 

The concert will be repeated tonight. 
Next week the orchestra will be away. 
The program of April 1", IS will com- 
prise "The Garden of Kand" by Arnold 
Bax; Rachmaninoff's Piano Concerto 
No. S (Air. Rachmaninoff, pianist); 
■ Strauss's "Heldenleben." ] 
Hr. Herkimer Johnson writes to The 
Herald: "The report that I am a claim- 
ant In the Lotta Crabtree irill case, and 
wiHh her last will and testament to be 
broken Is wholly unfounded. T cannot 
understand how this report gained cur- 

And heron 

(Pl I'AfrK-.iln. I 

O art thou bird 

Or darksome wench 
Of South Sea Isles, 

ITmbrette, Umbretts? 
Brookllnr. MARGARET I.UOTD. 

We suspect MtsB Lloyd of nights spent 
over cross-word puzzles. Curiosity led 
us to consult the dictionary. "Umbrette- 
Linbre," thus w o ran our head against 
a stone wall, nor were the Illustrative 
quotations of much assistance. "18&4 
Athenaeum. Communications and pa- 
pers were read ... on the anatomy 
of the Umbretto (Scopus umbretta)." 
1S90 Dally News; "Occasionally the um- 
bretto relaxes the severity of Its de- 
meanor and executes a fantastic dance 
with outspread wings." 

We infer from this that ttie umbrette 
Is not unlike Bret Harto's emu, "a sin- 
gular bird, with a manner absurd," 
though we doubt If the lines 
"Old saws and gimlets 
Its appetite whets ,^ 
Lilke the world-famous bark of Peru 
apply to tho umbrotte. A happy thought 
struck us: Why not look up "umbre"? 
Sure enough, the umbrette Is an Afrl- 
I can bird with deep brown plumage: It is 
[the size of a crow; the male is crested; 
the bird feeds on Ash and frogs, worms, 
snails and Insects, not hardware. From_ 
,tlie Latin "umbra" or French "ombre," 
I meaning shade, shadow. Brisson named 
' the bird "ombrette." The class In natur- 
al history Is now dismissed. The class In 
unnatural history will meet on a day 
and at an hour not yet determined. 


We asked if local newspapers had 
paid attention to the burning of Mme. 
Tussaud's ■wax works. We learned yes- 
terday that the Evening Transcript 
printed a long historical and anecdotlcal 
article about Mme. Tussaud, inspired 
by the sad event. Unfortunately we 
seldom see the Evening Transcript. (No 
doubt we ought to be ashamed in mak- 
ing this confession.) 

The Dally Chronicle (London, March 
20) says that long before the great- 
grandmother took models direct from 
heads severed by the guillotine to en- 
rich her collection— It was established 
on the Boulevard du Temple, Paris, in 
1780 — there was a chantrey In West- 
minster Abbey containing effigies of 
princes and nobles who were buried in 
the abbev. "By 1T54 the relics were so 
ancient that the robes of Edward VI 
had turned from rich crUnson velvet to 
a semblance of russet leather. All the 
best preserv'ed costumes had been 
stripped from the effigies, which were 
sadly maltreated in the handling." 


We are Indebted to T'l- S. of Brookllne 
for an advertisement that was reprinted' 
In the New England Farmer (Boston, j 
Wednesday evening, Jan. 22, 1834). It 
appears that the advertisement, headed 
"To the Fair Sex," was published In 
the Cornish, Eng., Guardian. 

• Wanted, as a better half, a lady of 
moderate fortune, say 5 or 8 hundred 
pounds, of sjnall stature, genteel pro- 
portions, neat In her apparel and of 
modest reserved manners, of the age of 
thirty, but not particular to five years 
up or down; blue eyes would be pre- 
ferred; but not nice about the other 
features provided tlie countenance is 
pleasing. She must not be a milliner as 
milliners are too much given to showy 
dress and flaunting demeanor; nor must 
she be a ronfectioner as confectioners 
are too apt to assume captivating looks 
to attract young customers; neither 
must she have been accustomed to a 
draper's shop, for the habit of extolling 
goods above their real value, though a 
very common practice, Is very apt to 
bring on a habit of exaggeration, and. 
ultimately, of lying. A schoolmistress 
will be preferred as she will save the 
yxpense of sending to school, and her- 
self teach the young Idea how to shoot.' 
She must be fond of music, for music Is 
the very eloment of tender souls; if ac- 
quainted \v1th jnusic would be preferred, 
but she must not make mouths when 
she sings. She must not have affected 
ways in eating or drinking, now put on 
by so many ladies, particularly in sip- 
ping tea Or vine, in which some now 
imitate the goose, exalting their eye; 
for the purpose of showing their snowy 
necks. The person making this Inquin 
is a man of a limited fortune, of ihe 
middle height, with a sallow complexion 
but not a disagreeable face, between 
twenty and fifty years of age. Com- 
munications may be left at the Cornish 
Guardian office, directed to X, Y. 
"No jilts need apply." 


(Discovered In a Dictionary) 
Umbrette, Umbrette, 
(■Ma chere soubrette) 

And dost thou perch 
And pirouette, 

O dusky brown art thou, 



(To Tussaud's policeman, eaved from the 
ilevastatlng fire.) 

Robert, I do co;\^gratulate you roundly. 
Tour safety has relieved my heart pro- 

1 foundly, 

! I used to think you glum, 

! As standing there so dumb, 

i ^ ou watched the wond'rlng people go 
and come. 

; T're heard you asked, "Where can I get 
: a taxi?" 

Tou answered not; the querist deemed 
you waxy. 
Ay, that was but your face, 
Tou had a heart of grace. 
To play your joke upon the populace. 

Now unemployed, I trust you'll get a 

And in the papers honorable mention, 

Or, being so discreet, 

You might secure a beat 
In Hush-hush avenue, viz.. Downing 

A. W. in tlie Dally Chronicle. 

Lord Bsher In his review of Sir Sid- 
ney Lee's life of King Edward says: "No 
man. and very few wolnen retain physi- 
cal cnerm and generous Instincts after 
40 years of age." 

Pish: PUa«l Tut-<utl LJk»wt»» go 


Sir Squire Bancroft has written a 
volume of memories entitled "Empty 
Chairs." (He and his wife wrote "Mr. 
and Mrs. Bancroft on and off the 
Stage" may years ago; an entertaining 
book- the authors did not hate them- 
selves.) In the present volume there 
is a story about Longfellow and Brown- 
ing driving in a London hansom cab. 
A heavy shower came on. "Longfellow 
Insisted upon thrusting his urabreUa 
through the trap In the roof of the cab 
that the driver might protect himself 
from the rain, which he did." • 

"The ^ins of Saint Anlho.y: Tales ^l.'^^'^^'^l^^^^^J^S'i 
Oolltaa, is a handsomely printed book published l^^^"^^:/: 
XT. ' r> „f +i,«yv, "Tlio Pride of Tris," a now published for the tir,'- 

■«m>te these stories. They are amusing. 

Sunday School library of our little village a half century or 
In the Sunday bcnoo. y ^^^^^^^ ^ ^^^^ ^^^^^ 

believed, into the bottomless pit. abominably by 

eiv.ness ,n the i^™' »' 'f. J°7o„;e,t,^, ;,. .bout to be converted. 
l?.rtr,%ir."r.'teTSvertoTad . bitter life, and be ™ore tolerant 
to-srards the ladies of the circus. 

seido„ . booit wj»"yxjF^d-"?.rb"^j:s "L':"e™S: 

appearance The ^".^f was sun ^ ^ dvunk-from his 

KpTcim: r::b and^:^'oTn-^ni telf you the reason. I know you'll not 

the proper delivery of this last 


The novelist have 1^ ne^ the ^^^^^ 

.passion for the Fothermgay; how lie saw he^ n 1^^^^^^^ 

Mrs Haller she aimed. I ^^^J^sU too! Why, Fancy, 
alive_Ah, yes, if he be still ame n children fainl- 

dost thou rack m. 30? y.y dost J°^/^^,f^:"^^„,r^^^^^ There's Charle. : 
ing in sickness and cr^^^^^^^^ Anne Oldfield; . 

SLl^eCrfwit hie •'Mu^^mer's Wife"; Leonard Merrick with severa, 
"^^tr^Mi:S^iS^ShS:for he. too. had b^n . Ar^ia^ i 


stage, "La Faustine." 

iSt toth'n'aXjl st^^^^ of epWani. "She fed the gallery wb«^ 
■^^ITef Z lf^io had the critics ki^. ^^^.f^C 'wI'^S' '^ir 

those glorious c'ays^We -th -eat^-^^ 
, satisfied v.napproacha^^^^ ,^ Jewspapcv man . , 

a divorce Jf 'J, , bad loL-fi-ally '"^f^^^^ P^^^ t^ niatl. 

realistic manner. 


..n. „f Onr T)au"l-ilcr=" is delightfully ironical, telling how 
:r V n th. blonde and blooming, left her small town, fired by nnibitior^ 
Johnson, the blonde anu moom e, ever^^hing. oven giving ai 

ofM": Potrph^r o'a^r^raLt wS^ passed h'er By-telling hei 
imitation ot Blrs. ^ ""P"''; " ^,,„ugh "she had a glad and giggling 
fnLTt^n'r^ her^unTui:S in \he"lancc were attractively primitive.'" 

:U social 8UCCC.-. 

"for vc knew sho \v and had appeared in a 1: 

8how." A young man nibcs pi-r.^uadcd her to nnnoin 

rBtirenient from the stufe and her botrothal to half a million dollars m 
tho toniato-canning bujfaicps." 

Why Mnrcia Morris, 1 'le actresF of adorable ingenue part?, "who was 
never a day over 20 on tlv stage" a' last married Mr. B. H. Black is an 
tntcrtaiiiing talf. Lot no 'iu> be misled by tho title "When Marciu Fell," 
she fell into the holy bands of matrimony, not into guilty splendor. 

In "Up Stage and Pown" there is a capital description of lAIab, whoso 
father manufactured plows on an "impressive scale." The town rejoiced 
in ;, <!un'mcr stock cMTipany, Mab tiirouph influence — her uncle owned the 
II jire — played small parts. She adored the assistant stage manager 
« ,1 "accepted her frank adoration with the equanimity of a high school 
principal hardened to the marshmallow tendency of green girls." Mab 
was a good girl and Harvey was as honorable as Werther in Thackeray's 
batlad. She rose to eminence in New York, and became distressingly 
temperamental,' until Harvey called her down. 

In this story, Mr. Collins speaks now and then as a reviewer. "Neafly 
every new .\nierican play, it seems, is written as a frank imitation i t 
5r,ne oiher play which h:is made the proverbial bari-el of money. Its 
p. 'Ud creator, in endeavoring to enlist the interest of a skeptical manager 
iu liis latest work, will speak of it as a 'second' something or other, and 
tbe manager, remembering what a gold mine the first something or other 
was. immediately pricks up his cars, lights a fresh Pomona-Pomona, and 
is rcadi" to listen to a reading." 

"t'-onixary Jtary" was to be a second "Peg 0' My Heart." The plays 
difTered. Mary was Scotch, not Irish.. The pet animal she took with her 
when sho visited her haughtv relaiives was a Shetland pony, not a dog. To 
avoid the charge of plagiarism, "she had a mania for masquerading in 
boy's clothes." 

"I'ho Marvelous Marco" is a queer story of hypnotic influence in a 
vaudeville act. "The Girl on the Elid" tells us how the joyous April was 
sobered by her visit to the home of her fond admirer, a press agent, ana, 
though she loved him, urged him not to go ahead of the show. "Look at 
Franklin. They say he has a brilliant future behind him." (Was it not 
Heine that said this of Alfred de Musset?) "He was a clover man once. 
\'ow he's a dub and a drunkard. I've- known a lot of others." 

"Tho Sins of St. Anthony," the last .story, has little to do with tho 
.'tagc, though Frcya, the opera singer in small roles, is introduced, a Strik- 
iig peacant bcau*y, an "Iceki"dcr with the ardors of her native vokanoe.-.'" 
"V aleria said of her: "She looks and acts like a passionate cook.'" The 
.'.cory is by no means the least entertaining in a very readable honk. 

P. H. 

In the Sixties and Seventies 

The Siddonians Here and Barnstormino- — 
How Mr, Griff ith First Went on the Stage 

To the Dramatic Editor of The Herald: 

The letter recently printed in the _ columns, written by one of the 
real old-timers, brought to my mind a' letter of Walter M. Leman's I 
came across tucked away in a desk in my attic which I was investigat- 
ing the other day in the hope of finding sotne conceale<l and long-forgot- 
ten treasure. The letter is headed "Boston Theatre, 28th Dec. 1868." 
There are a few probably left who remember Mr. Leman as a very com- 
petent actor. My clearest recollection of him is in the character of Polo- 
nius when Edwin Booth was playing Hamlet. It seems ages ago as I look 
back. Mr. Leman in his letter says that it was in 1827 that he first spoke 
"in public on the stage," and consequently, though not the oldest man, l.e 
felt sure he was the olde.'^t actor then playing before the Boston public. He 
and Dr. J. T. Jones were contemporaries. Thomas Barry, John Gilbert 
and W. H. Smiith came later. For a number of years Mr. Leman played 
on the Pacific slope. If I am not mistaken, his place at the Boston The- 
atre was taken by C. Lester Allen, himself a thoroughly capable actor. 

At tjje time I came across Mr. Leman's letter I also found a proof 
sheet headed: "The Siddonians' Dramatic Club." This organization, lO 
the story goes, in its infancy "thundered in a loft over a bakehouse" 
here in Boston; possibly turning sour the batches of bread and cake in 
process of manufacture underneath. The bright particular stars are 
said to have been the Davenports, Ned Chapin, who 'later became a cler- 
I gyman, and others unnamed. It was at a later date that this organiza- 
! tion went barnstorming, making a one-night stand at Lechmere Point, 
I when they were assisted by Mr. Samuel Clements, an ai-tistic remover of 
I chairs and tables at the thexy Tremont Theatre. One of the youthful 
i actors lost his wardrobe on the way home after the company became 
.stranded at Milton Lower Mills; from which place the Thespians footed 
i it back to Boston through the slush, led by Manager Riddle, uncle of the 
lat^e George Riddle. The scenery was left behind "until called for," and 
possibly is still out there. 

These Siddonian boys were variously employed in real "life," several 
of them being with J. M. Allen & Co., auctioneers. Two or three were 
printers — trust a printer to ti-y anything once! — another was the son 
of an artist, who painted the "Raising of Lazarus," while still another 
was in training to be a custom-house broker, later becoming the senior 
member of a well known State street firm. It was from State street 
I T. Russell Sullivan hailed, who in later years wrote that entertain- 
book: "The Heart of Us," in which William Warren is one of the 
chief characters. Mr. Sullivan also dramatized "Dr. Jekyl and Mr. 
Hyde" for Richard Mansfield. I have pleasant recollections of taking 
an afternoon cup of tea with Mr. S. at hi&^home on Marlborough street, 
when, to my great delight, he discoursed abdiit the old museum days, and 
of Selwyn's Theatre, afterwards the Globe, -botb^of which were fairly 
familiar to me. What a different city we have around us now from wbat^ 
it was in those earlier days. I must confess that I prefer it as it used 
to be, as is altogether natural foV me, who was born beneath the shades 
of the Old North Church, and who, as a child, remembers the Christmas 
chimes ringing out "Annie Laurie," and "Way Down Upon the Swanee 
River.' Big Ben, by radio the othrr ;iiglv did not -,ound half so .sweet. 

so iiiaii> .\car.s ago, 1 think ol whul CoquelP 
bia art: 

"Wherever society exists ' r 
eminently a peaceful and su).. 
especially amiable and social tin; .lU.un. 
lenco. The poet has for his material, word 
bronze; the painter, colors and canvas: thi ..i i i. 
actor is his own material— ho works upon iiinis?lf— h 
like wet clay. The actor, howevei-, is i - r ' ^ .|i 
perish with him. He should lie !o- cd .1 
cheated of that supremo consolation 
to posterity." Stat magni notninis u 

iich enjoyed 
id of the actur nn 

liea^re. It ia pre 
it is among raccv: 
t degree of exccl- 
ilptor, iiiurble or 
II., Hounds; but tho 
ni'iulds himself 
' . ilirt slntues 
int. fov h'! in 

To the Dramatic Editor of Tho Ilcralti 

I recall with special pride the olav ■ n . ni.m. o; ■ Iho 

Standard Comedies" could be given at the BoUoii Miisoum, to splendid 
business, and in pcssible explanation of the statement recently made, 
and proven, that Boston no longei- supports Ihe best in the drama, I 
might suggest some of the reason.s why that condition e::ists. 

At that time that company was composed of many actors, it would 
be either impossible or difficult to equal today; the prices were very low 
and in the old orchestra circle, the ends of which were raised above the 
orchestra, the price was but 50 cents, really the best seats in the 
house; there were but four legitimate theatres in Boston, and practically 
no suburban ones; there were no vaudeville theatres and but one min- 
strel; there were no movies; there were no automobils and no radios or 
talking machines of any description, and stirs were of the first magni- 
tude, many of them Squal to any play by any author that ever lived; 
also many of the stock companies were equal to anything without the 
aid of a star. 

Perhaps these things may explain why Boston does not profitably sup- 
port the higher forms of the drama as it was wont to do, and it is posi- 
tively true that it does not. 

My introduction to the Museum company and incidentally to the 
clientele of that place was made in one of those old comedies known as 
"Wild Oats." Many days of nervousness preceded my first appearance, 
not nervousness on the part of the rest of the company or of the anxious 
public, for my coming was unheralded by glaring announcements or under- 
lining, and no preliminary advertising was spread in the columns of the 
press, and the newspapers were few and the I'ates low at that time. This 
,wes in August, 1871, and believe me, I have not forgotten it even yet. 
The famous cast case of the green room had for some days made it knovm 
to those interested in such trivial matters that some unknown, by the 
name of Carlos ("who the devil is he?") young man, was cast for a Bailiff 
named "Twitch," and bailiffs in the old comedies are never the heroes, 
and this particular one was anything but that. They are always en- 
deavoring to serve papers on the devil-may-care leading man, and never 
was one kno%vn to succeed, and generally made their exits in front of 
somebody's boot, or at the small end of somebody's riding whip. 

"Twitch" was no exception to the specifications, but his specialty was 
a sort of an endurance test, to see how long he could survive a lashing 
from the big butt end of "Rover's" whip. In order that the newly re- 
cruited aspirant for histrionic fame might last to repeat the performance 
should the play be repeated, a thick pad of heavy cardboard was strapped 
across his back, under his "great coat,'' and the wardrobe coats for bailiffs 
certainly were great coats — I'll say they were. 

That I am writing this recollection proves that I survived, and being 
proud of that fact, I must have lost my head, for on the second perform- 
ance, I was on the stage and in the sce^ie with "Rove" when it dawned 
upon me all at once that I was padless, and the only protection I had from 
Charley Barron's heavy whip was my great coat and if necessary, my 
legs. There was some realistic acting done on that second performance 
of "Wild Oats," believe me, and poasibly Charley Barron thought at the 
time that he was lashing the future great character actor of the United 
States, another Richard Third, or Uriah Heep, or Fagin — but he wasn't — 

Concerts of the week 

SUNDAY-SympHony hall. 3:30 P. M. John Charles Thomas, baritone, 
and Efrem ZImbalist, violinist. See special notice. r,r,t.irv 
Jordan hall, 3:30 P. M. "Candlelight" concert by the 18th Century 
orchestra. Mr. Martino. conductor. See special notice. 

Symphony hall, 8:15 P. M. People's Symphony orchestra, assisted 
by Greta Torpadie. soprano. Ethel Leginska. conductor, composer 
and pianist. See special notice. 
MONDAY-Symphony hall. 4 P. M. Children's concert of the Boston Sym- 

phony orchestra, Mr. Koussevitzky, conductor. See special notice. 
TUESDAY-Symphony hall, 4 P. M. Repetition of children's concert, Mr. 

Koussevitzky, conductor. 
WEDNESDAY-Jordan hall. 8:15 P. M. William ^^y'^'^- 

Boardman, accompanist. Peri, Invocazione O'"'"' P*^* ' 
Scherza; Caccini, Amarilli. mU bella; Scarlatti, Gla .1 sole dal Gangs, 
PoldowskI, L' Attente; Hagemann, Ton Coeur est un Tombeau; Pes- 
sard. L-Adieu du Matin; Duparc, La Vie Anterieure: Handel. Dank 
f.ei dir Her.-; Mozart, An Chloe: Brahms, Minnelied; Franz, Bitte. 
Sinding. Licht; Hatton. Bid me to live; Ireland. The Adoration; Herres- 
hoff song; Homer, Babylon the Great; Carpenter, The Cock Shall 
Crow- Oavies, When Chiidher plays. Keel, Trade Winds; Hughes, 
arranger of A Ballynure Ballad; Griffes, An Old Song resung. 
THURSDAY— Jordan hall, 8:15 P. M. William Bachaus, pianist. Bach, 
Chromatic Fantasy and Fugue; Schumann. Des Abends, Aufschwung, 
Warum Traumes Wirnn; Mendelssohn. H utcheson. Scherzo from A 
Midsummer Night's Dream"; Scriabin, Poeme Satanique and 5th 
Sonata- Brahms, Variations on a Theme by Schumann. Capriccio m 
B minor; Chopin, Study In E flat minor (arr. for left hand alone by 
Godov«ky). Ballade. A flat, nocturne D flat. Waltz, op. 42, A flat. 
Scherzo, B flat minor. 
FRIDAY— Jordan hall, 8:15 P. M. Hyman Rovinsky, pianist. Chopin, 
Polonaise C minor; Rossi. Andantino, G major; Bach-Busoni, Cha- 
ronne- Franck-Bauer, Prelude, Fugue and Variation; d' Indy, Travel- 
Pictures (the Post-Chalse, The Angelus, Village Holiday, Morning De- 
parture)- Bartok, eight children's pieces, and Sonatine; Ravel, Sona- 
tme- Deijussy, Sarabande; De Falla, Sacred Fire Dance; Tedesco, Alt 
Wien Waltzer; Stravinsky, Russian dance from "Petrouchka." 
SATURDAY— Jordan hall. 3 P. M. Arthur Shattuck, pianist. Purcell, Ga- 
votte; Bach, Prelude; Cojperin. Arlequin; Lully, Courante; Scarlatti. 
Allegro- Bach, Capriccio on the departure of the beloved brother; 
Chopin.' Ballade, F minor. Etude, C sharp minor. Prelude, G major, 
Ballade, A flat; Rachmaninov, Prelude, B minor; Debussy, Clair de 
hine: Balfour Gardiner, .Noel; Sauer, Music Box; Liszt- Busoni. • Polo- 
naise,, E ■ : ■ 

More English Plays 

Noel Cowai-d, Ashley Dukes and G. D. 

Kach season places its particulnr 
'lite-hoadtcl boy on Broadwu.v, and 
■w. desplto tho i-resenoo of the 
uiused and pmllflc Mr. Arlen, 
there Is also occasional mention of 
another precocious voimik KngUsh- 
"lan, Noel Coward. An astute and 
earnest younsr man. possessed of 
an unerring instinct for the stage, 
and for ptrsuaslvo arid biting dla- 
loBue. Xo,-l t'oward is both actor 
and playwright, a writer of song.«, 
and an insligaior of musical come- 
dies. And his play, '-The Vortex," 
which was first brought out by the 
little Everyman Theatre in Hamp- 
stead, and has since then been 
more widely tested In London, Is 
sooji to reach New York. 

Now another of his plays, pun- 
gently and figuratively entitled 
■ The Rat Trap," comes to us from 
Walter H. Baker and Tompanv. 
Like Eiigcne ONc-ill In "Welded," 
only with n greater .skill, he has 
written of the marriage, and its 
consequences, of two alert and tem- 
peramental young individualists, the 
woman, a novelist, the man, a 
playwright of an easy conscience. 

"The Rat Trap" is a bitter and 
impassioned play, written with all 
of the relentless logic and the hon- 
esty of a young and unsentimental 
man. who Is at the same time pos- 
sessed of a sense of humor that pre- 
vents him from indulging in cant. 

or from losing his sense of propor- 
tion'. An older man would iiava 
written with more suavity, and 
i:ynlcism, a more tempered phi- 
losophy. But It is exactly this 
young vigor, and aggressive revolt, 
that give 'The Rat Trap" lU 

In Sheila, the woman, he sees the 
greater artist, the more independent 
spirit. She has more subtlety and 
sympathy than Kold; she Is mora 
honest and reasoning. She i^ecog- 
nizes his puerility, his petty egot- 
ism, his lessei' ability, yet she mar- 
ries him, hoping for a fusion of tlieir 
personalities, or else a tolerant sop- 

t But these bitter insurrections, 
flashes of artistic' conceit and jeal- 
ous.v seem endless, and -she yields 
at length to TCeld, practices a policy 
of non-resistance, discontinues her 
own writing. Apathetic, disillu- 
sioned, she allows herself for a time 
to be devoured by his success, his 
fatuous revelling in popular notice. 
It Is only when she discovers that he 
Is dishonest and faithless that she 
leaves him and writes her novel; yet 
when she knows that she is to have 
a child she returns at his Imploring, 
avowedly hating him. 

To us, this seems the weak point 
of the play, utterly inconsistent with 
the Sheila that Noel Coward has 
drawn, for It is hardly plausible that 

a woman of her Independence, her 
dislike of sham, would return again 
to the husl»and whom phe openly 
dislikes, even so instigated. 

Noel Coward Is an Intelligent and 
a logical young man; his dialogue 
has a happy fluency and natural- 
ness; his characterizations ar.^ 
shrewd and the result of personal 
experience, rather than of labora- 
tory tests. And, with this, he Is an 
excellent dramatist. 

But all of these recent English 
plays published by Walter H. Baker 
are not so probing, or serious, in 
their Intent. With the rush of re- 
vival of Ihe Restoration comedies, 
there is a grcwhifT renascence of 
high comedy, -n hich George Mere- 
dith characterized as "provoking 
thoughtful laughter." And we have 
cho.'^en to comment on three o£ 
these modern Restoration comedies; 
plays that are wise and witty, and 
occaslonallly more profound and 
philosophic than the Restoration- 
ists ever dreamed of being. 

Ashley Dukes, who is known here 
as the English editor of the Theatre 
Arts Monthly, and its London re- 

"''/'^'r,"- '"^''^ ^^a" ^"th a Load 
of Mischief," which the Stage So- 
ciety presented as their first play 
of the London season, and which is 
soon to be performed at the Hay- 
market Theatre, 'has written a com- 
edy of delicate irony, that is at once 
romantic, and filled with sharp and 
teasing philosophies. 

A play of a rare sophistication, - 
with Its persons a nobleman and 
his man, and a lady and ber maid 
who have been obliged to .<:pend the 
night at the Inn of "The Man with 
a Load of Mischief," to avoid a pur- 
suing prince. 

"So there's adventure, Charles— 
but I am old in these romantic arts; 
they stir the mind more than the 
pulse. Adventure must he, held in 
delicate fingers. It should be han- 
dled, not embraced. It should be 
sipped, not swallowed at a gulp," Is 
the nobleman's musing. 

To satisfy his irony,' he would 
return to the prince his escaping 
mistress, ridicule her by persuading 
his man to play her lover. But he 
forgets the temper of his man, and 
the wisdom of the lady, who is 
weary of men, and who sees In 
the world "too many fops and their 
tailors, too few men. Too many 
wits and too little honesty. Too 
many bottles and too little en- 
tertainment. A lackey s paradise ' 
And with a philosopher's jesting 
Ashley Dukes .spins his little vr-r- 
bal comed.v, his conflicting passions, 
and his romance that turns the lady 
at the end into the arms of the, •jn:i.'5hamed, Uellclouslv happy 
and leaves the nobleman with the 
Innkeeper's reckoning and an Irate 

, and advancing prince almost at the 

I door. 

\ "A world of appearances says 
'.ord— a painted mockery. Brave 
ii, gay women— these are masks 

lavS shadows. I'f we are false, what 
can be true'.' The tallest tree will 
cast the longest shadow. The 
longest shadow is reality," the man 

There is something of the shaded 
irony and tlie grave humor of 
Anatole Prance in these musings. 

There are still other comedies In 
this series; George Dunning Crib- 
ble's "Masque of Venice," in which 
a modern nymph makes her brief 
and elusive visit, teaches each of 
her lovers "not to want to bottle 
the perfume, not to desire to sta- 
bilize the rainbow, not to grasp in 
order to possess — the ancient wis- 
dom that is now accounted folly." 
A play of a fine spun imagination 
and satire that reaches from the 
Greeks to the American tourist in 
Venice, at times almost sheer fan- 
tasy, and again of a prancing 

In "The Scene That Was To 
Write Itself," an amusing play in 
one act, Mr. Gribble, after the man- 
ner of Pirandello in "Six Charac- 
ters in Search of an Author," con- 
fuses the abstract and the concrete, 
and dramatizes the writing of .a 
play, In which the author, disre- 
garded, ends it all, and still his 
heroine "without raising her eyes 
from her book, devours the choco- 
lates, leans across the prostrate 

Other plays received from Walter 
H. Baker are "The Three Barrows" 
of Charles McEvoy, a well-con- 
structed play of oharacteriiiation, 
that might have culminated in a 
malodorous betrayal scene, but 
didn't; a play in nine scene by Her- 
mon Ould, like Havelock Ellis's e"- 
says, called "The Dance of I,lfe " — a 
strange half real and haJf symbollo 
play that never qulte> louclies 
ground: "The Rlgordans," by Ed- 
wa-rd Percy, and a one.act "No'v 
turne in Palermo" ' by Clifford Bax, 
a brother of Arnold Bax, tho com- 
poser. '■ 

One might easily suppose that the 
Journals of the House of Representa- 
tives of Massachusetts, 1724-1726, edited 
with an introductI<M» by Mr. Worthlng- 
ton Chauncey Ford and published in 
stately fashion by the Massachusetts 
Historical . Society would furnish dry 
reading. On the contrary these Jour-, 
nals abound In romance. They throw 

I light on manners and customs, trials and 
tribulations during those years of "His 
I Majesty's Province of the Massachuseitts 
' Bay In New England." 

I!clly-Ake praying, Thcia i ne sa:nt; ■ . 
may be reimbursed him out of .the i'ub- 
llck Treasury." We regret to say that 
Lietrt, Lian«'s petition was not granted. 

In 1724 H was resolved thai "Snow- 
shoes & mogga^na" fit for service should 
be provided for a certain numbeir of 
good, effective men in certain towns 
for the more effectual prosecution of the 
war against the Indian enemy and 
rebels; that officers should be appointed 
to exercise "the .said Snow-shoe Men. In 
the use of Snow-shoes by Running or 
Marching on the Snow, that so they may | 
be expert in the use thereof." The ; 
officers and soldiers were to be entitled, ; 
besides wages and subsistence, to other I 
rewards In case they obtained any plun- | 
der, scalps of the enemy or captives. | 
Haverhill was to have M Snow-shofc 
men ; Oroton, 40 ; Springfield, 50 : "20 
whereof to be on the west side of the 
great river" ; Northampton, 60 ; Hadley, 
30 and so on. 

1725 — "Inasmuch as the Indian war is 
at an end before the expiration of one 
year, 'rom the providing of Snow, 
shoes . . . Resolved that the said 
Snow-Shoe Men be not entitled to the 
three shilllngB, mentioned in the said 
resolve, for keeping their snow-shoes 
and moggasins In good repair fit for 
the service for one year." 

There were pirates in those days. 
Note this petition: "A petition of An- 
drew Harradlne. Edward Cheesman, 
John FUmore, Henry Gyles, Charles 
Iverray, John Bootman and Isaac J^s- \ 
sen, mariners and sailors, shewing that 1 
they had the great misfortune to be [ 
taken and by force to be kept aboard 
a piratical vessel, John Phillips com- 1 
mander, that In the month of April 
past, the pirates quitted the vessel they 
v/ere then In, and with their arms, am- 
munition, stores & entered Into the 
vessel of the said Harradlne forcing 
the petitioners on board the said ves- 
sel also, that the petitioners out ff a 
just abhorrence and detestation of anv 
act of piracy, robbery or felony, and 
to use their utmost endeavors to ob- 
tain their liberty, and to destroy the 
.xald pirates the common enemy of man- 
kind, they arose upon them, and by 
the blessing of Almighty GOD on their 
endeavors, they threw the master over- 
board, killed the captain, boatswain and 
gunner, and have delivered the quarter- 
master and the rest of their accom- 
plices into the hands of justice, where 
they have been convicted, and have ac- 
cordingly received sentence to suffer the 
rains of death which they justly de- 
served, praying that this Coui-t would j 
take the premises Into their wise and ■ 
serious consideration, and make such' 
allowance to tbem for the misfortunes, ; 
expenses and charges, which they have 
necessarily been put to In convicting 
said pirates before the Honorable Spe- 
cial Court of Admiralty lately held for 
their trials, and grant them such re- 
ward for their aforesaid services as to 
them shall seem just." 

A petition for the relief of John Bap- 
tist and Peter Taffory, mariners who 
were vnhappily taken by Phillips, the 
pirate, and were on board when Har- 
radlne and others subdued the pirates, 
was turned down. But Harradlne and 
others were granted £224 to be equally 
divided; and Harradlne was given in 
addition £20 to discharge the wages he 
had paid sundry persons to assist in 
bringing about the sloop Squirrel from 
Cape Ann to Boston with the pirates. 

Sheriff Edward Winslow asked £21 
Cs.* Ic". for charges and expenses "on *_he 
Pyrates lately brought in by Capt. 
Harredlne (sic) and Company." He was 
granted £12 14s. 

David Melvil received Is. nd for 

keeping two pirates In the Boston jail. 

Worthy and unworthy men w«re 
I clamoring for pecuniary relief. Tliere 

• Is the petition of Lieut. John Lane, 
i "Shewing That In the Year 1722, he 

• Contracted the Distemper that was 
I prevailing among the Forces; and was 
! Confined Four Months at the Town of 

Wells, and was at the Expence of Thir- 
teen Pounds, as by a Receipt from Dr. 
John Perkins, being Sick with the 

It seems that Wlllla.m Phillips and 
William Taylor, who had been con- ! 
demned for piracy, were reprieved for 
one year, "through the compassion of 
the Judges who pronounced them guilty. 
In order to supplicate His Majesty's par- 
don." As these pirates had no relations 
In Massachusetts Bay, nor money, nor 
ability to help themselves, they prayed 
and besoueht "the compassionate re- 
gards of all charitable persons towards 
them in their miserable circumstances; 
that they may not suffer the pains :if 
death for want of money enough to de- 
fray the said charge." This charge 
amounted to £12. Tlie House took the 
petition Into "their compassionate con- 
sideration," and unanimously voted £15 
to the sheriff, to be applied for the use 
of the petitioners. 

Edward Stanbrldge's account for sun- 
dries expended In executing the pirates 
taken by Harradene was read and re. 
Jected. "Nemlne contradlcente." 

On May h, 1725, a memorial and ad- 
dress were humbly presented to Will- 
lam Dummer, Lieutenant-Governor and 
commander-in-chief, to the councillors 
of the representatives at a general con- 
vention of ministers. Cotton Mather 
signed for them. It began: 

"Considering the great and visible de- 
cay of piety In the country, and the 
growth of many miscarriages which we 
may fear have provoked the Glorious 
LORD In a series of various judgments 

wonderfully to" distress us." me min- 
isters asked the General Co,.rt to call 
the several churches In the province to 
meet by pastors and messen.ifers In a 
synod, "and from thence offer their ad- 
vice upon that weighty case, which the 
circumstances of the day do loudly call 
to be considered. 

There was a long debate. The Rev. 
Timothy Cutler and Mr. Samuel Myles 
sent In reasons against this memorial 
and address. It was voted that they 
, be referred to the next session. 

Indians on Nantucket complained of 
grievous impositions and abuses" they 
labored under and suffered from the 
English inhabitants there and prayed 
for relief. 

Merchants, distillers and other inhab- 
itants of Boston and Charlestown ob- 
jected to a proposed bill which would ; 
oblige the distillers to pay a duty of 
three pence a gallon for "rhum" dis- 
tilled within this province, "which they 
conceive will tend to prejudice the trade 
of the merchants and be very injurious 
to the Inhabitants. " When the ques- 
tion was put, whether the bill should 
pass to be engrossed, the vote was in 
the negative. Good old days! 

Nathaniel Bytield, Edmund Qulncy 
and Meletlah Bourn with others were 
appointed a committee to consider of ^ 
some proper remedy for the distemper 
among sheep In divers parts of the 
province. \ 

Thirty-four pounds and six pence 
were granted Luke Vardy for an elec- 
tion dinner and "extraordinaries" being 
an entertainment for the Lieutenant- 
Governor, the council "with 100 gentle- 
men and others." 'VV'ho were the others? 
'Why the distinction? 

Ruth St. Denrs and Tod Shawn | 

Appear at Opera House j 


The Koston Wellcsley College Club j 
presented Ruth St. Denis yesterday 
afternoon at the Boston Opera House, j 
with Ted Shawn and the Denishawn j 
Dancers, in aid of the 'Wellesley Col- | 
lege Semi-Centennial Fund. The audi- j 

ence was very large. I 

Several features of the generous pro- | 
gram stood oiil in bold relief. There | 
T^as Mis,«! St. Denis herself, in a ballet j 
costume suggesting Empire days, danc- 
ing to a Schubert waltz with motions | 
that reflected that period's artinciality 
and grace. Of a more exquisite grace 
were her movements in the waltz by 
Brahms and Liszt Liebestraum. Her 
rhythm— a quality one would expect lo 
And marked In eve-y dancer but which 
one certainly does not — would make 
her performance notable even If she 
possessed no otiier fine attribute.'. 

MUs .St. Denis showed it again to 
(treat advantage in the Spanish gypsy 
scene, where "interpretations ' and "vi- 
«:uallzat:ons" for the moment out of tlif 
way, the did some very -brilliant danc- 
ing. In this scene a young man and 
woman danced admlrabl.v — the 
whole scene had life and color. Miss 
St. Denis danood charmingly a dance of 
the ' Black and Gold Sari." 

Miss .'^t. Denis also, tried an experi- 
m'-nt. Dorl.i ITumphrey had^de- 
vlsed a danci\ "Traglca," by name, 
which she and Cliarles AVeLlman. with 
the ensemble, danced without music. 
The lacl; of music did not much mat- 
ter, considering, the nature of the per- 
forniance. But the range of postures 
Txherewltli to express emotions, not to 
iiTrntlon situations. Is narrowly limited. 
Why do away with the aid of the hu- 
man vi.l> c .' The audience, however, felt 
otherwise, for the "experiment" was 
heartily applauded. 

So was Mr. Shawn's characteristic 
"Invocation to the Thunderbird." which 
had to be repeated. So was tlic "Boston' 
Fanc.v. 1S54." an amusing ^oance. but 
none tlie less a lost opportunity for 
something more amusing still. The 
"\'oice of .'•■pring," which the ensemble, 
n llie cucstunics of Botticelli's "Primo- 
vera" d.incod to Eduard Strauss's walta, 
pleased nilglilil.'i . 

There was much more after an open- 
ing piece by the ensemble, Mr. Shawn. 
In ai poarance a statue of white mar- 
hie, for a few moments came to life. 
Miss Humphrey dancod a solo, Ruth 
Austin and Charles \Veldman a Juet, 
Anne Douglas and Georgia Graham did 
a Cliopin waltz in the waj' bf Miss 
Loie Fuller. 

l^tcr Miss Humplircy danced again. 
Miss St. lienis and Mr. Shawn mimed 
a "" fantasv. Mr. Weidman 
mimed a crapshooter. As a cowboy Mr. 
Shawn danced effectively with Miss 
DouglaM and Ernestine Day. both of 
whom supported him w(;ll. The program 
closed with an Algerian hallct, the m\i- 
stc bv II. S. Stoughto" • 

Musical visualization!!-. 

Allegio Risolule V,' ' : 

■W-altzea iSchuberl^ , . . 
Scheriio W»)}z (llgenfrltz^ Humphrey 

Ted Shawn 
rit. Denis 




> r . Uuth St. Denis 

Lii\ on issomenis 
D.nce Of tho Buck and ^^^^^ 

'^'*'lJo*r^ Humphrey. Ch«rlM ■G oldman 
and •nsemblt-. 

KuUi St Dents and TPd Shan n 

P ,.,„ ';,". Heal . . Doris Humphrey 

, nu-sliooter CharlfS W cldmau 

.„ T.MKo Ted Shawn-Ernestine i>i>y 

r . 1854 

•Mf'y, Gnitiam, Lawrence 
, , Mfssrs. Welilman^ Stearc.-', 
l-i.shfr and Tiirkcr. 
nvocatlon to the Thunderblrd^ 

The Vision of the Alssoua. an Algerian 

Dance Drama 

S„„« 1-The MosQue of Sid I Okba, near 

<,,„^'*2J!?rhe HouM of Fatma, a Coffee 
House In Algiers^ 


^ Ai Jordan hall yesterday afternoon, ^ 
►•h ia HesB. pianist, played a "request" 
|r. :r-.)m, to a large and enthusiastic 
-iidirnce. find included the following | 
i'.i«ic: - ' 

Tliree chorales. Bach: ' Wachct auf. ^ 
ift uns die Stimnie" (arrangred by I 
usonl) : "Komm. ttott, Schoepfcr" (ar- I 
mged by Busoni); "Herz und Mund ! 
nd That und Leben" (arranged by j 
lyra Hess): Prelude, Chorale, ;ind 
uguc, Cesar Franck; Papillons. opua 
Schumann; Funeral March, Chopin; | 
fa Cathedrale engloutie, Debussy; - 
ns d'Or. Debussy: La Maja et le . 
' crnol. Granados; Cubana, Da Falla: 
: riaria, .Mbenir. 
Such concerts as Myra Hess gave 
csterday afternoon are rare and cher- 
-hed occasions, remembered long after 
e futile thunder'mgs and the mad Im- ; 
• tuosities of other and more epcctacu- 
.;• pianists have died away. For in 
cr playiitg there is a strange ind beau- 
^rul poi.-e, a spaciousness, a philosophy 
-at tempers and invigorates. 
Th^re arc some pianists who excell in 
he n.usic of" a century, in that of a 
'o^en composer, nr of a particular 
lulsca! ase; in treir fields they are un- 
urpaj'sed. Put with Myra Hess there 
- no sucli invidious specification, and 
y reijqest she chose her program .ves- 
rMday, played as even she has not 
•layed here before from her first Bach 
Q)orale to the Debussy, and, we assume, 
ntll the end of her concert. 
Hero was playing that absolutely de- 
ed criticism, playing without wild 
'hricklng outbursts, or masslveness; 
'-,r =iie 13 a pianist of Intimacy, and for 
i small hall, where each of her tugl- 
Ive ecstacies, her rich philosophies, 
-or varying moods, may be enjoyed to 
)ie full. In the glorious Prelude, 
iioralc and Fueue of Cesar Frarck, 
ith its mystic exaltation, its passlon- 
it outbursts, it.'; lonely grandeur; in' 
he •Tapillons," with il? l>ricf and wav- I 
n; niijiits, its teinpesiuou.snfess, .and 
imsy; in each her mood .and j 
-; V as surely that of the com- ; 
• r> infencMng. Can one ask more,?! 
And i>iM> « III not <^oon forgi^t the | 
rli'irs." and the pensive beauty of her i 
r-horales, two of them in the , 
' ,iri angcment. and the third of 
■ n making. Again, whether she 
; the fuperal inarch oi Chopin, | 
ts d<)rk reverberations, its 7in- 
oi- the misted sonorities of De- \ 
ubsy in "La Cathedrale Engloutie," [ 
iicre " as perfection in her playing. ' 
iuch concerts are lonely and unex- • 
pectea events that ln^■ade our concert 
.;o1ng -with their calm and considered 
beauty, a philosophy that Is clear eyed 
and profound, m musical maturity. 

iE. G. 

-y/^ C ' f 2 ^ 
When Mr. Montague Craclceninorpe 
read his obituary In the London Times, 
ha wrote to say that he "was not really 
misled by the report." Bernard Shaw 
is always forehanded. Some years ago 
a news agency Inquired after his health 
while he was sick. He answered: 
"Kindly Inform the public that I am 
dead. It will saTe me a jreat deal of 

But who was the American that wrote 
to a newspaper: 

'■Sir— I desire to call your attention to 
a few errors In your obituary of myself 
on Wednesday last. I was bom In 

("Washington, not Wheeling; and my re- 
tirement from the flour business in 1896 
was not due to ill-health, but to hard 
times. The cause of my death was not 

W I. at has become of the Ai-lhur 
Machen boom? Not long ago all the 
"literary fellers" writing for periodicals 
were cx'olling him and his books. Col- 
lectors were rushing frantically about 
in search of first editions. Kntepprls- 
Ing publishers exhumed his dead and 
forgotten essays, pot-boilers, sweepings 
and printed them with fanfares of 

We are not underrating Mr, Machen's 
talent. Long ago we read his dreadful 
story of the great god Pan with shud- 
dering delight. lie often writes wisely, 
well, and at times expresses beautifully 
thoughts that are beautiful and even 
nobie. He can be amusing. We quote 
from "A .Secret Language" in "The 
Glorious "Mystery." 

"It is within the power of the sculp- 
toi — look about London — to say "Let us 
make man in the image of sheer stu- 
pidity and chaos and nonsense, or 
rather in the image of the fashion 
plates of this or that year, very badly 
carried out in bronse." 

.A.nd he does not despise beer. 

"I would also say that he who can- 
not see the eternal gifts In bread and 
cheese and beer and homely friendship 
and kindly mirth may gabble occult 
abracadabras all his days; but he shall 
never taste of the eternal refections of 
paradise, or sing the new song of the 
redeemed. . . . The villa at Dul- 
wlch where Mr. Pickwick rested from 
his pilgrimage is in fact paradise. I 
am sorry that Dulwich is just a suburb 
of London, with three stations, attain- 
able from Victoria. Ludgate Hill, Hol- 
born Viaduct, or London Bridge. 1 am 
aware that it ought to be called Oomtl- 
gala or Ispadan or something queer. 
Still, there it Is, and I am afraid I 
must say that anybody who has dif- 
ficulty in finding Dulwich a fit symbol 
of Paradise had better abandon the 
study of the secret language forever." 


' Jean was the last of the de Reszka 
' singers to die. Josephine, a soprano 
who shone at Paris, Madrid, Lisbon and 
I London from 1875 to 18S4, married in 
1884 Leopold von Kronenburg and 
passed on in 1891. • Edouard died in 
1917. Jean was born in 1850. 

Jean first sang in Boston as iRaoul In 
"The Huguenots" on March 14, 1892. It 
was in the' Mechanics building. That 
season he was also heard as Romeo, . 
Faust and Ijohingrin. In later years 
Boston knew his Walther in "The Mas- 
tcrslngers," Tristan, Siegfried and Des 
Grleu ("Manorl"). 

He was incomparable as Romeo and 
Haoul; his Lohengrin and Tristan were ' 
admirable portrayals. His des Grieux 
was noteworthy for his singing and 
acting in the church scene. 

He was not fortunate as Siegfried. 
For once Wagner's hero was a fine 
gentleman astray in the forest. It is 
said that his own Don Jose, Othello 
and Canlo were comparatively weak 

But as Romeo and Raoul he was su- 
perbly romantic in song and in action. ! 
No tenor within oor recollection bore I 
himself in these parts so gallantly; no i 
one sang the music so eloquently. 


(Samuel H'offensteln In the N. T. World) 

Only the wholesomest foods you eat; 

You lave and you lave from your head 
to your feet; 

The earth is not steadier on its axis 

Than you in the matter of prophylaxis; 

You go to bed early and early you rise; 

You scrub your teeth and you scour 
your eyes. 

What thanks do you get for it all? Ne- 

Pneumonia, ippendicitis. 

Renal calculus and gastritis. 

Swinburne suggested that the harsh- 
ness of John Donne's poetry came from 
the fact that he was cursed with an 
unmelodious name. What would our 
Algernon Charles have said to Harln- 
dranath Chattopadhyaya, whose verses 
"Rescue" are in the current number of 
the Commonweal? 


As the World Wags: 

In regard to "Zerkia" — On Oct. 20, 
1707, Zervia, daughter of Dr. Jonathan 
Pox of Dracut, Mass., and Hollls. N. H., 
was married to Samuel Worcester, D. 
D., of Hollls. They had 11 children. 
The first, a daughter, Zervia Fidelia, 
died when 5'^ years old, and the fourth, 
born some eight months later, was also' 
named Zervia Fidelia. This last Zervia ' 
was married to Samuel H. Archer of 
Salem. Probably it was the first Zervia 
who copyrighted "Walls and Select" In 
1851. These are the only Zervlas I can 
find. Perhaps tho name occurs in the- 
! ox family. At any rate it is feminine. 

•t given In the "Scripture" or 
(irrck and I^atin Proper Names." 
Brookllne. April J. M. W. T. 

tho World Wags: 
May I nominate A. G. Hopcraft, presi- | 
dent of the National' Association of j 
Purchasing Agents, for a place in the 
secret service of the hull, or as a com- 
mander in the marine iinit pf the prohi- 
bition enforcement division — but I 
don't suppose there is any such animal 
In the hall. ' • M. G. B. 

There Is no "decay of piety"" in Miami, 
r^ia. A correspondent sends from Del- 
ray (Jla.), a copy of tho Miami Herald. 
It contains the Prayer in. Cougress and 
under the heading "Men In the News" 
there is a quotation from Isaiah (26, 1, 
4), beginning "O Lord, thou art my 

L. B. B. writes: "I believe that the 
people of the South are much more re- \\ 
ligtous than we on tho other side of \ 
Mason and Dixon's Line." 

a her iiewes'. 
'iitii, . II. to the PuO- j 

1 !e a Symphony Orchestra! R. H' ] 

Did not the Manchester Guardian 
put the matter in a nutsliell when it 
characterized John Barrymore as "prob- 
ably the most deliberate Hamlet of our 

"His own advice to speak 'trippingly 
on the tongue' he evidently considered 
to be not altogether applicable to 
princes, however meet for players." 

But the Guardian was loud in praise 
of Courtenay Thorpe's Ghost. "This 
was none of your bluff, resonant spec- 
tres who come up from the bonfire In 
fine voice and fettle, but a spirit that 
carried about it the very vesture of 
unutterable anguish." 


! l^ast evening in Symphony hall, 
Kthel Lieginska displayed three as- 
pects, ao less, of her musical talent. 
She conducted the People's Symphony 
orchestra through Weber's overture to 
"Oberon," Beethoven's "A major sym- 
rhony," a Bach piano concerto, in F 
minor, and the "Meistereinge'r ' proludo. 
In the concerto she played the piano 
part. As a composer she also came for- 
ward with six nursery rhymes for so- 
prano and small orchestra, sung by 
Oreta Torpadle. 

Let us speak first of Mias Leginska's 
most recent accomplishment, tliat of 
conducting. To gage her skill is not 
easy for a person whom chance has not 
allowed to become familiar with thfi 
orclieatra's work. Miss Leglnsiia, at all 
events, must be responsible for the low 
.•scale of tone adopted, a scale which 
allowed a comparatively small orchestra 
In a very large hall to rise to cUmaxcK 
which, with no loss of euphony, had all 
the effect of power. 

Miss Leginska showed with especial 
clearness this fine sense of proportion 
ill the first and last movements of thi 
symphony, where also her keen rythmic 
feeling- came brilliantly into play. In 
the allegretto she made clear her sense 
of value; by its lovely song she was con- 
terit to express just as much emotion 
as it lias, with no attempt to pump a, 
lyric up into a tragedy. In the presto 
she achieved a delightful effect of fleet- 
nesa and light. 

Throughout the evening Miss Ix>- 
ginska exhibited sensitiveness to the 
poetry, the romance that suffuse 
Beethoven's music and the best of 
Weber's, such as the first pages of the 
overture. A keen ear she has, too, for 
orchestral color, and pure taste dn the 
moulding of a phrase. 

Ably the orchestra's members fulfilled 
her i,wis'nes. They played so well, so 
j musTcally and sonorously that there can 
be nothing ungracious In making men 
tlon of the most noticeable defect in th' 
I performance. Whosesoever tlio fauli, 
i their attack wag not always quite clean, 
i As a pianist. Miss Leginska, with her 
I crisp, bright tone, was at her best in 
the quick movements of the charming 
I Baoh concerto. To hear her play and 
I see her conduct it suggested, with ob- 
! vlous variants, stories we read of Han- 
del and his concertos. 

For her songs Misa Leginska. in hu- 
morous mood, wrote voice parts some- 
thing In the vein of Ijord Berners, sim- 
ple to the point of vacuity, which, with 
tho incongruity foreigners fin a the most 
striking feature of American humor, 
she accompanied wlUi orchestration 

^ mighty wUd7 Jokes ,°a"fj»* Jj* ''Jl^t'^ 
about any more frultfuUy than tiste. 
"Jack and JUl," In MIhb Leginska b xer- 
.vioii. strikes paopl.i art funny or it does 
not. The tale of tho ihroo mice seemed 
, to iniuse tha audlenco most, 
' v.-as "Georgy-Porgy," Some found ' Old 
King Colo," because It had most char- 
acter to It, much the best of the ffroup. 
iMme Torpadle. with a voloe utrangely 


In Symphony Jiall yesterday after-' 
noon, Kfrem Zlmballst, violin' nvl 
John Charles Thomae, barlt- 
u Joint recital, with thie« 
music devoted to each sololm. L--«l':r 
Hodges was accompanist for Mr. 
Thomas, Knianuel Buy for ZIraballtt. 
The program, supplemented by many 
encores, was as follows: 

Concerto In O minor, Hubay, played 
by Zlmballst; Invocailone dl Orfeo, 
f'eri; Cho flero costume, Legrenzl; Oe- 
bot, Joseph Marx; O iiebliche Wangen, 
Johannes Brahm.s, sung by Thomas: 
prelude and Fugue in G minor, Bacli 
I for violin alone), played by Zlmballst; 
Chanson Triste, Duparc; NIcoletle, 
Ravel; II NIege, Bemberg; Aria, ".Sa- 
lome," from "Herodlade," Massenet, 
sung by Thomas; La Gltana, Krelsler. 
Hungarian Dance, Brahms- Joachim, 
Improvisation on a Japanese Tune, 
Zlmballst; Spanish Dance, Sarasate. 
played by Zlmballst; Crying of Waters, 
Campbell-Tlpton; Old Skinflint, How- 
ells; Nocturne, Curran; Dialogue, Lord 
Berners; The Wandering Jew, Edward 
iMorrls, sung by Thomas. 

Zlmballst and John Charles Thomas 
make a Jiappy combination in concert; 
they supplement each otlier, both mu- 
sically and In perpon. The rapturous 
strides of John Charles Thomas, and 
the reserve of ZImlialist; the exquisite 
refinement, the Intellectual bent of the 
violinist, and the dramatic warmth and 
operatic gesture of the singer. 

It Is always a pleasure to hear Zlm- 
ballst, for with the abilities of a vlr- 

ituoso, he laoks the virtuoso's preoccu- 
pation with string floratura, his imag- 
inative apathy. His tones are always 
pure and tenuous, never cloying, nor 
> et lubricious. And there is an emo- 
tional restraint, a lack of sentimental- 
ism In bis playing. 

Yet his program yesterday, with the 
exception of the Bach fugue and his own 
Improvisation on a Japanese tune, was 
the traditional liddler's paradise of con- 
certo, dance tunes and glittering ca- 
denzas. But like Krelsler earlier in the 
season, he chose to include a Bach 
prelude and fugue, that in G minor, 
and played it without accompaniment, 
very beautifully, encompassing its fugal 
Intricacies without effort, without ped- 
antry, although at times there was mo- 
notony In his tone color 

His own Japanese tune with its im- 
provisation, the tune suggestive of the 
BasqiJe airs, and the improvisation 
modem in its harmonization. Is melan- 
choly and poetic with the piano accom- 
paniment an integral part, establishing 
as well as supplementing the inood. 

Mr. Thomas chose a varied program 
for his part of the concert. He com- 
menced with two early Italian airs. 
One was Perl's "Invocation of Or- 
pheus," from his "Euridyce"; the other, 
a lilting, amusing air by Legrenzl, who 
carried on in Venice the making of 
dramatic recitatives as Perl did in 
Florence at the court of tho Count 

Mr. Thomas has a rich and vibrant 
voice, at its best in these Italian airs, 
although he sang Brahms's "O liebliche 
Wangen" with sentiment and a smooth 
and •beautiful tone. For tho French 
songs, his habit of slipping over his 
words did not stand him in good, 
although in the Nicolette of Ravel he 
sang with a delightful dramatic flair 1 
and spirit. He also has a tendency to 
force his tones, especially at the end 
of a phrase, and Bat his singing yester- 
day was often breathy. 

For the last half of his program he 
chose songs of the moderns and near 
moderns, including Lord Berner's bold 
Dialogue, underlined, "a conversatloW 
'-"tween Tom Filuter and his man, as' 

iHted by Ned, the dog stealer." 


Vi ork of 18th Century Sym- 
phony Orchestra in Jordan 
Hall Pleases 

It was highly Interesting to step from 
a Huntington avenue trolley car yes- 
terday afternoon into dimly Illuminated 
Jordan hall, to see the stage filled with 
musicians wearing the powdered wigs, 
varl-oolored coats, laces and knee 
breeches of 200 years ago, and hear 
them play In the mellow glow of can- 
dles the music of the days of which 

the lights and the dress were typical. 
This was the setting of the candle- 
light concert given by the Eighteenth 
Century Symphony Orchestra, Raftaele 
MartIno, conductor. 

The program was well chosen to Illus- 
trate the wide variance In the music of 
long ago, ranging from the solemn 

by U p. rail' Aimco 
sonata by Scarlatti 
■■gv.n concerto by Han- 
* Tvistoral variations, 
HIS ••Larjo" and 

•'^nlng to the flna old hamonles | 
flodlea In a slmuhitlon of their 
' setting, one was tempted to 
how the sood roople to whom 
luslo and such surroundings were 

ve ^een suddenly transported from 
<-lr minuets In cmdlellght to lUten 
' ft }izz concert Jn electric glare. 

..IV prophetic powers over the future 
go no further than a desperate guess 
about tlie nature of the next sentence. — 
G, K- Chesterton. 

Were not tho muslr critics sadly neg- | 
llgent in not giving a detailed account i 
of Mme. Leglnska's costume when she i 
'■onducfed the People's Symphony Or- 1' 
rhestra last Saturday night in Sym- 
; phony Hall? "When Dame Ethel Smyth 
conducted a rehearsal of an amateur 
«<oolety tn some Kngll-«h town — was it 
, London? — the I.,ady's Companion told 
us that she wore "a tweed skirt und 
woolen golf coat and thick brogues, 
which Is her favorite type of dress." 
I Pld JIme. LeglnsKa wear a boy's 
Jacket, shirt front, turn-over collar? 
Was her skirt fashionably short? All 
I these things matter, now that we hear 
• so much about the personality, indlvld- 
I uallty, magnetism, "temperament" of 
1 this or that musician. 
I When Arthur Niklscli first came to 
Boston he brought with him trousers 
made by the leading tailor of Leipsic. 
When he came out on the stage of the 
Boston Music Hall, his trousers excited 
comment. They were of the accordion 
fashion. The rear view was particular- 
ly impressive. 

Mme. Eva Gauthier's costumes always 
attract attention. It Is said that she 
designs them. They are as exotic as 
I her programs. We saw in Dresden 
j Teresa Malten as Elsa in "Lohengrin," 
I her first appearance in public after the 
I death of the Count Von Arnlm. (It is 
only just to say that he wished to 
marry her, but she refused, thinking 
the marriage would injure his career.) 
I She came on the stage, di-essed in deep 
[mourning, whereas Elsa is supposed to 
I be clad In spotless white. The women 
near us were deeply moved, and one 
; exclaimed: "Achl Herr Je! How 
' charmingi" 

j Some have judged Conductors of the 
i Boston Symphony Orchestra in the past 
I by the architecture of their back and 
I legs. The legs of Dr. Muck were greatly 
admired by ladies, in the audience, who 
described them as "aristocratic. ' They 
forgot that according to Holy Writ the 
Liord taketh no pleasure in the legs of 
a man. 

The 18th century orchestra wears 
18th century costume to be In keeping 
with the music played. Query: Should 
ia violinist playing Max Brucli's Scottish 
Fautasie wear a kilt? 


j When a Cruelty to Animals Bill was 
introluced in the House of Commons 
1 100 years ago last month, it was stren- 
' uously opposed and thrown out. It 
•seems that the bill was to put an end 
I to bear baiting. A Mr. Heathcote said 
■ in opposition to the bill that he had 
i visited the bear at the Westminster 
I Pit — this bear had often been baited, — 
and a finer bear and a more prosperous 
set of cubs he had never seen. He 
hoped the House would not Interfere 
with the manly sports of English gen- 
tlemen. Peel was also in opposition. 
I Mr. George Lamb, in opposition, ap- 
pealed to history. "Tlie sport of bull- 
baiting was one of the oldest national 
sports, and had even been honored with 
;.o presence of Koyalty, accompanied 
the Ladies of the Court. On one 
«slon mentioned by Evelyn, when 
; I. harles II had visited one of those bait- 
i Ings. the bull tossej up a dog so higli 
I as to throw it into the lap of a-lady 
' sitting in the second gallery. . , .'• 

The disingenuous Mr. Lamb did not 
quote Evelyn's comments on what he 
saw — cock- fighting, dog fighting, bear 
and bull baiting, — "it being a famous 
day for all these butchery sports, or 
rather barbarous cruelties. . . . Two 
lioor dogs were killed, and so all eaded 

with tlie at.e on horseback, and I most 
•heartily weary of the rude and dirty 
^laatlme, which 1 liai not seen, I thmk, 
*i 20 years before." 

^"The majority of people spend the 
'""'ater pa,rt of their working hours on; 
I orizo.-i of about 20 f t.— W. B. Barker, i 
door. — 

. t!u. X\ o -ul \S ..B.-.> 

No tapestry of golden words and snge. 
No tlnunling peacork-rhynief; I se.nd 
to you; 

Nor can I nught of fire lend to you 
All many-hued, like Shakespeare's 

painted page. 
[ need you! and am wordless In my 

need — 

Then, dear, to woo you I must fain 

More wit than 1 have wit to write 

And in Trlnacrla win your love in- 

Come, then, with me where kind 
Sang simple, splci\did songs for our 

Where almond and rose scent all the 
st.irled plain; 
Where Pan still pipes his luring airs 
for US, 

And wide, star-fretted space gives u? 

the night — 
'Tls there new love may learn of 

love again. 


Concord, N. H. 

As the "World Wags: 


This advertisement somehow pre- 
serves the flavor of pioneering days, 
when "scalp treatment" had a dead- 
lier connotation than now. 

J. I. B. 

The Indians were not the only 
scalpers in the good old days. Mr. 
Jacob Ames, a weekly scout near the 
sarrisons on the western part of the 
town of Groton, In July, 1724, "did 
with courage and resolution by him- 
self defend the garrison and beat off 
the Indians, slew one of them and 
scalped him " The House of Repre- 
sentatives resolved: "That over and 
above the £15 due to the petitioner by 
law for recovering the said scalp and 
the good services done this province 
thereby," he should be allowed another 

And in December, 1724, it was voted 
that the treasurer be directed to bury 
"the several Indian scalps now in his 
custody, in some private place, so as 
not to be discovered or produced 
again." From this it would seem that 
there were grafters In scalps. 


Before twenty-five, young people 
ought to be thinking about each other 
and not about politics. 

As the World Wags: ' 

On the outskirts of the city dumo I 
saw her; a ragged little Italian girl with 
warm, black eyes and a dark, tanned . 
face. From someone's battered and cast- j 
off music box she was cranking a jerky i 
and gap-toothed melody. The spirit of 
the Latins, I thought, oblivious to the j 
dump, ' oblivious to me, oblivious to | 
everything but her music. These Ital- 1 
ians do bring something to us Xordics 
after all. Sweet, tattered, little musi- 

"Mister, your shoe's untied." Evi- 
dently she was not as oblivious an I 
had thought, yet how kind of her to 
think of my shoestrings! 

I looked down at rny shoes: the strings 
were tied securely, both of them. 
"April Fool, Mister!" 
Dirty, squat, scrubby brat! They 
ought not to allow these dagoes to ou- 
ter the country. 



Yesterday afternoon In Symphony 
hall the Boston Symphony orchestra, 
conducted by Richard Burgln, gave the 
third of this season's young people's 
.concerts, with the following program: 
'Mozart, overture to "The Marriage of 
Figaro"; Beethoven, second movement, 
"Allegretto Scherzando," from the Sym- 
! phony in F major. No. .8; Wagner, Pro- 
I cession to the Cathedral, from "Lohen- 
' grin"; Gluck, Dance of the Spirits, from 
I "Orpheus," solo flute. George's, Laurent; 
I Tchaikovsky, Ballet Suite, "Nutcrack- 
er" ((a) Chinese Dance, (b) Dance of 
' the Sugar Fairy (Celeste, Arthur Fied- 
ler), (b) Russian Dance, "Trepak"' 

fitK cuiiiiiiri' itiuaiu, tiL< 

poser and ii .itrument, ; 

and couches Ih.m lidk In terms that li.i 
listeners delight In and understand 
And there are the program notes. 

Yesterday's concert, although Mr. 
Burgln replaced Koussevltzky at the 
conductor's desk, was a thoroughly en- 
joyable one, from the first terse bars 
of the Mozart overture to the grim and 
craggy tunniilutfusness of Sibeilus's 
"Finlandia." A substantial program 
to which the audience listened raptly 
and applauded spontaneously, so that 
Mr. Burgln repeated the Trepak from 
the "Nutcracker" Rulte. 

Again It was a pleasure to hear the 
flute solo of Mr. Laurent In the silvery, 
gentle dance of the spirits of Gluck's 
"Orpheus," and the harp music of 
Salnt-Saens played by Mr. Holy. 

Mr. Burgln, for the second time re- 
placing Koussevltzky In Symphony hall, 
was a satisfactory and amiable con- 
ductor, more gkilfull In building up hla 
dramatic climaxes than In the more 
poetic passages. 

The concert will be repeated this af- 
ternoon. . E. G. 

Year," comedy In three acts by Frank 
Craven. The castr 

Fred Livingstone Ilalph M. Remley 

Mrs. Fred Livingstone Ann,-i Layng 

Grace Lningrat (ine Elsie Hltz 

Dr. Myrorij .Xndorson Loula I>eon Hall 

ntck Lorlng. .Tr John Collier 

Ihomaj. Tucker Bernard Nedell 

Hattie Roberta L«9 Clark 

ret«r Barstow..: Roy Elkins 

Mrs. Pnter Bar.5tow Ollvs Blake.ney 

Lulu Foril Kate Smllh 

\Vhen the minister adds one and one 
and it makes two, that's all, but when 
. tho answer is three, you have a plot, 
or the beginning of one. 1/ in addi- 
tion, the faithful cook stays home with 
the "miseries" on the night when an 
important buslneys friend of one's hus- 
band is coming to dine, the willing but 
dumb substitute breaks? precious wed- 
ding gift dishes and administers poi- 
son cocktails, and the sweet, bubbling 
wife helpfully spills buslnes.>; secrets 
which she shouldn't, and then cries 
and goes home to mother — but why 
keep on; consult ancient Greek drama- 
tists or read the comic strips; either 
win do. Anyway, Messrs. Craven 
Golden and Smith found the combina- 
tion made people laugh on Broadway 
for a long time, as well as In the Pro- 
vinces, and now the Boston Stock Com- 
pany are again- putting It across to the 
tune of reassuring volleys of laughter. 
The Livingstone house. In which the 
' first act Is staged, is undoubtedly on 
Main street, and pa and ma and the 
rtaitghter are Main streeters. So Is 
Grace's awkward suitor. Tommy Tuck- 
er, and her smooth suitor, Dick Lor- 
ing. There must be a prophet thrown 
In to speak Words of philosophic wis- 
dom, and UncK> Alls the role nicely. 

Tommy marries Grace and they go 
nway to live together in the metropolis 
of JopMn. Then we have the tragic 
dinner party where everything goes 
wrong, the entrance of the hated rival, 
the apparent breaking up of Tommy's 
plans to be rich through the sale of 
real estate which he has cleverly bought 
up In anticipation of the new railroad; 
the departure of the guests and the 
bickering I-told-jnou-so's between 
newlyweds, and Grace's going home to 
mother. And In the last act the recon- 
ciliation, the discrediting of the "other 
man," and Tommy's arrival at the 
pinnacle of flnaaiclal success. 

Last night, the scenes were set with 
well-appointed nicety, especially that 
ot the Livingstone home, where furni- 
ture seemed not loo new, and not all 
3f the same age, and ancient steel e^i- 
t;ravings and daguerreotypes comfort- 
ably and fittingly disfigured the w.-i'lls. 
All went smoothly and the usual la'i-ge 
audience was well pleased. Remley and 
Miss Layng made excellent backgroui'.d 
as the old couple, and although Nede;l 
so closely approached burlesque as the 
awkward suitor and husband that at 
times it made one fidgetty, he and MIs.'i 
Hitz hit the hlgli points, of thelr young 
couple with adequacy. H. F. M. 

Salnt-Saens, Fantasy (or harp; Sibelius, 
•l-'inlandia." Symphonic Poem. 

These young people's and children's 
concerts are fast becoming an institu- 
i tion, and there will soon be few of the 
younger generation who cannot dls- 
■ourse learnedly on composers from 
Falestrina to Stravinsky, on the manip- 
ilation of the harp and the evolution 
jf the violin. 

Although, as In the SchelUng con- 
certs, there is no definite classification 
of musical instruments at these con- 
certs, Mr. Surette prefaces and post- 
ludes each composition with lllumlnat- 


Colonial— "Kid Boots," Zieg- 
feld's musical comedy starring 
Eddie Cantor and featuring Mary 
Eaton. Extra matinee Thursday. 
Last week. 

Tremont— "Grab Bag," Ed 
Wynn stars in his own produc- 
tion. Last week. 

Selwyn — "The Four-Flusher," 
comedy starring Russell Mack 
and featuring Sue MacManamy 
and Louise Allen. Last week. 

Plymouth— "The Goose Hangs 
High," comedy by Lewis Beacli, 
with Norman Trevor and Mrs. 
Thomas Whiffen. 

Wilbur — "Little Jessie James," 
return engagement of musical 
comedy. Last week. 

Copley — "Happy - Go - Lucky," 
Ian Hay's comedy held over for 
another week at this playhouse. 


Rather hard to pick « winner .".t 
Keith's this week, fhere are so man^ 
good things on the bill. The audlenc*?? 
was of that opinion last night, too, for 
the meed of applause was generous and 
continuous throughout the whole well 
diversified program. Perhaps the high 
water mark of enthusiasjn was reached 
at the apprjiirancf mil Boyle and his 
Copley-Plaza orchestra. What that or- 
ganization does not know about jazz 
music Is scarcely worth knowing and 
the LlBzt and Rousa travesties of Irv- 
ing Berlin's "All Alone" were real mu- 
sical gems. 

Then Clara Kimball Young stepped 
out of the pictures and back onto the 
legitimate stage in a sketch called 
"The Adorable Wife, " by Tom Barry. 
It Is a "triangle " affair, not so much- 
much as a play, that gives the heroine 
a chance to exploit a delightful brogue 
and to make a decided popular hit. 
Louise White and Harry HoUingsworth 
supported her with discerning ability. 

Miss Ruby Norton, blonde and petite 
sang, whistled and danced herself into 
mimedlB te favor and wag recalled many 
times. As jugglers, the HaJe boys are 
In a class by themselves, and some of 
their stunts are breath-taking. If you 
think It's easy to snatch the tablecloth 
from under the service on a dinner ca- 
ble without so much as spilling a grain 
Of sugar, just try it, that's all. Remem- 
ber, you have to carry on a gay line of 
patter all the while. 

Carter and Cornish justified their 
title of "vaudeville's speediest step- 
pers" in their dance act. Jack Mc- 
Lallen and Sarah, the former on roller 
skates, convulsed the house with their 
jokes. Ralph Bevan and Beatrice Flint 
are another exceedingly clever team of 
the same order. Prank and Joe Wil- 
son In "The Lieutenant and the Cop" 
demonstrate rare ability as yodelers. 
ihe Billy Lament trio, who close the 
Show, are genuine artists on the tight 
wire. J g p 

Mr. Herkimer Joh.lson persists In say- 
: Ing "cravat" instead of "necktie," a 
. word that is on his Index expurgato- 
' rlus, with "phone," "photo," "wire" 

■ (for "telegram" and "telegraph"), 
1 "write-up"— it's rather a long list, 
iwhen Mr. Auger at the Porphyrj' told 
!him that the Oxford Dictionary said 

! "cravat" was an word or j 

■ heard only in certain shops, he said 

1 "well, my cravats are old, archaic if I 
' you please. Would you have me say ] 

■ -tie'? A tie should be worn only by j 
' 'gents' In 'pants.' " 

But "tie" for "necktie " is not a vul- J 
' gar word, not an Americanism as some , 
" think. "Thrice he twirled his tie"' says i 
Churchill in "The Rosclad." which was 
published in 1T61. Shirley calletl tho 
; white "tie" the "badge of servitude."" 
Tennyson"s son In the life of his father 
' says Alfred was adorned by his accus- 
jtomed blue "tie" (Walter Pater's favor- 
■I Ite tie was apple green). 

Some Irreverent persons have sneered 
at Mr. Herkimer Johnson because he 
wears flowing cravats — we say "'cra- 
ivats" only to humor him— foulards, as- 
isoclated in the popular mind with mu- 
I Elclans, poets, seekers after tlie lost 
land of Bohemia. He cares not. for he 
1 is not a slave to conventions. We have 
seen him sporting a variegated chintz 
cravat that looked as if it might have 
been cut from his grandmother's bed- 
curtaln. We regret to say his taste in 
cravats and waistcoats is rather florid. 
Asiatic in fact. Though his trousers 
may bag at the knees, though his coar 
may shine as if it hal undergone an 
application of Day and Martin's jusllj 
celebrated botUed blacking, he hold.s 
his head hig'n as long as he is con.^clou.s 
of a deep purple, flaming red or yellow- 
cravat flapping defiantly in the wind. 
All great men have their weaknesses. 
Smiling at Mr. Johnson's deplorable 
taste in the matter of cravats, let us 
not forget the Inestimable service he, 
as a sociologist, has rendered mankind; 
let us not forget the honors heaped 
upon him by learned societies the 
world over. 

One of the Morning Telegraph's fa 
vorlte authors Is the writer of the 
Rogers Peet advertisements. A display 
of spring neckwear led him to lift up 
his voice in song. As published In the 
Morning Telegraph the verses are as 

"Some may long for the soothing touch 

Of lavender, cream and mauve. 
But the ties I wear must possess the 

Of a rod-hot kitchen stove. 
The books I read and the life I lead 

Are sensible, sane and mild, 
I like calm hats and I don't we"r er^tf* 

But I want my neckties wild 

"Give me a wild tie, brother, 
One with a cosmic urge. 

A - .1 ! ,i id ;,.dr 

WTien It sees my old blue sei _ 

"O, eoino will nay that a sent'* ci.ivat 

Should only be seen, not heard, 
But I want a tie that will make men cry 

And render (heir vision Dliirred. 
r yearn, I lonjr. for « iJe so strong 

Tt w-iU take two men to tie It. 
ir such there be, Just show It to rae; 

^V"hatever the price, I'll buy It. 

Give me a wild tie, brother, 

One with a lot of sins. 
.\ tie that will blaze 
In a hectic Rare 

Down where the vest begins.' 

Tears ago in New York we Une« a 
)>oet, a poet retained by a soap nianu- 
laotprer. His verses floated from ilie 
Uolden Gate to the sardine factories 
111 Maine; from Lake Superior to the 
Gulf of >rcxIco. He was sad-eyed. Even 
i,:any beers did not rouse his drooping 
spirits: , for U was In a beer pnUJOh we' 
liud the. honor of nitetlnir him In ot-m- 
! any with the famous Inspector of Po- 
lice, Red Leary, the, the ship- 
I'lngr news editor of the New York Her- 
ald, and brilliant Harry Macdona, once 
or. the staff of the Telegram, who had 
rone to the Arctic on a relief exijiedi- 
ilon, and 'was later secretarj- for a 
tinie to Joseph Pulitrer, still later 'Wili- 
lam C 'Whitney's secretary, and sec- 
vetai-y of the Manhattan Club. 

Perhaps our friend of the verse was 
not what Artemus AVard called a "bos.s 
poet," but he earned an honest llvlngr, 
Tias well-to-do, though his verses were 
BM the bubbles that might have come 
froc; the soap he enr.g. 

in 2 parts. 
(Little Oswald an tha dentist.) 

Sammy squirrel and his sun oswald 
sat In frunt uv a hole in tha big oke 
tree an waited. Over the hole wuz a 
sine wich red "Dr. owl, tha paneless 
dentist." Loud howls uv angwish, dis- 
tress and bluddy mordur denoted tha 
fakt tha doc wuz bizzy. Pritty soon 
Benny Beever came out. talkln ter his- 
self about dentists and he wuz sure 
giving 'em hell, in fakt his langwidge 
wuz so dam terrabul I wont repeet it. 
So Earn went In an sed "hullo doc." 
"Howdy," sez tha doc, "climb in the 
chair an lets vassle." "Not me," sez 
Sam, "It's tha Ifid. tha pore little feller 
is too young yet ter distingwish tha 
dlfFerense between akorns an them dam 
marbles tha kids play with." So little 
o-iwald got lifted inter tha chair. "Open 
yer mouth. Uttle feller. ' sed the doc, 
but Oswald started ter cry. "Open yer 
mouth or Sandy Klauz wont kum." sed 
Sam. "They aint no Sandy Klauz." 
.■^ed Oswald. "lyissen,'' sed Sam, "If 
yuh dont open that mug. papa will 
paste yuh in tha snoot." but little Os- 
wald only cried sum more an sed, "if 
yuh do. mama will crown yuh." So 
Sam told tha doc h« guessed they wuz 
stumped, but tha doc sed ter koax him 
Fura more. "Lissen. oswald," sed sam, 
"if Oswald d«nt open his mouth papa 
wont let him play with tha little squir- 
rel girl wot jlst mooved next door." So 
little Oswald opened his mouth, , tha 
dam fool. SNOWSHOE AI-. 

Note: part 2 win toiler after I .see my 
dentist agen Friday. s. A. 


.\K the 'World Wags: 

May I call your attention to these 
extraordinary cases of early develop- 

"From tlie investigation by the coun- 
ty and city officials, Emila Cousteau, 
ihs 1-year-old University of Ziew 
Hampshire freshman who was found 
with the girl In the cemetery, was ex- 
onerated from any connection ■with her 

"SAN FRAJCCISCO, March 31— Doro- 
thy EUlngson, the 1-year-old matricide 
on trial of her sanity, collapsed in her 
chair In the courtroom late this after- 
noon. She was carried from the room 
unconscious." F. M'. S. 

Dorothy's surprising development Is 
undoubtedly due to the "glorious cli- 
mate of California." See Buckle's 
"History of Civilization." — Ed. 

The Boston Symphony crcheotra is 
away thU week. New York win hear 
Scrlabin'* "PromethetiB*' this evening 
and on Saturday aftenHMm; Brooklyn 
■will hear it tomorrow night; Boston 
%.- >U hear It twice on May 1, for the Sat- 
urday nl^t concert ■wlU take place on 
Friday night to aBow Hr. Konsaevitzky 
to fulfil engaKementa on the other aide 
of tha Atlantis. 

The program of next week la aa fol- 
low3: "Bat, the Garden of Pfaiid"— the 
"grrden" being the aea; Rachmaninoff 
lano concerto No. S (Mr. Rachmaninoff 

P'/itilst) . Btrauna. "Kin 1 .4i'ji:<' u<'ii 
which haa not bean performed by this 
orchestra In Poaton slnco 1910. Straaaa's 
tone-poem waa performed here on 
March 18. 19 J3, by the N. T. Phllhar- 
monlo orchestra, lad by Mr. Mengel- 
berg, to whom the score Is dedicated. 
Mr. Oerlcke brought out the work In 
Boston (1901). The performancea In 
190S and 1910 were oonducted by Mr. 

'WlUlam Baehaua win play mualo by 
Bach, Schumann, Mendelaaohn, Soria- 
btn, Brahma and Chopin tonight in Jor- ' 
dan hall. Born at L,elpslo In 1884, he 
began to give concert tours In 1900. In 
190S he took the Rubinstein prize. His 
first recital in Boston waa on Jan. 8, 
1913. In that year he played with the 
Boston Symphony orchestra (Bee- 
thoven'e concerto No. B), and In 1922 ' 
he played here acaln with thta orchea- 
tra (Rachmaninoff's concerto No. 3). 

Note* and Linea: 

iSr. John 'W. Ryan thlnka it queer 
that Harlan Spitzer In her recent arti- 
cle, "The Lay of the Last Minatrel," 
failed to mention the Bryants. The arti- 
cle in queatlon merely skimmed the 
subject and Miss Spitzer wrote utterly 
from collated material. I doubt if she 
Is old enough to remember eren the 
Cohan & Harris show wb.^u waa the 
laat big one to tour the whole coun- 

No one In the recent ■writings on the 
subject seems to recall one of tne big- 
geat minstrel aho'ws ever orgranlzed, the 
one that Primrose and 'West had dur- 
ing the season of 1893-4, with the 40 
whltea and 30 blacks. Ah I there was a 
minstrel show. The parade at noon 
(rain or shine) was headed by an open 
carriage drawn by four white horses 
with nodding plumes and richly decked 
out in red patent leather harness with 
silver trimmings. In the carriage rode 
Primrose and West and CJeorgo 'Wilson 
CWaltz-me-again) and they were fol- 
lowed by the white band, "Bobby" Car- 
mlchael, leader; then the white per- 
formers, the black band and black per- 
formers, and they were strung out un- 
til the parade ■waa a half-mile in 

The eittes didn't get .these thlngrs In 
the same way the ooe-nlght stands 
did. To be sure, they did parade on 
the opentns day In the cittea, but in 
the one-ntghters It was an event. 
Timed to take place when the popula- 
tion was on Its way to dinner (In those 
tlmea and places dinner was at 13 
o'clock noon), the parade had the side, 
walks lined and was the means of 
enormous sales of tickets, that and tha 
concert at 7:30 in front of the "Opery 

I always thought that "Bill" Weei 
was the prince of Interlo outers. He 
sat in the middle of the seral-clrcle, and 
there ■were George Primrose, George 
"Wilson, Carroll Johnson, Jimmy "Wall,, 
Ezra Kendall (whlt&face). Lew Sully, 
Hughey Dougherty, and ballad singers 
Richard J. Jose "Wm. H. 'Windom, 
James Reagan, W. H. Thompson and 
others not so well kno'wn. The songs ' 
of tha< season were "I'll be true to my i 
Honey Boy," "Standln' on the Comer," 
"Two Little Girls In Blue." "I wonder 
will they answer If I write," "I long 
to see the Girl I left behind," "In the 
Baggacre Coach Ahead," "The Little 
Lost Child," and "Her Golden Hair "Was 
Hanging Down Her Back." 

It was a hits show and a good one, 
but they made the money In the one- ; 
night stands. Tha cities never sup- j 
ported minstrel shows as the smaller 

places did and I bellere that's tb* 
biggest reason for their dlsappesranoow 
The one-night stands ore pr&otloally 
gone since the mortns ploture ha4 
come In. 7. B. H. 

Wm. H. "West died In 190t. His real 
name was Flynn. He 'was married 
three tlniea; his first wife •was Fay 
Templet on. 

Primrose's name wm DeloaaT. Ha 
was bom ait London, C^anada. He died 
In 191S.— Ed. 

Hyinan Rovlnsky, pianist, win j^y 
m^uslo by Cbopln. Kossl, Bach-Busonl 
(Chaconne), Frtuvck-Bauer, d'Indy, 
Bartok, Ravel, Debussy, Tedesoo, and 
Stravinsky tomorrow night In Jordan 
hall. The program Is deoldedlly uncon- 
ventional. Is this Rossi Carlo, bom at 
Lemberg, or Ce«ara, 'born at Rlvarolo 
near Mantua? The two wrote piano 
pieces. Bartok Is not so wefl known 
In Boston as he should ke. Mi-. Qeb- 
hard played Bartok's "Dance of tha 
Bear** as far back as 1912. Mme. Hope- 
klrk played excerpta froim d^ndy'B 
"Tableaux de Voyage" late In 1902. 

Notes and Lines: 

My pen no doubt went a Uttle astray 
when I intimated that O'Brien brothers, 
i profeasionally kno-wn as Bryants Mln- 

'■ ■'TP I .. I'.s, bill « I 

«rat knew them they were little mora 
than hobble de hoya living in the 
vicinity of Essex place, in thla city, 
long before It was known as the Hub. 
Of oourae this was some time before IH. 
Oliver "Wendell Holmea humoroualy In- 
Itlmated that the State House w»a tha 
' hub of the universe. 

Not far from the temporary home of 
the Bryants lived Frank Magijlre, pro- 
fessionally called Frank Mayo. His 
fether was a peripatetic dealer In flah. 
Frank, owing to some youthful eica- 
pade, shipped on board a vessel bound 
for San Francisco around the stormy 
waters of Cape Horn, and from a 
"supe" blossomed Into a "star." 

ITie last time I saw Dan Bryant he 
had washed for the time being tha 
burnt cork from his face and waa play- 
ing at the old Continental Theatre In 
a drama called "The Bells of Shandon," 
a title borrowed from Father Front's 
celebrated poem of that name. After 
(more than a half century I have for- 
gotten what the play waa all about, 
I although I recall that Edwin L. Daven- 
I port, who wa-i then the stage manager 
of the playhouse, was very enthuslaa- 
: tic In Us praise In its description of It 
! to B. B. Shillaber (Mrs. Partington) 
In the old Saturday Evening Qaaetts 
office at the westerly comer of 
Franklin and Hawley streets. 

I believe Nlel Bryant was hia 
brother's advance agent, for I met him 
one night after the play and he in- 
vited me to the Pfirker House to meet 
Dan. Nlel was a happy-go-lucky kind 
of a chap who was always wondering 
that So much good fortune had at- 
tended his career. Of course, 'Dan waa 
the real business head of the brothers. 
His wife was the daughter of a well- 
known sc^!ptor of St. Louis and a 
woman of some culture, who presided 
gracefully over the Bryant home in 
New York city. 

The original BeUs «jf Shandon may 
still sound, "Grand on the pleasant 
waters of the River Lee," but ap- 
parently they did not ring long on the 
dramatic atag-e, for Dan returned to 
ethlopian minstrelsy. 


Dan married Ellen Fttzglbbons of 
St Louis iln 1880. The "Bells of 
Shandon" was written by John 
Brougham and Henry U Morford. They 
wrote it for Dan. who appeared in It 
at "Wallack's Theatre, New York, in 
the summer of 1867. 

, Arthur Shattuck has prepared an In- 
teresting program for his recital in 
Jordan hall next Saturday afternoon: 
six 18th century pieces and music by 
Chopin. Rachmaninoff, Debussy, Gard- 
iner, Sauer and Liszt-Busonl. 

Geraldlne Farrar will be seen in her 
version of "Carmen" next Saturday 
afternoon In Symphony hall. 

The Handel and Haydn Society will 
perform "Hora Novissilna" In Sym- 
phony hall next Sunday. 

worda latUi much to 
milcken his erpr. ■ • 
f.'MmpIy put, to hla 
needs to Join a gr. 

H. U. 

"William Ryder, bartone. sang these 
songs last night In Jordan Hall, to ths 
exceedngly mu.slcal accompaniments of 
Reginald Boardman: Invocazone di Or- 
feo, Perl; Dolce, scherza, Pertl; Ama- 
rllll. mla bella, CaccinI; Gla 11 sole dal 
Gange, Scarlatti; Jy'Attente, Poldowsk; 
Ton Coeur est un Tombeau, Hagemann; 
L'Adieu du Matin, Pesrard: La Vie .\n- 
terieure, Duparo; Dank sei dir, Herr, 
Handel: An Chloe". Mozart; Minnelied. > 
Brahms; Bitte. Franz; Lcht, Sinding; . 
Bid Me to Live, Hatton; The .'Adoration, ' 
Ireland; Song, Herreshoff; Babylon the 
Great, Homer; The Cock Shall Crow, 
Carpenter; WTten Childher Plays, Da- 
vies; Trade "Winds, Keel; A Ballynure 
Ballad, arr. by Hugties; An Old Song 
Re-Sung, GrlfEes. 

In many respects, Mr. Ryder sang 
■well. He has a voice of excellent quali- 
ty In the medium and upper medium 
registers, especially ■when he delivers it 
freely, as he Is most disposed to do in 
these ranges. "When he sings softlj', on 
the other hand, too often, he allows his 
tones to lose their vitality, their bit?. 
Otherwise, technically and musically 
both. Mr. Ryder sings well, with an un- 
u.sual neatness of attack and smooth- 
ness of legato, with phrasing very ele- 
gant. The long difficult phrases 'of the 
Dupare song he managed with especial 

At this moment Mr. Ryder has not 
brought his powers of Interpretation up 
to the l evel of his vocallsm. The Hendel 

j air. indeed, he sang with breadtli and 
' ferver. But In most of his other songs • 
it. Is not easy to recall many phrase.% ' 
which he uttered with conviction, as 
though th'ey meant much to him. 

An<l there are the words. Stevenson 
%vould have it tiiat to be a successful 
writer one must love the ver>- sound of 
words. So must a singer— only he mu.s*, 
march a step farther, glorying In th(» 
sound of consonants and vowels. If 
Mr. Ryder thought more of his lelteri^ 
as a very present help In trouble, tie 
would add much to the color of his 
voice. If he sang more as though mere 

The trla! marrlaces approved by the 
soviet government are only for three 
years. "We read yesterday that the 
worklnga of the ayatem are not yet 
known to be satisfactory or unsatis- 

Marshal Saxe was not only a famoua 

warrior and an ancestor of O^orga Sand, 
he was a passionate mathematician, 
and, nearly 300 years ago, the author 
of "Reverlea." which appeared In many 
editions. In this book he advocated 
marriages for only five years. The 
marrlago could be renewed three times. 
After that. If there were children, the 
man and wife would be obliged to live 
together fill death separated them. The 
marshal waa confident that "all the 
theologians In lha world would not know 
how to prove the Impiety of this sys- 
tem." For this confidence he gave In- 
genious reasons. 

The marshal's remarks were quoted 
at length In the second volume of "The 
Gynogtaphes or the opinions of two 
Respectable Women on a Regulation 
Proposed for all Europe, to put "Women 
In their proper Place and bring Happi- 
ness to both Sexes," a singrular book 
by that voluminous writer Restlf de la 

Restlf added: "One does not expect 
a serious refutation of a system so con- 
trary to the principles of our religion; 
the best one can do is to say with 
Marshal Saxe that It's a reverie." Did 
Restlf write this with his tongue In 
his cheek? For among his 150 odd vol- 
umes many of them answer Salnte- 
Beuve's characterization: "mud." Even 
In his life time Restif was called "The 
Rousseau of the gutter." But "Les 
Gynographes" Is ■a-orth reading today, 
and w^riters about the theatre might 
read his "Mimography" or ideas for the 
reformation of the national theatre 
(1770) with profit. 

By the way, recent reprints In Paris 
of Restlf's "Life of his Father" and 
"Revolutionary Nights," a thrlUIng 
diary of the French revolution, are the 
occasion of an Interesting study of 
Restlf In the Literary Supplement of 
the London Times (March 26). 

Ah, the gentle art of criticism! The 
Observer (London) saw Elizabeth Blb- 
esco's play, "The Painted Swan." The 
reviewer beg-an In uncommonly fine 
form. "The first act of this boudoir 
tragedy suggested that hell may hold 
an exquisite torture undreamed of by 
mere flre-and-brlmstone philosophers: 
that of being delivered over to a Cath- 
cart house party and condemned, with- 
out hope of escape or power to protest, 
to listen to Its conversation." 


As the World "Wags: 

With reference to -your question of 
the 2Sth ult. regarding where the Chris- 
tian (?) name Zervia came from, I 
must confess my ignorance, but evi- 
dently Zurlel Cook, born Sept. 25, 1783, 
who married Polly Lombard at Hender- 
son, N. y., had never heard of the 
name, for if he had, he certainly had 
plenty of chances to have used It. 

His children are named In the follow- 1 
Ign order: Zurlel, Zeresa. Zerema, Zel- 1 
nuE, Zephronla, Zerodla, Zedina, Ze- 
gotus. Zelora, Zethanlel, Zenith, Zelo- 
bus, Zedella and James. 

I think It Is fair to presume that 
James was a po.sthumous child. 


Fall River. 

Mr. Cook forgot Zenas and Zlpporah. 
— Ed. 

As the World Wags: 

The enclosed "poem" was composed 
by brother Vincent, who will be 12 in 
May. He reads Frank Merrlwell and 
Horatio Alger, Jr., almost exclusively, 
so, naturally, I'm at a loss to account 
for this. Do you think the symptoms 
serious? That Is, should I subscribe to 
the Dial at once, or be more optimistic, 
and let the future take care of itself? 


Mr. Vincent Brennan, age 12, Joins 
the ranks of Free-Thlnkers with the 
following effusion: 


When I go to bed at night, 
Siiall I dream? Perhaps I might. 
I dream of war and of Its spoils. 
And drea^ of soldiers' terrible toi!s. 
I hear the booming of the guns, 
And think of men shot for trea-son. 


I see the place where Christ was born 
Lo! See the buildings of Rome all gone. 

I then move on my tireless Journey 

Throughout ttie lands of fame 

And glance at the trees of fru'lt and 

waves of grain, 
Also God'a things on nature's plain 

• rm a cowboy racing 
-.■..s '.he prairie wide, 
at the person at my elde. 
lat -were >vu doing your face Is 

„ j«t up! Get up! It's soren thirty." 


I then gee my mother standingr beside 
1 niy ^ed. 
AnJ « \,- alms. "Get up you sleepy 

As the World Wasrs: 

One hundred years ago this week. 
April 7. 1835, at half past 10 o'clock nt 
night, the "mo.«t destructive conflagra- 
tion that ever has. been witnessed In 
Boston" swept Doane, State, Ktlhv 
Mberty square. Eroad and Central 
streets. The Boston Patriot of April £>, 
1825. stated that "six stores on State 
street were burned, most of the build- 
ings on the S side of Doane street, 

■and all the stores on KIlby street, E 
side, from E,<ings alley to Mbertv square, 
stopping at the Commercial Coffee 
House." (where the firemen, most prob- 

i ably. hSd a few mugsfuU of coffee) 
"most E buildings on Broad street, 
west side (S of Central streets stop- 
ping at Liberty street, and on both sides 

'of Central street." 

j So runs the account In the Patriot. 
I The fire commenced In the third story 
I of a wooden buIUlng on Doane street, 
. "In which Mr. Purkett, Inspector gen- 
I eral of flsh. had his counting room." 
The streets during the fire were covered 
with valuable merchandise. The blaze, 
aided by a wind, varying from north 
to northeast, raised much havoc. Little 
wafer was available. The loss was from 
$500,000 to $1,000,000. Citizens for 20 
miles around rushed Into the city by 
foot and In all manner of conveyances 
during the fire. 

We gave some days ago the explana- 
tion given In slang dictionaries of the 
phrase "Everj-thing Is lovely and the 
goose hangs high." 

F. D. writes: "I have heard that the 
phrase originally was "Everything Is 
lovely and the goose honks high." 

In deploring the destruction of Mme. 
inssaud's, a contemporary observes 
that It -was one of the few entertain- 
ments In London to which a modest 
man might take his family without risk. 
Which reminds a reader of a song of 
the seventies (directed sarcastically 
against the appeal of Lord Sydney, the 
then Lord Chamberlain, for longer skirts 
In ballets)— 

Proper people may stray In the Zoo all 
I the day. 

I Or may listen to Pepper at night; 

j Or to Madame Tussaud they may go, 

I for they know 

That It's perfectly moral and right. 
But he thinks It a sin for young women 
to spin 

Tn such boia plrduettlngs and curves; 
And the sight of a dance, whether here 

or In France 
Is too much for the Chamberlain's 

Q6rvee '. 

—The Dally Chronicle, London. 


iiilslngly. nibblriif "thetti- i,r-fn„t.,,rt „<• 

uiZ'^'r He Showed a ong 

head the music dirt leave behind 1 1 n 
certain Impression of diabolism 

the"n?lldrr "'^^7"' >>« flPProHched 

tne milder son.itn. muslo with hints - 

T "vK . ; '^"'^^i' '"uslo with hints of 
Leybach 1,1 lis run. Henri Herz Tho°e 
people Who wrote glittering salon music 


= ^ music 

to"ch of the 
Choplnesque of course. the wholfl 
tricked out With the curious harmony I 
of Which Scrlabino wa., fond. Stre^XT 
the melody and the gutter, Mr Bat^o « " 
"^^••■■•^t" hold the queerness dowri 
The sonata sounded so agreeable even ' 

vvilfiaTrfBachaus. pianist, gave a re- 
cital last 'night In Jordan hall before 
an unusually good audience. His pro- 
gram read : 

Chromatic Fantasy and Fugue, Bach; 
Des Abends, Aufschwung, Warum? 
Traumes Wirren. Schumann; Scherzo 
from ".V Midsummer Night's Dream." 
Mendelssohn (arranged by Ernest 
Hutcheson): Poeme Satanlque, Fifth 
9bi-.ata. Scrtabine; Variations on a 
Theme by Schumann. Caprlcclo In B 
minor. Brahms; Study In E flat minor 
(arranged for the left hand alone by 
Godowskv). Ballad, A flat, Nocturne. D 
flat. Waltz, Op. 43, A flat, Scherzo, B 
flat minor, Chopin. 

Mr. Bachaus la always unaccountable. 
He can play when he wills to with the 
airy deftness of de Pachmann In his 
palmiest days. He can rage like Emil 
Sauer. If he so fancies he can -display 
a brilliancy of technique equal to 
Rosenthal's. When the notion seizes 
him he makes no bones of pounding 
like — one who shall be nameless, to use 
Sairey Gamp's euphemistical phrase. 
At times hf plays -with a quiet not far 
removed from EtolldUy. 

What does he do last night, this un- 
expected man. who has shown himself 
In the past a respecter of music safe 
and sound, but come out with pieces by 

The "Satanic Poem" poem sounds 
devilish enough. If .only from its noise. 
The strange thing is It makes Its ef- 
fect, for the printed page shows little 
substanre beyond a few twisted chro- 
matic figures of very short breath, and 
=ome harmony very odd. With Its dla- 
• anr'^^": T'lr. Bachaus dealt uncompro- 

to a person who did not kSowirthat 7t I 
irworth.'*" *° -sprclons'as'l'o' ' 

TTi« Bach fantasy Mr. Bachans cor 

yelved heroically, If not to say as a 
(umult, yet always impressively. The 
liigue he made brilliant and stirring 
ro Schumann's "Des Abends" he 
brought true poetical feeling, a slngn- 
l«J-ly beautiful singing tone, and a vivid 
sensitiveness to Its Intricate rhvthm— 
the "Auf-Sohwung" he played with a 
splendid vigor, "Warum" with a rhai-m- 
Ing sentiment that adroitly escaped sen- 
timentally. Though he made much of 
the sustained measures of "Traumes 
\\ irren," Mr. Bachaus had no mind to 
supply the beginning and the close with 
the Ijght and sparkle they cry out for. 

So it went with the Brahms variations; 
In their long course Mr. Bachaus showed 
himself many kinds of pianist. An in- 
teresting one he can never fall to be. ' 
At his best he Is surely an unusually 
one, r. r. | 



Rj-man Rovinsky. pianist. Pf^^^^ « J,';^ 
dtadeliin Jordan hall last night. His 
program read as follows: Chopin. Po o- 
nalse, C minor: CJluck-Brahms, V^votU; 
Bach-Bu.soni, Chaconne: Franck-Baue^ 
Prelude, Fugue and Variation , (1I"f >. 
Pictures of Travel (the Post-C halse, the 
Aneelus, Village Holiday. Morning D?- 
oarture); Bartok. eight children s piecpK 
Ind Sonatine: Ravel, Sonatine: Debus- 
sv Sarabande: deFalla. Sacred Fire 
Dance; Tedesco, Alt WIen Waltzes; 
Stravinsky, Russian dance from \ c- 

Why -will not transcribers and pian- 
ists leave Bach's- Chaconne to t!ie "f- 
dlers? The piece has been transcribed 
for orchestra and for organ K has 
been played on the viola by ^Ir. lerlis. 
There is Busoni's thunderous arrange- 
ment for the piano, and no doubt there 
are other transcriptions for that In- 
strument. There Is P°^f 
flute and concertina. Last night valua- 
ble time was wasted by the perform- 
ance of this Chaconne. ., . 

The program was an -unponventional 
one In selection and larrangemeiit. 
There were some inconsequential pieces, 
among them Bartok's pages for chil- 
dren. D Indy's "TTavel Pictures." which 
were played here Irng ago. cannot be 
raniked among his important or charac'- 
terlstic works. . . 

iM:r Rovinskr Bas some excellent vim< 
tttoso qualities; a beautiful touch m 
lyric measures: strength, which he at 
tlm€<! abuses so that sound becomes 
noise: facility, dash and fire. As an 
Interpreter he lias one grievou.s faultj 
rhythmic unsteadiness. He easily falls 
into sentlmen<alism. Wishing to play 
■Witlt "great expre.<«?ion." he Is cxprr 
sionle.'is. Thus the of CUov<'^ 
as plaved, "by him was a thing of 

and starts, baitings and scamperlns.s. 
alternate toudness and softness without 
reason The calm and l)eautlful flw 
of Mr Bauer's transcription of Franc\< s 
organ prelude disappeared and in Its 
place was mannered rhythmic 'disturb- 

^"No^'doubt the Chaconne -was brilliantly 
played in a stormy manner. Would Jt 
be paradoxical to say «hat the better the 
performance, the more heinous seems 
Busoni's offence'? , , , ,j 

Mr Rovinskv showed tha^t he could 
plav simply and effectively with a diF^ 
plav of exquisite tonal quality by his 
performance of Gluck's Gavotte. 


(li-rom Everyday Life) 
Perhaps Mrs. Peyton was ambitious- 
It looked like it— and after her marriage 
»he should have been perfectly content 
With a big house to manage and guests 
to entertain. She had been poor in 
■worldly goods before her marriage, and 
now -with a husband who was one of 
the chief offlclals In one of tne city ., 
best banks, and her four-year-old child 
With a future before hlni far better than 
when his own father had died 10 years 
before, she should have been happy and 
not Indulged in petty, mean speeches to 

— •»* — 

It Was John Rusktn who said that col- 
lege oarsmen submitted to r'thal most 
degrading of occupations, the 'a^l'or 
the galley slave, " and compared he W 
appearance In the boat to "German dells 
sitting in a toothpick." 

At the trial of Joanny Vigoupoux in 
Paris t#r abusing the confidence of 
Demotte, dealer In antiques, e^^Pf^ts 
gave testimony. One dealer said: A\o 
do not sell faked articles. We sell only 
articles that have been restored. Some- 
times the restoration Is too complete 
I mean It is evident." 


(From the Burllnelon GaMtle) 
Roaming, unrestrained melody against 
a background of sonorities, exuberance 
and reflection alternating in effective 
contrast. . . . American art song 
received an impetus toward Its ulti- 
mate estate when Marie Dreler wrote 


(From "Stoi7 of Irrlng Derlin" in tbe Satur- 
<l«y Evenlnj Post) 
Why, it was but a stone's throw from 
Nigger Mike's to the site of Colonel 
Rutgers's orchard, where, on a flno 
September morning, they hanged to 
the branch of a blossoming apple tree 
a young New England school teacher 
named Nathan Hale. 


An editorial writer in the New York 
World, heading his article "Sierra 
Leone in the Headlines," wrote: 

"And then, for one day, the Prince 
of AVales touches at Freetown, and a 
corner of Africa which has never known 
the spotlight blares under it for a fleet- 
ing moment." 

Freetown has been in the spot-light 
more than once. Captain Frederick 
Chamier, R. N., described that town tn 
his "Life of a Sailor, " published nearly 
100 years ago: 

"I have traveled east, I have traveWd 
west, north and south, ascended moun- 
tains, dived in mines, but I never knew 
and never heard mention of so villain- 
ous or iniquitous a place as Sierra 
Leone. I know not where the Devil's 
Poste Jlestante Is, but the place surely 
must be Sierra Leone." 

sort ot 

We quote from The Conning Tower 
N. Y. World, April 6th: 

Helen's lips are drifting du?t, 
Cleoitatra's heart is stilled, 
Far below the earth her crust 
Sleep the girls who thrilled 
There -n^s an Elizabethan 
Thomas Nashe •who did this 
thing very rwelh" i 
Beauty Is but a flpvrer, , 
Which wrinkles will devour. | 
Brightness falls from the a""' I 
Queens have died young and IMi , 
Dust liath closed Helen's e>e, 
I am sick, I must die. 

Lord have mercy qn ub. 

As for Cleopatra, who /^JS'*.' 
terrible lines about her. e",'*''^?.' 
your nose," In Victor Hugo's "Lesend.* 
nt the Centuries "? 

Sir Rich&rd F. Burton, before he was 
knighted, visited Freetown early in the 
sixties of the last century and devoted 
to Sierra Leone nearly 100 pages of his 
"AVanderings in West Africa," a most 
readable book, written with the ease 
that distinguishes his "City of the 
Saints," but is not always to be found 
In his other \olumes. Arthur Machen 
once spoke of Burton's "detestable 
English. " but this Is not applicable to 
the two works just mentioned. The 
site of Freetown is vile, to use Bur- 
ton's word: the town and the life were 
viie when .he wrote. The white men 
were as those in '.'White Cargo." "They 
might have every comfort that Europe 
and Africa afford, but who cares to 
write or to collect subscribers for 
them? They might have American Ice 
for Id. per 'b., and with Ice would 
come fruits, game and other comforts, 
but who would raise a company or 
disturb his mind with reflecting about 
an Icetiouse?" 

And the blacks! On th^m Burton 
poured vials of ridicule and scorn. He 
speaks of two that had risen to for- 

"The elongated cocoa-nut head bears 
Jauntily a black pork-pie felt, witji 
bright azure ribbons and a rainbow 
necktie vies in splendor with the loud- 
est of waistcoats from the land of 
Moses and Son; the pants are tightly 
strapped down to show the grand for- 
mation of the knee, the delicate sllra-f 
ness of the calf, the manly purchase 
of the heel, and the waving line ol 
beauty that distinguishes the shin bone. 
There are portentous studs upon 7 
glorious breadth of shirt, a sma'l in 
vestment ot cheap, gaudy, tawdry ring 
sets off the chlmpanzee-llks fingers, am 
when In the open air, lemon-colored 
gloves invest the hands, whose horny 
reticulated skin reminds me of the 
scaly feet of those cranes which pac6( 
at ease over the burning 6and, for 
which strong slippers are not strong* 
enough; whilst feet of the same order, 
but slightly superior In point of pro- 
, portional size, are tightly packed into 
patent leather- boots, the latter look- 

ing as If they had been sturten wicib 
some inanimate substance — say the) 
halves of a calf's head. It is hardly 
fair to deride a man's hldeousness, but 
It Is where personal deformity is ac- 
companied by conceit." 

- — — 

Does any one today request a barber i 
to shingle his or her hair? No. shin- 1 
gling is not tlie same as bobbing. The 
term is an Americanism; It has been de- 
fined: To cut hair so as to give "the 
effect of overlapping shingles by expos- 
ing the ends of hair all over the 
head"; but in our boyhood "shingling" 
was loosely used for a comparatively 
short cut, Into the "dead rabbit" cue 
favored In those days by pugilists. AVe 
have read that in western Canada some 
years ago It was said that "at the worst 
there was only a week's difference be- 
tween a shingle and a hair cut." 



(For Aa the "World Wigs) 
Eat on fair dame. 

And swell thy girth — 
Till puffy shapes 
Shall crowd the earth. 

And roly-poiys 

Balance and bound 
Like rubber balls 

Thrown on the ground. 

And when we dance 

We'll cling to thee: 
As squirrels cling 
To some big tree. 



(From the I*ort Huron. MIeh., Timw- Herald) 

BOARD AND ROOM for man and wife, 
must be clean and respectable, for 
about two months; giva all particu- 
lars; box 27 Times-Herald. 4-3 


a musical comedy In three acts, based 
on the play "Going Some," by Paul 
Armstrong and Rex Beach. The cast. 

r.awrenoe Glass Joe B. Brown 

WalllDgtorrt Speed •»'?J*°r*^'>2^f ti 

Uprlflpr Fresno .\lfrcd Gerrarl 

OnWerC«Vln™ton Kleh.r Craig. Jr. 

Vk Jner . Cnirtorrl O'Uouvke 

BettT Lee" ' V. '. . • . ... - Gl°'''« Foy 

IPHnno Ohaiiln Madeline Camerou 

Maridetfa Dorothy Barber, 

And about lOO others. 

It looks like a pretty safe bet that be- 
fore the week is out halt the people In 
Boston, or thereabouts, will be singing 
or whistling or playing a captivating 
little tune that goes to the words: , 

"From the moment that I met you , 
Betty Lee ! ! 

I just bet that I would get you 

• Betty Lee," , 
and a lot more just like them. It Is the, 
persistently dominating theme of the[ 
sprightly musical comedy of the same 
name that opened at the Majestic last| 
night. The song, however, is typical ot 
the other lyrics and all the rest ot the 
musical ensemble which combine to 
make the piece one of the best that has 
been put on here in a Irng time. i 

"Betty Lee" has about all the ele-' 
ments .that go In to the making of al 
corking good show. Plenty of whole- 
some comedy, hosts of pretty girls, 
gorgeously apparelled, lots and lots of 
clever dancing, attractive scenery and| 
an intelligible story. What more do you! 

Joe E. Brown, always a Boston fa- 
vorite, firmly established himself In the 
affections of the big and enthusiRStic] 
audience with his comicalities. Thati 
mouth! Moreover, he demonstrated thel 
new circus ten trousers in all their am- | 
plitude. It was a stunning revelation. 

Miss Foy, in the title role, also won 
all hearts. She is easy to look at and 
dances gracefully. While her voice Is 
not heavy, it is sweet and captivating. 

Miss Renstrom takes the vocal hon- 
ors, In a close competition fcr the 
feminine contingent, and George Sweet, 
hero of the action, for the men. Miss 
Barber, eccentric dancer, also scored 
a real hit. 

The scene Is laid on a California 
ranch, with a Japanese tea room 
annex. There are cowboys and Mexi- 
cans — the former providing a fine male 
quartet— and so many good looking 
girls In the chorus that It would take 
an adding machine to enumerate them 

The whole thing went with a snap 
and a go that was contagious. Th« 
audience was loath to stop and Insisted 
on recall after recall. 

"Betty Lee" ought to play to packed 
houses as long as It stays here. 

Edouavil Schneider has written a book about Elconora Duse, ^It is 
imblished by Bernard Grasset. Schneider knew her well. He hoped 
that she would take the part of the heroine in his play, "Lo Dieu d'Argile" 
v.'hich he had written iiraai2, ahd he sent her the manuscript. She praised 
the play, said she would have poi trayid the heroine at the time she had 
the strength to work and travel, but her afre— she was then 53 years old— 
and the state of her health had taken away her courage. This corre- 
spondence led to a warm friendship. (It was in 1909 nt Berlin, playing in 
' Th* Lady from the Sea" that she resolved to leave the stage. It was in 
this play that she reappeared in the theatre at Turin in 1921.) She did no: 
have the courage to play Elisabeth in M. Schneider's "Dieu d'Argile." "No, 
T cannot," she said to him afterwards when they met at Merano. "See how 
T am! Too late! It would be a sacrilege. To speak of love at my age would 
be blasphemous. I hope that Suzanne Despres will be the worthy inter- 
preter of the thought that guides you." And Mme. Despres took the part 
when the drama was produced at the Theatre Antoine in Paris in the fall 
of 1921. 

This is not a book hastily prepared after the death of an actress, 
abounding in fulsome eulogy, with anecdotes true or false, idle gossip, to 
whet the curiosity of possible readers. It is a careful, but not laboriously 
written study of a remarkable woman written in a spirit of deepest sym- 
pathy and understanding. Having read it one has the greater admiration 
for the woman as well as the actress. 

The last years of INIme. Duse were even more lamentable than is 
generally known in this country. In 1922 she suffered froni asthma and 
neuralgia. The failure of "Coei Sia" was a severe blow to her spirit and a 
pecuniary loss. At Rome the dramatist Gallaratti-Scotti was called before 
.the curtain only to hiss him, and she had shortened the final scenes into a 
«ort of a monologue. 

Her pet name for a manager was "slave-dealer," yet she must work. 
How could she pay her debt of 100,000 francs. "If I only had a little of 
tJje pescicani money." ("Pescicani" was the name given by the Italians 
to the suddenly rich and the profiteers of the war.) There was America, 
but the impresario demanded the impossible: "That she should play five 
times in the week; that she should not play in Ibsen's dramas, and if she 
insisted on 'The Lady from the Sea' she should wear handsome Parisian 
gowns." "Do you see," she asked, "the simple wife of a poor Norwegian 
doctor in dresses of the latest Parisian mode?" 

She refused offers from Gabriel Astrue in Paris. He wished her to 
play a piece by D'Annunzo. "I cannot make myself the color sergeant 
of my country. You know how I love Italy. I'm Italian heart and 
«oul, but no one in my country came to my aid in my terrible distress. 
I wrote to Mussolini. He xlid nothing. Y'es, he did come to my house 
and the newspaper spoke of it. He said, 'Madame Duse, there's noth- 
ing that I would not do for ^u.. Well, I said to him, take my com- 
pany; it's ruining me. Pay it. I ask nothing for myself, only for the 
company which I have engaged and cannot pay. Well, he did nothing. The 
Commander of Fiume"— she usually thus spoke of D'Annunzio — "has j 
written to the newspapers a very beautiful letter about me; a resume Ox | 
all that I've done, my past work, things I had forgotten or would not have ' 
mentioned myself. It was fine of him to recall them and mention them. 
He declared that I had done much for my country; that she in turn owed 
me something. The letter was a beautiful one, very touching, but that was 
all. The Commander of Fiume is like that. He thinks of something, talks 
about it, writes about it, and once he has given form to his thought, mate- 
rialized it in wTiting, that's the end. He said he had heard that I was in 
trouble and he asked if there was any truth in the rumors. He was told, 

and he did nothing And this 'Dead City' of his; it's old, old, finished, 

finished. . . . The manager who thought of taking me to America came 
to see nie recently. When he saw me! 'Certainly we cannot go there,' he 
said. Now I go to London for six matinees. How can I give them ? Every 
morning when I wake I m frightened." 

In Paris she told the importunate Astrue: "I do not wish to 'make the 
star.' I am an old woman who wishes to end her career humblj'. That's 
all." No, she did not wish to reappear in Paris, to show herself "after ths 
manner of a Bearded Lady." And she spoke of playing in a cellar with 
whitewashed walls having for an audience students, working men and 
women. To which M. Astrue replied that it was not the way to realize the j 
material benefit that should accompany artistic success. I 

She triumphed in London, and was happy. She played in the Nether- ' 
lands, Sweden, Norway, Switzerland and said one day: "These countri^ i 
really exist. They are there, for one to visit them." 

At last she received a more tempting offer to visit America than j 
those that preceded. Had she a presentiment of her end in a foreign j 
land? To the author of "Cosi Sia" she said: "Remember me sometimes, at j 
night, and make your little children pray for me." At Paris, speaking of a j 
future plan, she said: "If I am dead, then Desiree will speak to you about j 
it." Her last two performances in Europe were in Vienna. 

From New York she cabled a friend: "Enormous, enormous, enor- 
mous consolation." At the end of her first engagement for this country, 
she signed a second. There were only three performances remaining, but 
at Pittsburgh she died. Her companion, Mme. Enif Robert, wrote M. 
Schneider a long letter about the American tour. 

The climate of New York agreed with Mme. Duse, but she was tor- 
tured at Baltimore, Philadelphia, Washington by the unbreakable resolu- 
tion of the manager not to change in the slightest detail the established , 
5chemc; not to yield to the "caprices" of the actress. She suffered greatly 
from the stifling heat on the way to Havana; the fortnight in Cuba was 
one of torment. It was in California that she found peace and calm.; 
) here she passed her last tranquil month. She dreaded leaving San Fran- 
cisco, fearing the cold. When she crossed the desert, the dust came through 
the double windows of the sleeping car and into her lungs. At Detroit it 
was bitterly cold and windy. At Pittsburgh, not being able to enter the 
stage door of the theatre, for the door man was not there, she was exposed i 
f,-hile waiting to sleet and snow, exposed for five minutes. "They wish me, 
ihen, to die!" Though miserable, unable to get warm, she played. 

On her sick bed she told Mme. Robert that she was gaining. "The tour 
'\h at an end, and, an>-way, I can have nothing more to do with these 
managers. I only wish I were strong enough to return at once to New 
York, embark, leave. Ahl Asolo, Asolo, how^^far away you are!" She ■ 

thouglil o{ her comp;ui.\ , alone, lost in Die 1'. ' sburgh " I h. 

hideous city in the world," she said with a gc orror. .She ho,., 

have the members of her company around her bed on lOastcr, which wou 
be to them a sad holiday. Shortly bofo. o died, nhc asked if the port, 
hic i^eer. told to take the valiBcs. "You know, we niust leave at dav- 
brcak." • 

"At 2:30 precisely, she raised herself without any more physical suf- 
fenng, on the pillows. She joined her hund.-i above her head, then rniuing 
her ryes, let fall her aruis on her knees with a gesture of dinmay an i 
resignation. Motionlons for a moment, kIic put her head on the shoulder 
of Desirec, without a wofd, without any other gesture. And she breathed 
her laKt sigh." 

Rut Maria Avogrado, who with Desirec was with her during the last 
hours, says that Mme. Duse talked of entering a convent for the sake -A 
uf'ir «nd silence. "I no longer have the strength to undergo this horrible 
life. At the end she raised herself, supporting her body by her arms and 
asked why the two women were still. "You must stir yourselve.-t We must 
leave. Get busy." She was suddenly taken with a terrible chill "Cover 
me up! Ten minutes afterwards she died. Her last word.s were "To 
leave. Get busy. Cover nie up!" ' 

But these pages about her last tours are few in comparison with 
those which reveal her noble character, her opinions on art and life Of 
these pages we shall .speak next Sunday. p jj' 

I Faithful Effig-ies in ,Wax 

London Had for Years It^ Hall of Fame — 
Artemus Ward's Trials with "Statoots" 

The fire at Madame Tassaud's moved sonic to jesting, others to his- 
torical anecdotage. The Observer spoke of the intimate and pathetic de- 
tails: "The slow relenting and collapse of Lord Kitchener; the liquefactiofi 
of King Henry and his Six Wives in one reconciling pool; King Alfred 
burned with his cakes; Queen Elizabeth for once in a melting mood; Cran- 
mer martyred a second time; Robert the Bruce's last lesson in persever- 
Rnce from the spider (was there a spider?). I think it was Mr. C. E. 
Montague who wrote a story of a waxwork show which toured Australia 
and finally succumbed to sultry weather somewhere in Queensland. In that 
case the ingenious proprietor renamed the wilting exhibition 'The Last 
Day,' and made money by it. Mr. Tussaud had not the consolation Cither 
of the cash or of the magnificent moral." \ 

Has the day of wax-works passed ? "In days of picture papers, when 
you can see every bride and every law-court scoundrel in next morning's 
columns, the topical effigy has lost its thrill; and the Historical — well, for 
that we have the films. Probably the he5'da^ of the waxworks was the 
sixties or seventies, when the great public had not yet developed the 
modern objection to the placid and the didactic in entertainment." 

There is a dispute over Napoleon's bed. Was the one at Madame 
Tussaud's — it was burned — the one on which the Emperor breathed his 
last? The Countess de Lapeyrouse, writing to the Echo de Paris, says 
it was not; that Napoleon's* death bed is still in her IJossession. She says 
it came to her from her husband, the grandson of General de Montholon, 
who was a friend and testamentary executor of the Emperor. Her hus- 
band's mother, the Comtesse de Lapeyrouse-Montholon, born at St. Helena 
in 1816, and Napoleon's god-daughter, signed this declaration before a 
notary: "The Emperor's bed had been purchased by my father. General 
de Montholon, from Madame Sturmer, wife of the Austrian Commissary 
to Napoleon I., at the time of his return to Europe. The Emperor had 
two camp beds in his room at St. Helena. Shortly after my birth he com- 
plained to my father of the heat he felt during the night, and he had the 
ihaibit gf changing beds. My father offered him his own bed, which Na- 
poleon retained until his death." 

Doubtful relics are "mighty onsartin." 

Madame Tussaud's exhibition was London's Hall of Fame. As many 
rejoiced at being caricatured, even grossly, in Vanity Fair by "Ape" and 
"Spy," so, no doubt, some would have paid handsomely to be done in wax 
and shown to the gaping crowd. 

Macaulay wrote in his diary in l849: "Only one height of renown 
yet remains to be attained. I am not yet in Madame Tussaud's Wax- 
work. I live, however, in hope of seeing one day an advertisement of a 
new group of figures; Mr. Macaulay in one of his ovm. coats, conversing 
with Mr. Silk Buckingham in Oriental costume, and Mr. Robert Mont- 
gomery in full canonicals." 

Macaulay was there in 1925, in a peer's scarlet stole, with ermine 
and gold lace. Buckingham and Montgomery were conspicuous by their 

Of course, there were references to Mrs Jarley's wax works as 
described by Dickens: "An unfortunate Maid of Honor in the time of 
Queen Elizabetii, who died from pricking her finger in consequence of 
working upon a Sunday"; "Jasper Packlemerton of atrocious memory, 
who courted and married fourteen \vives and destroyed them all by 
tickling the soles of their feet when they was sleeping." 

(Paul Margueritte wrote the scenario of "Pierrot assassin," i'or whicn 
Paul Vidal fumished the music. His Pierrot murders his wife by tickling 
her feet. Did Margueritte borrow the idea from Dickens?) 

There was always a Mrs. Jarley show at the fairs for charitable 
ends in the little village of our boyhood, but these figures of flesh and 
blood would wiggle, not able to stand the enforced immobility. Fairs, 
always with a Rebecca at the well; the most pronounced brunette in the 
village dipping out lemonade; fairs with grab-bags: with music by an 
amateur fiddler and an indefatigable pianist. 

Greater than Mrs. Jarley's wax-works were those shown by ArtcmuF 
Ward. More than once his effigies were not appreciated. "My show at 

^v^ou• lu me cuivwi » newspaper, "consists ox inrec moral 
angaroo (a amoozin little Raskal — tVould make you larl' yev- 
Kth to see the little cuss jump up and squeal), wax figger.s of G 
gton. Gen. Taylor. John Bunyan, Capt. Kidd and Dr. Webster 
,.e act of killin Dr. Parkman, besides several miscellanyus moral wax 
toots of celebrated piruts & murderers, etc, ekallod by few & cxccld 

It was in Utica, N, Y.,*that a big burly fellow^ walked up to t'he 
cage containing Arterjius's wax "fig^ers" of the Lord's Supper, pulled 
Judas Iscariot out by the feet and pounded him. "What did you bring 
this pussy lanernius cuss here fur?" and he hit the wax figger another 
tremenjis blow on the hed." 

"Sez I, 'You cgrejus ass, that air's a wax figger — a representashun 
of the false 'Postle.' 

"Sez he, 'That's all very well fur you to say; but I tell you. old man, 
that Judus Iscariot can't show hisself in Utiky with inipunerty by a darn 
site!" With which observashun he kavcd in Judassis hed. The young 
man belonged to 1 of the first famerlies in Utiky. I sood him, and the 
joory brawt in a verdick of Arson in the 3d degree."' 

Lincoln is Said to have read this story aloud at the cabinet meeting 
about to discuss the Emancipation Proclamation, read it much to the 
disgust of the cabinet, as represented in Drinkwater's play. 

In another letter (1859) Artemus argued at length in favor of wax 
figures as more "Elevatin than awl the plays ever wroten," especially 
those by Shakospcaxe. In Canada he fixed a wax figure to represent "Sir 
Edmun Hed. the Govner Ginral." 

"The statoot I fixt up is the most versytile wax statoot I ever saw. 
I've showd it as Wm. Penn, Napoleon Bonypart, Juke of Wellington, the 
Bcneker Boy, Mrs. 'Cunningham & varis other notid persons, & also for 
n sertin pirut nan\cd His. I've bin so long among wax statoots that I 
can fix 'em up to soot the tastes of folks, & with some paints I hav I 
kin giv their facis.a benevcrlcnt or fiendish look as the kase requires. I 
giv Sir Edmun Hed a beneverlent look, & when sum folks who thawb 
they was smart sed it didn't look like Sir Edmun Hed anymore than "2t 
did anybody else, I sed. 'that's the pint. That's the beauty of the Statoot. 
It looks like Sir Edmun Hed or any other man. You may kail it what 
you please. Ef it don't look like anybody that ever lived, then ila 
sertinly a remarkably Statoot, and well worth seeih. I kali it Sir Edmun 
Hed. You may kali it what you darn please!' (I had 'cm there)." 

On other occasions Artemus was less fortunate, as whten he inclui^ed 
Socrates in his show. "I tho't a wax figger of Old Sock would be D05UlAf 
■with eddycated peple, but unfortunitly I put a Browi linen duster hui 
a U. S. Army regulation cap on him, which peple with classycal eddyca- 
tions said it was a farce." In another town he advA-tised a wax figure 
of the "Hon'ble Amos Perkins, who was a Raih'oad President, and a great 
person in them parts." Unfortunately he had shown - the statue, the 
season before, as Gibbs, the pirate. So the audience cried "Shame onto 
ine, and other statements of the same similarness." No wonder the editor 
of the Advertiser wrote: "Altho' time has silvered this man's hed Mith! 
its frosts, he still brazenly wallows in infamy. Still are his snakes 
stuffed, and his wax works unreliable." 

Orchestra. Mr. Koussevltrky, conductor; Mr. Rachrnaninoff, piaillgt. 
See sp«clal notice. 
Symphony hall, 8:15 P. M. Repetition of Brahms'* German requiem. 
SATURDAY— Symphony hall, 8:15 P.IM. Repetition of Friday's Symphony 

Jordan 'hall, 8:15 P. M. Concert by the musical clubs of the Phillips 
Exeter Acad«my. / 

Although we have not read any far- 
ther In the Encyclopaedia Brltannica 
t han the first article, under "K." we have 
found tlnne to read several novels, axnong 
Ihem "The Doom Window" by Maurice 
Drots, s)ub!!shea by E. P. Dutton and 
Companr. >>"e«' York. The story Is about 
grlass windows, old and generous, and 
those .'ngtnlou.ily faked. Let no one be 
deterred by the flrsrt chapter from readv 
Ingr the novel to the end, the happy end- 
ing:. In the chapter ^ire a few words 
tlia* may puzzle some and serve others 
for cross. word pusrzles; under-croft, 
ash-lar, flesh-pane, corbel. Some may be 
'tempted to skip the description of pre- 
paring glass for the kiln, but pages 
should Interest those thirsting for Infor- 
/nation about all things knowable be-' 
J sides other things. 

Then there was the statue of Henry Wilkins, the Boy Murderer, whoi 
in a moment of inadvertence had killed his uncle Ephram and walked off; 
'.vith the old man's money. Artemus lost, this statue and substituted w 
full-grown one of a distinguished pirate. He was exhibiting to "a poor 
but honest audience" in Stoneham, Me. He pointed 'with his umbrella 
to the statue. 

"This, ladies and gentlem-zs, is a life-like wax figger of the not.orious 
Henry Wilkins, who in the dead of ijiight murdered his Uncle Ephrarrt 
in cold blood. A sad warning to all uncles bavin murderers for nephewsj 
When a mere child this Henry Wilkins was compelled to go to the Sunday 
scljool. He carried no Sunday-school book. The teacher told him to gol 
home and bring one. He went and returned Avith a comic song book. «,i 
depraved proceedi-'. 

" 'But,' says a in the audience, 'when you was here before your^ 
was figure represted Henry Wilkins's as a hoy. Now, Heni-y was hung,' 
and yet you show him to us now as a full-grown man. How's that?' 

"The figger has growd, sir — it has growd," I said. I was angrj'."! 

And there were the wax statues — the drunkard's family, etc. — at! 
th.e Boston Museum, the terror of our young years when we visited this 
city and were shown the sights. The last time we saw the wax figures 
they 'Were in the street being carted ingloriously away. P. K, 



SUNDAY— Symphony hall, 3:30 P. M. Horatio Parker's "Hora Novissima" 

performed by the Handel and Hay.dn Society, Mr. Moilenhauer, con- 

ductor. See special notice. 
TUESDAY — Jordan liall, 8:15 P. M. Sonata recital by Charles Touchette, 

pianist, and Godfrey Wetterlow, violinist. Grieg, Sonata, C minor, 

op. 13; SJoegren. Sonata. G minor, op. 19. 

Steinert hall, 8:15 P. M. Granville Stewart, tenor, with William 

Lawrence, pianist. Purcell, I attempt from Love's Sickness to fly; 

Bach. Abide with Me; Handel, V»/ould you gain the tender Creature; 

Mozart. II mio tesorc from "Don Giovanni"; Gierdani, Csro mio ben; 

Verdi. Celeste Aida from "Aiua' : Quilter, Blow Thou Wintry Wind; 

Del Riego, Homing; Zimbalist, Two Folk Songs of Little Russia: Cole- 

ridge-Taylor, Onaway, Awake Beloved: Negro spirituals arranged by 

Lawrence Brown: Sometimes I Feel Like a Motherless Child, I Know 

the Lord's Laid His Hands on Me; Swing Low Sweet Chariot. 
WEDNESDAY — Symphony hall, 8:15 P.M. Sammy Kramar, violinist. See 

special notice. 

Jordan hall, 8:15 P. fvl. Grace Cronin, child pianist. Scarlatti, Son- 
ata, A major, and Pastorale; Paradies, Toccata; Daquin, The Quckoo; 
Schumann, allegro from the Faschingschwank aus WIen; Mendelssohn, 
Scherzo. E minor; Chopin, 3 etudes: G flat. op. 10; G sharp minor, op. 
25; A minor, op. 25; Nocturne, G major, op. 37, No. 2; Scherzo, B minor; 
Liszt, The Nightingale and Hungarian Rhapsody No. 6. 

THURSDAY — Symphony hall, 8:15 P. M. Brahms, a German requiem 
performed by the Harvard Glee Club, the Radcliffe Choral Society, 
soloists, and men from the Boston Symphony Orchestra. Mr. Kous- 
sevitzky, conductor. See special notice. 

FRIDAY — Symphony hall. 2:30 P. M. 22d concert of the Boston Symphony 

Pi Nor should this novel interest onlj- 
oollectors, for though a colleotor is the 
I villain of the story, and to our shame 
and confusion be It said, he is an Amerit 
\ jean, one Chesney Wayne, he Is an enter- 
j taining man of dark resources, ing:eni- 
jously plotting and counterplotting-, en- 
; deavoring- to ruin honest though sorely- 
j tempted Herbert, who was uuforUinute 
I in his avaricious and treacherous sweet- 
' heart. Herbert, havins; exposed the 
ignorance of a London e"pert, i.s in- 
vitee lo restore the magniflceut Doom 
■R^indow in a Shrewsbury church. He 
has found out a method of imitating 
i glass-corrosion, Gladys is betrothed to 
. him, after he had ki-ssed her, at flrsi 
"clumsily on tiie corner of her mou'th," 
then again and again "less clumsily bu< 
I more fiercely." for he was ".shaking 
'with passion," ,?he irad read in some 
publication: "Lot 376, A fine 13th cen- 
■tury panel of stained-glass, $13,000." 
".\nd this boj- covild forge corrosion. 
. .^Lnd he wasn't bad-looking or ill- 
mannered in his simple way. And she 
was 28," 

The London expert had said that the 
Hannan trustee.? in New Tork, who ad- 
ministered the estate in the purchase 
of antiquities for museums in the United 
States, would gladly gi\-e £90.000 fori 
the Doom Window. Chesney Wayne, "a i 
big >!.*.■■ in America," collected old | 
glass and invited Herbert to catalogue | 
his collection in London, AVayne was 
' the zinc trust millionaire. He had paid 
'£6000 for re-leadlng a light eight feet 
by two. Herbert was paralyzed, seeing 
Wayne's collection, ('Two panels of the 
Doom Window were in Herbert's studio 
at home,) 

Wayne, finding out from Herbert that 
some of the old glass in his collection 
was faked; that Herbert, if necessary, 
could imitate corrosion, offered him 
£7000 to imitate the Shrewsburj- win- 
dow so that Wayne could have the 
genuine panels through the exchange. 
The noble youth was indignant. He 
foolishly wrote Gladys about it. She 
was incensed at his refusal, and made 
life most unpleasant for him. Then 
Herbert accepted a job offered in New 

jMr, Drake is evidentlj not over-fond 
of Americans or Xew York. On the 
liner, American passengers catechised 
Herbert, "and confided i!i him In all 
) the accents of the Union, Shrill-voiced 
matrons from New England instructed 
him in his immediate duty — to become 
a naturalized citizen of the United 
States — and lazy, soft-\oiced Georgian.; 
and girls from the Carolinas talked to 
him of the antiquities of England they 
had visited," There wei-e male Ameri- 
cans, an energetic, hungry race, "On 
shattered Europe they had descendol 
like vultures on a foundered caravan, 
intent on picking war-ravaged coun- 
tries to their very bones, . Onj 
told Herbert he had done well selling 
enamelled Iron tablets to the memory of 
dead Ualia,n soldiers on , behalf of ■. 
foundry in Connecticut,'' The editor of 
a Philadelphia paper said to Herbert. 
''Ko more British beer and wine for 
you when you get to the land of Free- 
dom, We've got 8, fine brand of Libert; 
over there — any fool schoolmarm with 
a vote's at liberty to stop able-bodied 
men drinking what they want to. See?" 
When the polite custom house officer- 
said to Herbert: ' An open winter thuj 
far." Herbert thought to himself, what 
Is an "open" winter? New York was 
a foreign city, though the people spoke 
a sort of English, Thg town itseU 
looked from a distance like a box of 
child's toys. "Houses of five and si:: 
stories — qui've reasonably high houses by 
all English standards — stood by tall 
skyscrapers as a hencoop stands behin^l 
a barn." "Ulien the rector of the church 
where Herbert was to work asked him 
to telephone him at the chtirch, Her- 
bert was again amazed. "A church i 

upon the telephone!" 

Even New "Yorkers regarded All An- 
gels' Church with respect. "It's a joke 
on the place," said Wayne, who had 
come back to Mew Tork, "that a man 
can't be a sidesman and carrj- the col- 
lection bag unless he'.-! got twenty 

"Sidesman." Did an American use 
this term for the assistant of a church 
warden ? 

Eve^^■body. even Wayne, was pleas- 
antly disposed -toward Herbert. He 
scraped acquaintance with Sophie, a 
shopgirl, of Cornish parentage, but she 
pronounced New^ York "New Yolck." 
He was impressed by the fact that a 
New York working girl "habitually 
wears in the streets" white gloves, 
patent shoes and silk stockings. But 
there was a shocking surprise for Her- 
bert. He saw at the custom house one 
da;- the two panels from the Doom 
AVindow. the two he had removed for 
restoration. At least he thought he 
saw them. 

Ah, this Chester Waylie! How he 
had made friends with Gladys and the 
skilful Mr. Pindeisen and believed he 
had secured the panels; how by his 
machinations he nearly ruined the repu- 
tation of Herbert at home; how the 
beautiful windows Herbert had prepared 
for the New York church were smashed; 
how Gladys ran oft with Flndelsen and 
left Herbert free to wed Sophie and they 
sailed for England with $3200 from the 
generous church: how "a melancholy 
youth evidently of I^tin descent, but 
with the manner of Princeton," at 
Sophie's instigation, talked with Her- 
bert before he embarked and exposed 
AVayne with scare headlines and bitter 
raillery in a Sunday newspaper, all this 
is told In a most pleasing manner. 

"The Doom Window" is a capital 
novel, holding the attention and, in- 
cidentally, furnishing information about 
glass painting, corrosion, faking and the 
devious ways of dealers in .'intlques. 
There is also valuable information Hb.)ut 
the city of New York. Having read the 
novel, only a courageous man will pur- 
chase stained glass. Collectors will 
easily pardon Wayne, for there is no 
fury like unto that of a collector. 

"This art " (of painting glass) "it is 
believed, was brought into England in 
the reign of King John." See Walpolrt's 
anecdotes of painting. 


As the World AA'ags; 

Marriage notice in the Boston Inde- 
pendent Chronicle and Patriot, April 

;0, 1S25: 

"In Suffolk, A'a,, James Briggs, Esq., 
to Mrs. Sarah Layder. (This is the 
third time this lady has been brought 
to the hymenlal altar within 18 

What do you make of this? And has 
the adjective "hymenial" fallen Into 
the discard? C. F. O'DWYER. 



Arthur Shattuck, pianist, played thlsp' 
program yesterday afternoon in Jordan' 
hall: Purcell, Gavotte; J. S. Bach, Pre- 
lude; Couperin, Arlequln; Lully, Cour- - 
ante; Scarlatti, Allegro; Bach, Capric- 
clo (On the Departure of the Beloved 
Brother); Chopin, Ballade F minor. 
Etude C sharp minor. Prelude G major. 
Ballade A Flat; Rachmaninoff, Prelude 
B minor; Debussy, Clair de Lune; Bal- 
four Gardiner, Noel; Sauer, Music Box; 
Liszt-Busonl, Polonaise E major. 

It stands clear that Mr. Shattuck Is 
In genuine sympathy with music of the 
17th century. For when he wanted to 
play of It liberally yesterday his choice , 
was not limited to the pieces by Bach 
we hear everv .Say, to the everlasting 
pastorale and sonata of Scarlatti. Nor, 
In the way of too many persons who 
wish to dally with courantos and rlga- 
doons not too steadily overworked, did 
he make the mistake of assuming that 
all music is good If It is only old enough. 

Knowing the period thoroughly, one 
may risk the guess. Mr. Shattuck had 
a rich store from which to help him- 
self Knowing, too. a good thing when 
he saw It, he chose charming music to 
plav, music unfamiliar to many per- 
sons who themselves are strong in their 
tastes for the age of Bach, 

Mr Shattuck played it delightfully. 
He played It as though he loved it, as 
though it meant much lo him, which 
is to say he played it with varied tonal 
, color, except where, as In the Lully 
Icourante, he wanted for its effect a 
I monotony of tl:it. and also, whenever 


f.'' rh\.: lu. ihhiJc • 
'vln^f as well as very . 
> thm and hl« momen. 
no he gave to th« HarK'iiuin Cou 
rin u ourlous faac.'iiatlon, »ven • 
iioh of humor, no I— a. 
13ut what a mlsfoi>.une It will jirova 
i.' If Mr. Shnttuck and Mr. Briica SImondi 
jj between them make Bach's cuprlce 
i'opular! Not everyone can play It 
I well. 

Though Mr. Shattuck showed himself 
no mean hand with Chopin, it seems 
possible that he feels a warmer sym- 
pathy for the ancients and also for more 
modern music. Certainly he possesses 
unusual qualities for playlns Debussy's 
music, poetic Imagination, for Instance, 
rnre beauty of tone, and, above all. tho 
disposition, which many ^ilnnlsts lack, 
to take full advantage of what melody 
and movement It holds. The Impres- 
.-Jlonlstlc suggestion of moonlight did 
not suffer yesterday because it was not 
niushlly set forth. 

Mr. Shattuck also made attractive Mr 
Balfour Gardiner's Noel, picturesque 
music, a little obvious in its intimations 
^{ you will, but none the less agree- 
hble. Mr. Shattuck played It brilliant- 
ly, with a wealth of contrasting tone 
wi th a melody that sang. R. r. q ' 


I At Symphony hall yesterday aflcr- 
Inoon Geraldlne Farrar presented her 
|v«rBlon of "Carmen." which she calls 
"a modem revised version from the 
book of Prosper Merimee to the music 
of Georges Bizet." . Incidental, dances 
were staged by Ned Wayburn and the 
rast was as follows: 

naniMn • Ger«1dlne F«rr«r 

MercidM J''*'''* Rlegscr 

Zunlga . •■ Marcel \ i«lon 

Tae dancers „, j 

Roth. Laim. UlMred Leliy, Gladys Meredith, 

Star Woodman „ . „ , 

Mnslcal dlrootor • • Carte Peronl 

.iMOcUte conductor Claude Gonvlerre 

A short time ago Nemirovitch- 
Dantchenko of the Moscow Art Theatre 
announced that he would revolutionize 
"Carmen. ■■ that he intended to go to 
Spain for three weeks in pursuit of the 
f-phemeral "local color," and that his 
version when complete wonM be nearer 
that of Merimee than the present one, 
and would mark a further step in the 
evolution of the music-drama. 

Now Geraldlne Farrar has devised her 
version of "Carmen," a strange progeny 
that is neither Bizet nor the tale of 
ProBper Merimee. Here is a "Carmen" 
Btripped of its swaggering, full bodied 
choruses, its smugglers, picadors and j 
gypsies; a tabloid version in three acts 1 
that is thinly flavored, and sumptuous- 
ly oostumed in the guise of a gallery of 
S^uloaga portraits; a pageant in minia- 

Yet with the exception of the 
choruses, the quintet, and various other 
leiser omissions, the music of Bizet has 
beon left intact. There was still the 
duet of Don Jose and Carmen of the 
flr»t act, the solo of Mlcaela in the last, 
and of course there was Miss Farrar 
ai Carmen, perhaps not so smooth or 
80 fresh of voice as she was in her days 
at the Metropolitan, but still a lithe 

The Carmen of Prosper Merimee was 
known for her laughter, provocative, 
musical. The laughter of Miss Farrar's 
f:*rmen is hard, ugly and sardonic, and 
«he lack#tha subtlety, the fits of tender 
pMsion. the eluslveness of Merlmee's 
rypsy. Tet she has her boldness, her 
•uftTlty, her independence, her insinu- 
ating way. But there is a taint of the 
vulgarian in her Carmen, despite the 
costumes suited to the wife or mistress 
of a Spanish grandee that she 'wore 

As for the rest of the performance 
yesterday, it was a good one, although 
occaalonally tha dances Interpolated by 
Mr. Wayburn were less Spanish and 
gryrsy in their origin than anything 
else, particularly the bowing and scrap- 
ing of the marquises of the third act 
)n the foreground of the arena. Miss 
Not, as Mlcaela, had a pleasant and 
nicely modulating voice, although she 
forced her upper notes and sang harshly 
at times. Joseph Royer was a pica- 
resque and magnificently costumed Es- 
camlllo, obvloualy patterned after the 
loreador of Zuloaga, of recent exhlbl- 
•lon. Miss RIegger was an ample and 
rmo<^-voto«d Mercedes, And the or- 
chestra, under Mr. Oonvlerre. did Ita 
best with its depleted numbers. 

B. O. 

It was a strange adventure— this pro- 
uictlon In New York of Byron's "Cain; 
-< Mystery" after 100 years. Byron never 
1 reamed of the theatre when he wrote 
;r. When it was published there were 
■shrieks of pr»test. Mrs. Plozzi said the 
.■'How fevpr «-as not so dangerous; I^ady 

:-cnt w.ird (t ■■! 
wrote a 
the forn\ 

t)i.> \wot that 
• ill- 

M.u ray tho publlhiicr, but tilr \\ allpr 
S- ott, to whom the play was drdlciUed, 
caUi;d It "very grand and tremendous"; 
"they must condemn the "Paradise 
iI,ost' If they have a mind to be con- 
sistent." Byron wrote in his preface: 
"With regard to the language of Luci- 
fer, it was difficult for me to make htm 
talk like a clergyman upon tho same 
subjects; but I have done what I could 
to restrain him withit) the bounds of 
spiritual politeness." 

Was "Cain" ever acted In England? 
"Manfred" and "Sardanapalus" have 
seen the footlights even In this coun- 
try. The latter was produced "lii grand 
style" at New York In the fifties. "When 
.larrett & Palmer brought It out witli 
a ballet, Including Mmes. Palladino, 
MasoarinI, Sticke). Besestl and Par- 
megianl "with four first-class dancers, 
eight coryphees, six ballet ladles. 99 
'supers,' 24 negro boys, 12 chorus wom- 
,en. eight chorus men and 48 extra 
jladles." F. C. Bangs played Sarda- 
inapalus, and Agnes Booth was Myrrha. 
, There was a roaring fire at the enS of 
the play, which excited tumultuous ap- 
plause. We remember that students at 
Yale were invited by the managers to 
see the show at Booth's Theatre, to en- 
courage art by their presence. The fac- 
ulty granted permission, as it did for 
the great revival of "Julius Caesar," in 
which we saw the mastei-ly perform- 
ance of Brutus by E. L. Davenport, 
with Lawrence Barrett, Cassius and F. 
C. Bangs as Mark Antony. (Edwiii 
Booth also took the part of Brutus in 
this revival.) Byron's 'Marino Fallero" 
has been performed in the United States. 
A play, the "Foscari," with Camilla the 
heroine, was played in New York about 
100 years ago. Was the play Byron's? 
His heroine Is named Marina. 

Perhaps Byron's "Don Juan" may yet 
be turned into a moving picture show 
Who knows? 


Small child, young child, why do you 

Sigh as .bare as a wintry sky? 

"You could see our bodies blot out tho 


As we roamed the nlglit, young, hand 
In hand, 

And little I recked the time was soon 
I'd stroll, alone. In Samarkand." ' 

Small child, young child, why do you 

Tour head so high, your head so bold? 

"X stroll alone, in Samarkand, i 
But ever I'll treasure. In my hurt soul, ' 
Warmth o' the nlght on that far strand, > 
' Stars flung low from a brassy . 
bowl " I 


As the World Wags : 

An acquaintance of mine is deaf. She 
carries one of those electrical arrange- 
ments which looks like a camera and 
has httle ear clips. Last week she went 
to church and sat in one of the front 
pews. A small boy who sat In the seat 
behind her, seemed much Interested in 
her. Later In the day at the dinner 
table he announced to his assembled 
family and guests, that he had seen a 
lady In church who had her own radio 
set, so that she could tune In on some- 
thing else, if .=he didn't like the sermon. 

This same lady went to a large fam- 
Uiy gathering a few days later. One of 
her cousins (not a small boy) asked her 
if She would be good enough to send 
him some of the snapshots if they 
came out well. 

.These are more or less Interesting 
experiences, but not so exciting as an 
experience a man had with one of 
these "ear phones" when they were 
first Invented. This Innocent and un- 
suspecting gentleman went to Scotlinci 
Yard. The moment he appeared rvery 
man there pulled out a revolver, think- 
ing this little aid to the deaf was an 
infernal machine. r. C. F. 


As the World Wags: 

How tantalizing that Mr. Herkimer 
Johnson, B. A.. A. M.. Ph. D., LL i) 
D. D. (?), T>. C. L.. etc., etc., etc., who 
knows everything about anything, , 
should discourse eloquently upon era- I 
vats, and not reveal the interestlntr - 
origin of the name for that article which I 
decorates his eminent neck! My Inval- i 
liable copy of Weekley's Etymologiral ' 
Dictionary, for which 1 paid $15 when I 
needed trousers, tells me that the word ' 
"cravat" found its way into the French 
language in tho 17th century when 
the Croat soldiers of the Thirty Years' 
war attracted interest by their elabo- 
rate neckwear. "Cravat" was a Gallic 
attempt at Croat, and in due time the 
thing and name reached England. Per- 
haps Mr. Johnson, who knows more 
than all other etymologists combined, 
may prove that Mr. Weekley is wrong 
in this derivation, even though the ' 
same is given in other authorities. I . 
can scarce wait for the eminent Dr. i 
Johnson's dictum. Would I were his 
^^""^^■f^"' IGNORAMUS. 
1 11 \\ . 

Hid Lond 

l.,Ul ! 1 

linen, or j 
In a l.ow I 
namentri! f 

■ "u lu this column, 
' I lit out Mr. Johii- 
1 f. In 170:l 
f "Uogl- 
I ravalo*," 
■ 1 wrote "thu 
1 1 ("1 . .ites and Tm - 

tar.s, 1 , ,. , . . ,M s (sic)." 'I'bf 

cravat was at lii.'it of luce, or linen 
of nuislln edged with lace, tied I 
with long flowing ends. Thl.s ornam 
accessory camo Into voguo In t'ranco i 
the 17lh century. In this form It was 
originally also worn by women. Appar- 
ently, when the name was given in Ens- 
land to a lini<n or silk handkerchief 
passed once or twlco round the neck, tho 
cravat could be purchased ready-tied. 
The cravat was also callud "ciabbat." In 
urious old dictionary. Blount's GIo^so- 
giaplila: or a dictionary Interpreting 
the Hard Words of Whatsoever Lan- 
guage 'now used in our refined English 
Tongue (5th ed. 1681) wo find: "Crabat 
(Kr.) is of late well known with us to 
bo that linen which is worn about 
men's (especially soldiers' and travel- 
ers') necks. Instead of a Band; and took 
name m.iii (Jroata, because the Croats 
first used them in the German Wars." 
What we now call a "comforter" to 
protect the neck from cold was also 
known as a cravat. — Ed. 


As the World Wags: 

In the Boston Patriot for April 13, 
1S25, was this advertisement: 

"The public are respectfully Informed 
that the Middlesex and Slerrimack river 
canals will be ready to receive boats, 
lafts, etc., on the loth of the present 
month. Caleb Eddy, agent." 

This was probably a formal announce- 
ment of the Clearing of the canals from 
ice and the debris accumulated during 
the preceding winter. The Middlesex 
canal ran between Boston and Lowell 
by way of Medford, Woburn, Billerlca 
and Chelmsford between 1805 and 1850. 
connecting the Charles river with the 
Merrlmac. G. F. O'DWYER. 


As the World Wags: 
From the North Shore Breeze: 
In order to better handle its business, 
the printing plant of the North Shore 
Press, Inc.. formerly occupying the 
three floors of its factory at 6G Sum- 
mer street, will soon conjest itself into 
two floors, etc. _ 

Is this one form of that dread disease, 
conljestlon, which good old Doc Evans 
writes about? Is It alcin to "apart- 
ue^Utis"? C. H. S. M. 


The Handel and Haydn Society, Emll 
MoUenhauer, conductor, sang Horatio 
W. Parker's "Hora Novlsslma" yester- 
day afternoon in Symphony hall. The 
soloists were Emily Stokes Hagar, so- 
prano: Emma Roberts, alto; George 
Meader. ter.or; Fred Patton, bass. The 
orchestra was the Boston Festival or- 
chestra, John II. Crowley, principal. 
Frank H. Luker was the organist. 

At Its first production in Boston, 
Komething like 30 years ago, this music 
roused enthusiasm. It must, of course, 
have sounded very brilliant, for Parker 
knew exceedingly well how to write for 
orchestra and for chorus. No doubt its 
melodiousness also pleased." There is no 
reason why it should not please today, 
for. if some of It Is of the order of 
ordinary choir music, the mass of the 
people must like the usual type of 
church music or they would not put up 
with It. Some of the melody, too, if 
never quite distinguished, is of finer 

But It Is a curious fact, if memory 
does not fail, that this music seemed. 
3,0 years ago, quick with religious fer- 
vor, some of It written in a churchly 
style of elevated beauty. IE listeners in 
the nineties heard "Hora Novlssima" 
aright, it only proves once more how 
rapidly the emotional element fades from 
music. Tirice ble.?t the composer, then, 
who has supreme beauty lefc. 

Of the churchly style there is not 
much to be found. Of course there Is a 
fugue. Probably the writers of that 
time were strongly impressed, as they 
had every right to he. with the admir- 
ably written unaccompanied chorus, mu- 
sic distinctly eocleclas'tical in its spirit, 
of a lofty dignity, and devotional as 
well. Tn this fine hymn ttie chorus on 
the whole did its best work, the altos 
In particular delivering their measures 
with fine tcne and with appreciation of 
their significance. 

The performance did not in any re- 
spect reach the standard set by the 
Handel and Haydn Society. To point to 
.shortcomings or to attempt to apportion 
the blame would serve no useful pur- 
pose. R. R. G. 

whotlier me nauic vi "o 
will go out an did anuff-ta 
would he say If he knew that 
fashion have taken up the 
London journals are trustworthy 
Jewellsd snurr-boxes as well as 
are now on ^aln for women? 

When Baring-Gould was young, hi) 
noted that unuff-taklng had nlmost gone 
out of fashion with the ladles, but he 
remembered his grand-aunt, born In 
1769, taking a pinch In private. He 
quoted a loiter In the Spectator (1712) 
complaining of the prevalence of snuff- 
taking among tho ladles, and he tells 
of Queen Charlotte, who hnd a train of 
snulir laid on her bare arm "and ran Iicr 
nose along It, sniffing It up from one 
end to the other." He must have been a 
mischievous youngster, for be put flnoly- 
cut horsehair Into his groat-aunt's 
snuff-box. It produced a "hurricane of 
sneezing," so she did not leave him a 
penny in her will. 

He did not approve the habit of 
women smoking. "If they were aware 
how their breath smells after a cigar- 
ette and how discolored becomes their 
teeth, perhaps they would be more 
chary of their smoking." To point his 
moral, he tells a tragic tale: 

"Not very long ago an acquaintance 

got engaged to a pretty young lady, 
who, however, one evening after dinner 
was rash enough to take out her cigar- 
ette case, light and smoke her minia- 
ture cigar. He, who had been talking 
to her with considerable vivacity up to 
this moment, suddenly became silent. 
She turned on him after a while and 
asked what was the matter with him. 
'Merely,' he replied, 'that I consider our 
engagement must end In smoke.' And 
accordingly it was broken off. 

' 'Good Lord!' said he afterward, 'I 
was well out of that. A woman who 
smokes will become a woman who 
drinks, and I do not want a wife who 
will begin with whiskey and end with 
cocaine; and, by the way, whiskey now 
is deuced dear.' " 

Listen to the harrowing sequel: "The 
'smoking lady is a spinster still; her 
former admirer is marriad to a sensi- 
ble non-smokeress, water drinker, and 
Is the_ happy father of three lusty chil- 
dren, and there Is a promise of more, as 
I am informed In a low voice. The 
smoking lady has only a pug and a par- 
rot to spoil." 

This story reminds us of Bret Harte's 
parody of a novel by T. S. Arthur. Or it 
might be included in that amusing little 
book, "The Burning Shame of America: 
an Outline Against Nicotine," text by 
Richard J. Walsh; pictures by George J. 
Illlan, that was published last year at 
Mount Vernon, N. Y., by William Edwin 
Rudge. Baring-Gould's friend might 
have said to the shameless hussy what 
the pictured girl is saying to her wooer 
(page 11 of this delightful book): 
"I would be yours, aye, until death. 
Were nicotine not on your breath." 

/) Iv^ 

A still more amusing picture (page 
27) Is the portrait of "President R. P^ 
Jones of the No-Nlcotlna Alliance, who 
says: 'Let us amend the constitution to 
stamp out Nlcotlnel' President Jones 
was born In and has lived all his entire 
life in Illyria, 111., a life of sweetness and 
purity which gives him fitness for the 
great office he now fills to the full." You 
should see his whiskers; whiskers of the 
"Piccadilly Weepers" brand. 

There is a map, "Gaze at the map and 
see what useful foods grow where to- 
bacco isn't. Millions of acres of onions, 
^asparagus, squash, spinach and other 
diets do not appear. Tho curse of our 
agriculture Is nicotine." 

"In rich men's clubs, the youth begins 
to smoke, and soon learns other sins." 

"The braggadocio of smoking causes 
one to feel that he must also indulge 
in profanity. Then, alas! follows rum! 
In nice homes smoking is not allowed 
to be done. So the smoker has to go 
where he can find his boom compan- 
ions. So he wends to the saloon (now 
the speak- easy) or to the club. There, 
while smoking, he is often urged to 
take his first sip of liquor. A sip leads 
to a swallow, a swallow to a bottoms- 
up, and soon he becomes a guzzler and 
ends ia the gutters. £ven In tlte luxurl- 


tnt clubs of the rich, where one would 
xpect to find good taste, these pitfalls 
lie in wait for the young man of breed- 
ling and fine family. After that, all the 
horrors of the primrose path stare him 
in the face. Gambling and race-track 

"a.ring-Gould In his entertaining touting, sleeping late in the morning 
-Early Reminiscences," published bv E '"^^ ^ sluggard, gadding about with 
^- Dutton & Co f*"- • '- ■ ' wl!d women and other features of night 

reviewed in 

-the book has been 
The Herald— wondered j 

life, marital quarreling, and often hid- 

■ f Ui: rciiy, "pnTerTngri em-[ 
id assault and battery iimyj 

sider the economlo waste, 
cigarette flend can become com- 
jrtably rich and retire at the age of 
forty, with say, $2000 a year to live on, 
If he stops. 

"Pipe smokers burn up quantities of 
matches. It is estimated that the 
matches used by smokers, if conserved, 
would furnish enough lumber to furnish 
5000 homes with furniture. 
I "Pockets are burned by hot pipes, and 
I sometimes money is lost through the 
holes In the pockets. Tobacco Juice 
stains shirts and makes It hard for the 
housewife when she does the washing, 
often making: It necessary to send them 
to the 'wet wash,' thus increasing the 
household expense." 

Cite the fact that "^'omen, who do 
not (except for a few depraved sisters) 
use tobacco in any form, average to 
weigh five pounds more than men who 
use tobacco In any form." 

Lucius Cooper, chief military expert 
of tho No-Nlcotlne Alliance, says: "I 
am convinced that the war would have 
ended a year sooner If our troops had 
not used tobacco. Only the fact that 
the Germans were also tobacco-drugged, 
it being well known that they smoke 
hugs pipes with china bowls, prevented 
them from victory over us." 

Yet high-born dames have smoked 
huge cigars and men have thought 
none the less of them. There vras the 
brilliant and devout Princess Sayn- 
I \A Ittgenstein, the friend of Liszt. (It 
' la said that Liszt became an abbe so 
j that he could not marry her, but not 
because she smoked.) There was 
George Sand, who liked strong cigars- 
If Mms. Judith, the actress, is to be 
believed, she, at rehearsals of one of 
her plays, sat a-straddle a chair, or 
with one of her feet on another cliair, 
puffing a short, blackened clay pipe. 
There's a picture of her In the act on 
page 210 of Mme. Judith's memoirs. 
And even in Boston a woman of high 
attainments enjoys long cigars even in 
public placos. 

We never saw a woman take snuff in 
our little village of the sixties, but the 
family doctor's florid waistcoat was 
sprinkled with It, and he would 
punctuate the account of his call on 
Sir Benjamin Brodle In London with 
huge pinches. Yet his patients often 

Itril c'Mistan',, 
1 spci'i-ii iiy 
my r.urke's 
ventures ns a 
VMill Baki^r 
merrv quips,' 
fed by tho 
upper -box, :i 

"Drafted,'' rclni 
soldier. 'rhen 
Willi hi.<! aroorilion iiinl 
i»t(led Hiul aht>tted and 
quietly Jocose man In »n 
■ kf-tiMi of t .ui n-ruid go ropartpo. 

The spcotnoular scpnes that were 
.'speclallv notoA'orlhy were tho "Orange' In i '.Ulfornla," "Strut," "The" 
Pishornian';; Dream." A (oature tliat 
.ippealcd I ' many was '"L'ho Waltz of 
Lous Ago. " with dancers dressed In 
cosluniejf v( the seventle-s, the men as 
cadets, who danced the good old waltz, 
Ihf most graceful of all comparatively 
modern dancts. while Miss Thomas 
>:ang ;i waltz song. 

.-Vnother feature wa,*; the male card 
;iarty, In wlilch thcNroen played as 
voinen do, with pepidnal comments, 
the desire of one to find out how the 
host's kitchen looked, the irrelevant 

Wo have not seen a revue In which 
there was fo little jiadding, so little 
that was inconsequential and dull. Tli'^ 
music was In turn gay or sentiment, il, 
easy toihear, not too pretentious. 


Plymouth — "The Goose Hang^ 
High," play by Le-w'is Beach 
■w'ith Norman Trevor and 
Mrs. Thomas Whiflfen. 

Majestic — "Betty Lee," musical 
comedy ■w ith Gloria Foy and 
Joe E. Brown. Opened last 
Saturday evening. 

"Isabel," by Kurt Goetz, and 
a Barrie "Mystery^ 

the'-end! Tn.stead, he mxmt have his 
joke— unles^s It be tlint he mean.i to 
finish the piny with another act or two, 
for which tlieory there seems to be no 
real authority. 

Tho piece was excellently played, Jifr. 
Cllve In particular doing fine work 
with his portrait of an amazing old 
man, a cruel old man though sorely 
provoked, with an exterior soft ns vel- 
vet, n. n. li. 

COPLEY THEATRE — "Isabel," com- 
edy In three acts by Kurt Goetz, adapt- 
ed by Arthur Richman, "Shall We Join 
the Ladles?" a "mystery" In one act by 
James Barrie. The cast of the comedy: 

Aunt Olivia Elspeth Dudgeon 

Isabel Shawle ,.Katherlne Standing 

Wilton Shawle Philip Tonge 

MIteby C. Wordley Hulsc 

Peter Graham Alan Mowbray 

Though a German play to its core, 

this "Isabel," German in its curious! patiently awaits the return of the love- 
melange of wit, impropriety and senti-'-|iy Mildred. More time passes. bhe 
ment, polite comedy and farce, its ■ j^omes, radiant, beu Itching, more suuip- 

> WlLBirfl THICATRE— "The Immi- 
grant," a play in three acts by Mr. and 
Mrs. Guleslaii. 

Gilbert Lawrence Clarence Hanrtyslde 

O'Brien Aliisworth .\rnold 

Bill Pickerlnsr Allen H. Moore 

t'^'ilrtrcil I.nwrpnce. .. .'Donna Pas Loup 

Richard Harrison -Howard Freeman 

Hagop Turlnn Arthtir .4shlcy 

Hattlo Lawrence viola Fortescue 

Jenkins Frank Fra.vne 

Veedah Novakian M^rsuer'**' Forrest 

Her Father Clarence Handyside 

Her Mother Viola Fortescue 

Talaat Pasha Alnsworth Arnold 

Veedah's Brother Wallis Roberts 

Sam Howard Albert Andruss 

Butler Frank Frayne 

An enthusiastic huzzah for Armenia, 
stretched to a tenuous length and cut 
into seven scenes, is "The Immigrant." 
First we see him land at Ellis Island, 
penniless and forlorn, but addressing 
passionate speeches to the Liberty 
statue on the backdrop. 

The lights of the city twinkle In the 
distance, a ferryboat ablaze with light 
moves uncertainly across the bay, bear- 
ing the beautiful daughter of the com- j 
mlssioner of Immigration. Two minutes 
later she enters, dressed as for a coro- 
nation, finds the unfortunate immigrant 
about to be deported, pleads with her 
father, lends the Armenian $50 and 
sends him to his knees in prayer. 

In a week he is eai ning $12 a rug. In 
three months he is foreman in a fac- 
tory where they malce copper kettles, 
another year and he Is buying real es- 
tate In Waterbury, Ct. 

The beautiful commissioner's daugh- 
ter-continues to be interested, but al- 
lows herself to be sent abroad by her 
father, lest she fall in love with the 
copper' kettle man. By this time he 
has his naturalization papers. 

Five years pass. The immigrant is 
! worth half a million, has a factory of 
■ his own, befriends other Armenians and 

Third Annual "Music Box"| 


lin's tiilrd annual Music Box Revue. 
Lj-rics and music by Irving Berlin. Pro- 
duced by Sam. H. Harris. Staged by 
Itassard Short. AVilliam Loraine, or- 
chestral conductor. 

This is the most entertaining revue 
ihat we have seen for many months. 
It ts a show that does not depend on 
spectacular effects, although the stage 
settings are handsome and tasteful In 
their slrnplicity; not over-elaborate and 
iilatant when they are sumptuous. The 
> ouns women are singularly attractive. 
■;"hey do not depend when they arrest 
• nd charm the eye on insolent exposure 
their bodies, though they need not 
fear exposure. The comedians are 
really funny; not silly, not given to 
■ orse p'ay. For singers there are Miss 
rtuth Thomas and John Steele. Th^ 
atter, long a favorite in Boston, again 
'von the hearty applause of the great 
audience. Miss Thomas sang with gen- i 
nine art, with a refreshing absence of 
•lelf-consciousness. Her voice is light 
but it carries without effort, and, rare 
thing in shows of this nature, her in- 
tonation is pure, her enunciation dis- 
tinct. There are good dancers in varied 
irianner, .Miss O'Denishawn, Miss Dilley. 
Messrs. Columbus and Snow. Then 
there arc the quaint singers, the Wain- 
wrlght sisters. 

To speak of noteworthy features of 
the entertainment would be to give 
practically the whole and long program. 
Of course .Florence :\foore was very 
pmusing In her confidentially audacious 
way, \\'hether slie described her Eighth 
Notes one by one, told as a ijoor work- 
iiiic girl the .■!ad story of meeting the 
man with brown sihoes that led her to 
tiic river, or appeared In "The Lucky 
Strike," a little sketch with a match- 
1*.=.<: ending. Joseph Santley and Ivy 
.Sawyer v.ere especially good in "The 
Weddlne Ring." a title that gives no 
lo'ea of th'-. various rounds and the final 
knock-out. but this was only one of the 
rlretches in which they shone. "The 
>fniive" was a pleasingly satirical 
t :■'!•>•■ "-It .-i' - rn--f'or;'.. 

clever author, .Kurt Goetz, is evidently 
not unfamiliar with the drama of pther 
lands than Germany. He Icnows the 
plays of Roberto Bracoo; he mu6t have 
seen at least the "Candida" of Shaw. To 
a turn he has caught Oscar Wilde's 
variety of wit. He appears even to 
have investigated the past so far back 
as Sheridan. From French comedy he 
has helped himself to the idea of the 
elderly looker-on, chorus, confidant, 
counsellor In one. With a pretty origi- 
nality of his own he has assigned tho 
role to a woman. 

The plot need not be set forth; there 

' is not much to set. AVhat there Is gives 
ample opportunity for amusing talk, 
skilful sliding on thin ice, and, for the 
greater part of -one whole act, a scene 

[showing the lesults of too much cha;m 

, pagne cup, a scene that surely runs too j 
long, though It fetched longer and"^ 

tuously apparelled than ever. 

There is now an intermission, giving 
time for a rapturous audience to call 
the authors before the curtain. Flowers 
are passed over the footlights. • The ! 
nuthors bow their thanks and allow the: 
play to go on. . ] 

An unsuccessful suitor of the beauti-1 
ful daughter has attempted to involve 
the immigrant in a hideous scandal, but 
after the showdown, there is peace, and, 
all tears are wiped away. i 
In the amazing role of the immigrant.; 
Arthur Ashli^y strove witli might and 
main, and did .ill that was humanly 
possible. Miss Donna as Pas de Loup, 
was a comely heroine, but Clarencej 
Handyside, after his years with Fred| 
Warde, must have felt startled to And' 
himself a commissioner of immigration. 

G. R. L. 

louder applause last night than often' 
ii greets actors who are not buffoons. ^ 
They played it admirably, Mr. Tonga, 
Mr. Mowbray and Miss Dudgeon, more 
I farcically no doubt, than Mr. Goetz had 
in mind, but mighty humorously and 
still discreetly. Mr. Tonge caught the 
outside of a dry scientific man to per- 
fection; the inner human side of him he| 
did not make so clear. That wicked old 
Aunt Olivia, delightfully played by Miss 
Dudgeon inade a reference to Peter 
Graham's monotony which would apply 
equally well to Mr. Nowbray's acting 
of the part. He made the role el^ec- 
tlve, non^ the Ie.«s, and in the Barrie 
play, where he labored under no neces- 
sity to be const:\ntly debonair, he 
showed character. !\Iiss Standing made 
the young woman very charming. 
' Mr. Ricliman, by the way, the adapt- 
er, deserves much credit. This play 
has not the air of a translation. And 
he showed discretion in his choice' of 
what he might venture to leave in and 
what he must leave out. 

Here is the cast of Barrio's play: 

Mrs. Preen ...ELspeth Dudgeon 

Mrs. Bland Mona Glynne 

T_,ady Jane Raye Jassamine Newcombe 

?4r. Gourlay Richard Whorf 

Mr. Preen Franrls Comp'on 

Lady Wrathie V . . Madaline Grande 

Mr. Jennirj:3 Alan MoT\br3y 

Mrs. Castro Lucy Carrier 

Sam Smith.. K. E. C'iive 

Sir Joseph 'Wrathie C. Wordlev ll\il4e 

Miss Islt.... Katherine Standing 

Mr. Valla Philip Tonge 

t.ury May Edlsa 

Miss A'aile , Jane Arro! 

Dolphin Victor Tandy 

\ Policeman Franklyn Francis 

The pity is that papers and people 
have not been urged to keep to them- 
selves the outcome, for even when 
there is none it spoils It to know it in 
advance. Who would have thought it 
of Barrie, that gentle soul? He wrote 
as neat a mystery play, as stirring as 
the best of them. If only he shared 
Trollope's view, that he would take 
shame to himself If his readers were 
not Interested enough to want to know 


not the 1 ■ : ■ roaring nineties, not 

given to undue latitude, or to wild and 
extravagant imaginings, but a simple 
story, one that might be enacted at any 
post In tho northwestern wilderness. 
Many a "bad man" has mended his ways 
through the influence of a skirt. The 
murder of the Indian by Black Eagle's 
woman was th© logical thing to happetlV 
for It saved the life of her lover. And 
Jim's visit to tho hut was to the point, 
for he had 'the deeds to show his clean 
hand to Black Eagle in the matter of 
! the lajid claim. And Jim's escape, 
. though he knew not that st^splcion for 
Ithe murder had been linked on him 
with his annearance and the deeds left 
on the table at the hut brought about 
by the motivating "Indian Love Call," 
was nicely contrived to bring a smash- 
ingly dramatic curtain to the first act. 

On the nnislc, .Alessrs. Friml and 
Stothart have worked well liand In 
hand. The score is freshly put, the ua- 
i derlying motives of the piece find per- 
} tincnt expression in these measures, and 
I with th© appearance of the sulking and 
I amorous Wanda, tho woman of Black 
j Eagle, there Is always the musical si;^!- 
gestion of impending tragedy. To ail 
I this, there is an enchanting orchestra- 
tion, and full measure was given trtis 
record in an ample-sized orchestra to do 
i it full Justice. 

It is a pleasure to speak of the en- 
semble. For once, a. male chorus that 
was composed of something more than 
fillers-in. A group of singers that gave 
musical expression to the text, that 
I charmed in a sonority that w^s s6me- 
I thing more than sound. For tlie girls 
of the ensemble, there is something to 
jsay besides dwelling on their good 
7 looks. Their "Totem Tom Tom," with 
/ its dance but above all its manoeuvres, 
I is one of the outstanding features of 
jour theatrical year. 

I The company was exceptionally for- 
Itunate in its comedians-, for at times, 
I nearly all may be classed in this cate- 
igory. Even Desiree Elllnger, an ad- 
Imirable singer in the title role, was 
! delightfully vivacious in her comedy 
moments, poignantly tragic in her sep- 
aration from Jim, and above all, far 
removed from the matter-of-fact sing- 
ers of our musical comedy stage. Her 
voice was one of rare charm In its 
.tonal purity, she had an exceedingly 
graceful legato: in the bravura pas- 
sages she was dramatically significant 
without any lessening of musical val- 

None the less Interesting was the 
Wanda of Phebc Brune. To her lot fell 
most of the ^do dancing, a perform- l 
ance of madcap pirouetting, of inde- 
fatigable high kicking that at one time 
stopped the show. But beyond this was 
her dramatic interpretation of Black 
Eagle's woman. Her insinuating, ob- 
trusive ways, her flippancies, delight- 
fully thrown off: her creation of the il- 
lusion of ever Impending tragedy, all 
were convincing. Mr. Jleakins was an ■ 
Ingratiating Sergt. Malone; the Lady. 
Jane of Beatrice Kay, a captivating 
flirt, a neat and buoyant dancer and in 
her buffoonery with Hard-Bolled Her- 
man, as played delightfully by Charles 
Sllber, she was a comedian of fine 

And i?b they come and go, these musi- 
cal comedies of our day. and when 
many of them are forgotten. "Rose 
Marie" will be a pleasing recollection. 

T. A. R. 


Ltidv Jane 

nh\Qk Eagle 

Fxlward Hawley... 
Bmlla La Flamme. 

mersteln presents "Rose Mane," a mu- . 
sical play in two acts and seven scenes. ; 
Book and lyrics by Otto Harbach and, 
Oscar Hammersteln, 2d. Music by Ru- 
dolf Friml and Herbert Stothart. 
Dances arranged by David Bennett. 
Charles Ruddy conducted. The cast: 

Malone CbSTles Meaklns 

Beatrice Kay 

.. ."William O. Skavlan 

Byron Russell 

"j*«ul Douati 

, Phoel>e Brune 

t"eMarrLaFVam».-.- ^^'^'^^rf'^" 

Ethel Brander 

Now comes Arthur Hammersteln s 
much-lauded "Rose Marie" minus the 
New Tork cast. Some will promptly 
sav: "Once again. Boston a theatrical 
way station!" But let the cai-per hold 
his horses, for, while we have not 
viewed the New Tork performance, we 
cannot imagine how last evening s pre- 
sentation could have been bettered. 

Not often in these days is it given us 
to leave the theatre with tunes ringin 
stU in our ears, not often Is It given ns 
to get back to the bone and sinew of 
•Jhe predecessor of our entertainment 
known as musical copiedy-operett.a. 
T.,ast night we an-ived Jnd^^^. ,^ ' ,„ 
that this piece has landed us plumb m 
a theatrical Utopia, but we are ap- 
proaching, brother, and the hne is well 
'steadied. Some of the dla ogue t Is 
true is old-time stuff, as In much of 
he bickerings of Hard-Boiled Herman 
and Lady Jane. Again, In the can pflre 
scene the same gentleman, amla 
comedian though he is. 
neatedly to well-worn artifices of tne 
Theatre Yet, UTr. Harbach's book is 
ound there Is backbone first of all and 
embellishment after; there is «c"°"' 
then the word, theti the tune for the 

Piece i. aJi engrossing melodrania. 

HOLLIS STREET— "Loggerheads, a 
Play In three acts by Ralph Culhnan. 
First time in Boston. Produced under 
the supervision of Whitford ivane. The 

r^rnvHalpln ^''^''SaU xtne 

f '^"h "nafprn .■.■.Jo?nn'a Rool 
?hr'fsUe Birrett ." ." .'. - . ■ Vrenk Shannon 

?adni' Comns . Barry MacoUun, 

Although "Loggerheads" Is the first 
of Ralph Cullinan's plays to reach 
Broadway and so the hinterlands and 
Boston, it Is neither the first of his 
plays nor the most skilful. A young 
dramatist, an an American, he stlU 
writes in the vein and in the tradition 
of the Abbey Theatre, placing his plays 
in a small Irish village and drawing 
liis drama from the folk, their peculiar 
Idlosyncracies. their superstitions and 
their flavorsome speech. 

And In "Loggerheads." as in each 
if his plavs, he has written with dra- 
matic skill and truthfulness, with a 
raciness of speech and an earthy humor, 
an an occasional tou<h of fantasy 
suggests Synge. In this Instance he lAs 
built his comedy about the Influence of 
a feud that is perpetuated to the third 
and the fourth generation, and tiie 
strange passion that leads its partici- 
pants to unreasoning murder, although 
here it is forestalled. 

There Is no village full of people here, 
merely the necessary five about whom 
he writes— the widow Ell«n Halpln and 
her daughter Norah, the }>^'^^,^J'^^']^Ti^ 
Corny Halpln, who would kill Christie 
Barrett because he Is related to the 
man who killed his brother (although 

I that relation is not made very clear)^ 
and the snivelling hypocrite ^nd shrewd 
scoundrel, Padna <• °"'"^' , j'l? .-Hell 
touches of the religious f "f °' 
Bent for Hea\-en" and of the lo.Uhsome 

■ * 4 

I- irt^i 

■ hut 


11 1 ott. 

^^•llcl Duck. ' 
I? i-rotty and yrniHK 
ni.ui. not n flip' " 
ml God -fearing- 
J Into In thp ni 
, her niotli'-r knows that e lii i-'i ' 
a sailor soon to return to MwJ'-;' ""I 
,n relative of the man who kll.-d Ium 
husband. Is In the vlllaBe. So s!>e pets 
Padna Collins to spy on '"• 
who knows that once Kllon Hah' " ha 
been In love with Christie herself, and 
who would like to marry Norah. 

When Corny and his sister-ln-law go 
to the circus, Norah remains at honie, 
■stenslblv to sew. but Christie oomes 
ifter thev have goue, and when she 
cars Padnit return, she conceals him 
uu the loft. .She fears "lurder if her 
uncle meets him. or hears of hi pres- 
ence there. There Is an excellent first 
act and a tense and well built second 
which closes with Corny's return and 
his attempt to murder Christie, as his 
brother had been murdered, -with a 

'"^^Then. with the third act. Mr. CuUlnaii 
discovers that It Is not Norah that 
Christie has come to marry, but her 
mother, and that Norah has planned 
to Join an order of nuns in Australia^ 
There Is an amusing scene in which 
Cornv at last declares his love to Ellen, 
and in ron—ntic mood goes out to 
hear the nyisic of the circus. Much 
of this act Is lagglrtfe and sentimental, 
much Inferior to the first two 

But "Loggerheads" is a pungeiit 
comedy, of round and racy speech. It 
has Imagination and gusto, and lines 
that are always pointed and pregnant. 
And the plav Is excellently acted, with 
Whltford Kane as Corny, Gail Kane 
as Ellen, Joanna Uoos, whose Norah was 
finely imaginative, and who was clear 
and musical of voice; Frank Shannon 
as Christie, and Barry Macollum as 
Padna Collins. A cast and a Produc- 
tion that deserves much praise. Tno 
audience was large and enthusiastic. 

I 'i M'i >, ^^ rl .■ ■ Mlili., i,. : yf.) rloh 

and suggestive of solifllty and diatunoe 
Mcrrutio of the eloquent falrj- tale and 
the ready sword was .xdmlrably played 
by Charles Brok.iw. nd the nurse of 
Jessie Ralph was played heartily and 

In the dim and ponderous tomb of 
the Capulets young beauty and death 
together conspire to produce the oul- 
mlnatlng eostasy of thwarted romano*. 
There Is no entry of soldiers and digni- 
taries, no moralizing speech and 
clinching argument — wo leave them 
alone under the great funereal candlaa. 
J>eautlful and forever young. H. F. IC 

SELWTN'^THEATRE— Shakespeare's 
I "Romeo and Juliet,'- w:ili Jane Cowl 
land Rollo Peter.'. Return engagement. 

I Samson Bailey Hick 

ICregorT ./ GeraW Liiigai;il 

I Abram /. .Tohn Langan 

|p.altbas«r WlUard Joray 

iBdnvolio VernoD Kelso 

iTybalt louis Hector 

I Capnlet Gordon Burby 

I Lady Capulet Grace Hampton 

iMVntatrue Lionel Hogarth 

iLaily Montague ', Marlon Ereosen 

lEsralus (. Grandon Rbodes 

luomeo X Rollo Peters 

Iparis , George Carter 

I Peter Milton Pope 

iNurso to Jnllet Jessie Ralph 

Ij'iliel Jane Cow! 

IMerciitio Otaarles Brokaw 

[An old man , Clifford Bailey 

IFriar Laurence T.John Crawley 

An apothecarj Bailey Hick 

Last night It was possible to forget 
[occasionally that Shakespeare wrote 
"Romeo and Juliet." The soft, hesltat- 
llng voice, glowing eyes and Impulsive 
I romanticism of a maiden whose love 
land rebellion were eternally contempo- 
Irary made the play a thing of the 
[present, comparable In its lighter mo- 
Iments every-night episodes under 
■ BUburban moonlight, or precious and 
Itransitory unfolding of youthful wings 
las caught and transfixed by Tarkington 
lln "Seventeen." 

Miss Cowl's Juliet Is a flapper, a 
■flapper of gentle pranks and dellclous- 
|ness. She lives all about us — she Is 

generic. She undoubtedly has her habi- 
tation on many Main streets, fathered 
by paunchy Capulets, surrounded by 
quarrelsome Tybalts and wooed by 
many sleek and unacceptable Farlsea. 

There Is her Romeo, who went to the 
wrong school, or like as not lives on 
the other side of the railroad track, 
while in day-dreams or slumber she 
enacts the tragic romance of her proto- 
type She, and not some remote and 
.-tartllngly precocious maiden of old 

taly, IS the Juliet of Jane Cowl, who 
has made of the role a spiritual transla- 
tion, not only from Its stated source, 
but from the ebullient and blundering 
days of projecting .stages, flamboyant 
oratory, heavy-hitting "business" and 

•rude mechanical technique 

Her Juliet and Rollo Peters's Romeo 
fell in love yesterday, their romance 
was not re-warmed last night after 

\fo. '^Thfv ^ •"""^■'""^ 

tion. They were bursting with first 

love and Us pride. They over-acted at 
times, as In the balcony scene— they 
seemed conscious of being looked upon 
as many couples have and will In th« 
audlenceless solitude of many a front 
porch at midnight. Juliet was coS- 
sclously dramatic alone in her bedroom 
—but not for the audience. The uni- 
verse revolved around her and her love 
and surely something of the sort WM 

Judicious shortening of long speech., 
and the usual blue-penclIllng of 
t-[izabethan robustness were In evi- 
dence, and contributed to the dramatic 
sv,,ss of the story. The scenery 


Boston has the opportunity of seeing 
I what a photo play "made In Italy" looks 
1; like. "Qua Vadls." from the novel by 
' Henryk Slekklewicz, as presented at 
Tremont Temple, is an ambitious ef- 
fort, on a huge scale, and shows the re- 

I suits of a painstaking study of screen 

II drama technique by slncero wirkinen 
" who are even yet a little strange to the 
i| business and have not acquired that In- 

descrlbable, confident touch that only 
[ long practice gives. Estimated by the 
standard set by leading American pro- 
ducers It lacks the convincing realism to 
which we have been accustomed. It Is 111 
balanced; "continuity" Is nil and, while 
thrillingly dramatic in places It Is dread- 
fully dull and draggy In others. 

One thing It does possess. In good 
measure, to which unstinted praise can 
be given. In Emil Jannlnga, the Ger- 
man actor who took the part of Nero, 
we have a performer of uie first lank, 
who stands head and shoulders above 
all the others. Mr. Jannings is W'tll 
remembered here for his fine won: as 
Henry VUI in "Anne Boleyn." The 
role of the wicked Emperor fits him to 
perfection. His expressive countenance, 
depicting by turns cruerty, sensually, 
fatuous complacency, hate, suspicion, 
cowardice and sheer, stark terror, is 
something to haunt one's dreams In the 
midnight watches. 

The climax of the piece Is reached In 
the scenes In the arena, where the 
Christians are devoured by the lions, 
tied to flying chariots and 
martyred. The lions are wonders. It 
Is a triumph of shuddersome realism 
and the representation of the prodigious 
feat of Ursus, when he 'successfully 
"bulldogs" the mad steer- upon whose 
back the maiden Lveia has been laahed, 
is expertly done. The mob scenes, too, 
particularly that in which the maddened 
populace attacks the palace. Is spirited- 
ly handled. 

The action of "Quo Vadls" is laid In 
Rome and the ancient city furnishes 
a real background which is finely used. 
The InteMor of the catacombs Is ven' 
effective Indeed. 

As mtich cannot be said for other 
scenes. Nero's feast, for example, does 
not compare in impressiveness with 
that of Belshazzar in D. W. Griffith's 
"Intolerance." The whole ,thlnK Is de- 
ficient in . the imperial note. If it can 
be so described. One misses the dig- 
nity that we unconsciously associate 
with ancient Rome. 

As for the secondary characters, Pe- 
tronius ls too commonplace. 'Vlnlclus 
lacks character, Ursus is too fat and 
the beautiful Lygia carries far too 
many pounds to meet the requirements 
of the Ideal maiden of the story. The 
lady who plays the part of Poppaea, 
however, provided a more happy selec- 
tion. She is "a regular royal queen," 
as they sing In "The Gondoliers," and 
her haughty good looks made atone- 
ment for deficiencies elsewhere In the 

All the participants are discreetly 
clothed. In a manner calculated not to 
offend the most fastidious, but there 
are far, far too many explanatory prints 
shown. It ought not to have been nec- 
essary to write half the book to make 
the play intelligible. But even If, for 
the purpose of providing the conven- 
tional "happy ending, " the script 
writers have taken almost unbeliev- 
able liberties with the text, "Quo 
Vadls" is a production well worth see- 
ing. J. E. P. 


NEW PARK— "Bomola," a film ver- ; 
slon of the novel of George Eliot, pro- , 
duced by the Inspiration FMcturee, un- ' 
der the direction of Henry King. The 

Romola LilUnn GIsh 

TeB«a, . Dorothy Gisli 

Tito Jtelema William H. Powell 

Carlo BuccelUnl Ronald Colman 

Daldasaarre Calvo Charles Lane 

Savonarola Herbert Grlmwood 

Bardo Bardl Bonaventura Ibancz 

Adolfo Splnl Frank PugUa 

Brlgida Amelia Summervllle 

Monna Ghlta Tina Ceccaccl Rlnaldl 

Nello , ■. Eduilio Muftcl 

Brattl Angelo Seatlgna 

Plero d« Medici Alfredo Bertone 

"Uoniola ' la iiui:h 1 ihii 

material that one v ha. 
so long escaped th'' 1 ,,1,. Kor, 
although her purpose was primarily to 
Ilmn the dissolution of the erring 'tito 
Meleina, George Eliot chose for lier hl«- 
toricui background the Kloreiico of the 
early Qulnquacento, or rather tlio lat- 
ter half of the Quatracento thnt cul- 
minated with the death of Snvoiii^rola. ' 

.>^heer melodrama at tlineH. when 
translated to the screen 'Romola" bo- 
comes more so, often eloquent, revelling 
In Its genre scenes of the market place 
and the crowds that waver and flood 
the Piazza della Signorla. with the 
Duomo overlooking it. There are mo- 
menta of great pictorial beauty: of well 
contrived emotional Intensity In the 
throwing up of the crucifix against 
which Savonart)Ift fn^P^ils death; the 
sweeping rain that drenched his enemies 
and his friends alike. And In the 
romance of Romola, of Tito, of Carlo 
and Tessa there Is restraint, and an 
admirable lack of exaggeration, and of 

Too often when t)ie producer of "a 
costume film stages it, he revels in the 
costumes, the settings, so that he loses 
completely the spirit of the period tha' 
ho would recreate. Bi^t there is au- 
thenticity in this Florence that Ilenrj' 
King has filmed, although at times 
there Is more of Rome than of Morenco 
in some of his vistas. But it Is Italy, 
and threading It are the mobs of Ital- 
ian extras, the Italian principals, with 
a few exceptions, clumping across the 
stone-paved streets, flinging themselves 
through Its ancient stone palaces, up 
the steps of a suggested Barcello. 

The plot of "Romola" Is so familiar 
that It needs only a sliglit summariz- 
ing here. To an old and blind scholar, 
Bardo Bardl, friend to Savonarola, 
treasuring 'his library and his daughter, 
Romola, there cpmes a suave and 
Strang young man, a Greek, Tito 
Melema, wearing a ring of the order 
of the sacred college of Pythgoras, 
that recommends him to Bardi. The 
Compagnaccl, or "bad companion^," 
led by Adolfo Spini (the Doffo Splnl of 
history), are plotting against Savon- 
arola; they add Tito to their number.s. 
The old Bardi dies, leaving his manu- 
scripts to Tito, and his daughter. The 
rest is of the duplicity of Tito, of his 
mock marriage to the peasant Tessa, 
of his undoing and his death, and th-^ 
consequent marriage of Romola and the 
faithful artist. Carlo Bucelllni. And 
throughout this there is traced the fu- 
tile struggle of Savonarola, his ex- 
communication, and his death. 

But despite Its historic flavor, the 
surpassing loveliness of Liillan Gish, at 
last dispensing with her earlier exag- 
gerations in pantomime, and the In- 
tense Savonarola of Herbert Grlmwood, 
Vho seems to be the portrait of Fra 
Bartolommeo come to life, the film of 
"Romola'' often lacks fire. Mr. King 
seems . to have given sparingly of his 
Florence, yet the scenario is workman- 
like and direct; the titles are Intelli- 
gent, faithful to the original. 

Dorothy Gish as Tessa played with 
Broadway coquetry the Italian peas- 
ant, a self-conscious gamine. Charles 
Lane's Baldassarre Calvo was a fl'rm 
and poignant characterization of the 
old Greek scholar, deranged by his re- 
verses. Mr. Powell's Tito lacked gusto, 
although he had suavity, the cool in- 
solence, the noncommittal air of Tito. 
Ronald Colman, In the lesser role of 
Bocellini, played with restraint and 
dignity. Bonaventura Ibanez gave an ' 
excellent characterization in his few 
mo«nents as the old Bardl. 

But It is Lillian Gish. cool and wist- 
ful as always, playing with a new dig- 
nity and simplicity, who remains the 
memorable figure In this film, "Rom- 
ola." E. G. 


of m. 

\ I I, |. .. I ,il.iode also rr 

iPlo ihW perplexing iltuation. and "t., 
- r.,jii>:esi ' Irons all the wrinkles ou 

HM'.f.thl', . 

Ii,m."ioii Richards aa Richard, the 
'incest, gave a finished piece of act- 
ing from the start to the clever transi- 
tion 111 the last act where family pride 
and a generous spirit favo the rest of 
the family many heartaches. 

lOI.-do Illtz as Nancy, who perform, 
thf "miracles." shared the honors with 
Mr Richards and provoked many laughs 
l.\ h^r efforts to awaken "the younf- 
est. ' 

.\n the two older brothers, John Col- 
; Her and Roy Elklns were a clever pair, 
j Anne Layng as Mrs. Winslow finely de- 
picted mother love, while Bernard Ne- 
' d"U had very little to do as Martin. 
One of the bright spots on the family 
escutcheon was the flapper sister. 
Martha, played by Roberta I^ee Clark. 
II Altogether It was a remarkable first 
' performance and was greatly enjoyed. 


Miss Ina Claire, star of stag», and 
screen, Is the feature of the B. F. 1 
Keith's program this week, which In- 
cidentally Is dedicated to the National 
Vaudeville Association. Throughout the 
country this week all vaudeville artists, 
es well as those who are now working 
on the legitimate boards are lending 
their efforts to the success of this or- 
ganization which number among their 
members some of the greatest names 
on the American stage. Miss Claire 
has a well written sketch which deals 
with the rich young man, a chorus gl»I, 
and the views of the former anent the 
latter. A conversation overheard by 
the lady of the chorus upsets what 
Would be the usual run of things and 
leads to a pleasing climax. It is a good, 
entertaining act. 

Next In line are the Sherwood en- 
tertainers, headed by Bob and Gale 
Eherwood. They speed through 20 min- 
utes of dancing, singing and jokes. 

Joe Browning is back with his reform 
talk. He Is good, as usual. 

Margaret Young sang with good suc- 
cess despite a bad cold. Few can forgot 
her "Bimbo" song. 

The refit of the show Includes 'Willie 
and Gladys Ahearn, with 'Wlllle doing 
some lariat talk atfer the manner of 
"Will Rogers; Potter and Gamble, In a 
sprightly song and dance act; the Yong 
tVong company, in expert Juggling, and 
the aerial Vakntlnos in an original act. 
The mcvie fables, topics and news reel 
are entertaining. 

est," a comedy in three acts by Philip 
Barry, presented by the Boston Stock 
Company. The cast: 

Charlotte tv'insjow Anna Layrfte 

Mark Winslow John Collier 

.Martha (Muff) Winslow . Roberta Lee Clark 
Aurusta Winslow Martin. .Olive Blakeney 

.Man J:artln Bernard Nedell 

Rif-hard Winslow Houston Richards 

Oliver Winslow Roy Elklns 

Nancy Blake Elsie H'ltz 

Katie itarjorie North 

The Easter offering at the St. James 
Theatre last evening was the first pro- 
duction in this city of the very amusing 
comedy, "The Youngest," by Philip 
F!arry, and given by members of the 
Boston Stock Company, with Houston 
Pilchards., in the title role. 

The play -is perhaps one of the best 
that thl's well known author has writ- 
ten, and at times it bordered on the 

Ill brief It tells the story of "the 
joungest" of the family, who Is tossed 
around in a very shabby manner, be- 
ing forced and even bullied into sub- 
iiii.?Elon by the other members. 

To his rescue conies a friend of the 
family who sympathizes with him and 
by scheming gets him to assert him- 
self. Another member of the family 
discovers an early will which does not 
include this last son and so he invokes 
the aid of the law to plac> !"n' ahuspd 

formance In Boston of "Barbara Leo." 
a musical comedy in two acts. Book 
by Ralph L. Harlow, Lcn W Llbbey 
and G. G. Goldle; music by Charles A. 
Young and Ralph L. Harlow; lyrics by 
L. S. Bltner. Staged by Ned -^Vayburn 
Pinkham Standlsh. . . .G. Sheldon Spangler 

Tvrila Finch Grace Hunier 

Kate sfsnlrsh.-.-." Elizabeth O'Grady 

Chester Tetwciler T. M. B. Hlcl« Jr 

Polly Standish V, --^''",^ ,„rhfn 

Harbld Shephard George Campbell 

Tom Brown Howard Remlg 

Barbara Lee'.... Leah Alnsworth 

Miles Hawley Theodore Richardson 

Ethel Richards 'xi 'w'^I^wi^prn^tz 

Spike Burns ' 

Judges. .Joseph Sellg and Charles S. Buck 

Judge Richards """'i,?," w 

Thomas Quinn • ; • ■ ■ ■ ■ 

Flower Girl » Cecilia Connors 

The Dancer Catherine Byrne , 

The Walter .Joseph iseiig ■ 

The Announcer ^.Charles S. Buck 

The Hero ..Charles S Buck 

The Villain Joseph Sellg 

The Heroine Sally Goldstein 

"Barbara Lee" is named after the 
central character In the book. It Is tne 
nth Fllene Co-operative Association 
production and surpassej In sheer 
beauty, elaborateness of production, 
plot, tinkling tunes, dance nuinbers and 
i| sneclaltles any of its 10 j.redecesso'-s 


Oranvllle Stewart, tenor, assisted by 
' 'William Lawrence, pianist, gave a re- 
cital In Steinert hall last night. The 
program read as follow? : Purcell, I At- 
j tempt from Love's Sickness to Fly: 
i Bach, Abide with Me: Handel, Would 
I you gain the tender creature; Mozxrt, 
11 mio tesoro from "Don Giovanni"; 
I Olordoni, Caro mIo ben; Verdi, "Celeste 
Alda"; Qullter, Blow thou winter wind; 

oiniiis: Zitnballst, two folk 
lltlp Kiisslii: Colerldge-Tay- 
way Awake. Beloved. Negro 
nls nrraiifroil by Lawrence: Some- 
I feel like a motherless chile; I 
ow the Lord".s laid his hands on me; 
-«1ne low, sweet oliariot. 

Mr. Stewart has a voice of fine ((ual- 
't.v, one that lends Itself easily to 
tleelaniHtorj- nK-asmes without undue 
oBfort. -syinivithetlc in the Interpret.'ition 
of the Keutler emotions. TUo niiddio 
tone* are smooth and even; the ujiper 
are clear and resonant in forte ir^as- 
iires: the extren\o lower ones are in- 
I'llned to be throaty and need correction. 
Tfe^has. It is pliiin, a musical nature, 
as his program showed, he has 
aims, also coura.ce in uttemptinp 
ry out his ambitious purpose. We 
mbltious, for Don Otta,vio's air 
"Don Giovanni" and "Celeste 
are not for a young tenor, liow. 
irm his appreciation of the music, 
tn be said: Mr, Stewart .sang th- 
passages of Mozart with good 
1 of breath and ended the air of 
les as Verdi wished, not bawling 

note. Would that 
great reputation 

out the final high 
operatic tenors of 
would do likewise! 

Mr. Stewart often phrased well In the 
songs and showed understanding of 
what poet ani composer intended. He 
was too fond of unmeaning contrasts — 
changing suddenly from forte to pianis- 
simo without reason; in fact he over- 
worked piano effects. Let him beware 
of being known as a pianissimo singer. 
See-saws of expression soon become as 
monotonous as an undeviating degree of 
force. Mr. Stewart's was most effective 
when he tried least to be so, as in the 
charming air of Purcell. He has made a 
good beginning, technically, he should 
pursue his studies and, above all, hear 
his voice an4 criticize himself. 

Mr, Lawrence again proved himself an 
excellent accompanist. 

No sooner had we sent our remarks 
about snuff and smoking to the compos- ' 
ing room than we read the assertion of : 
H. J. Harper-Roberts, an English deep I 
thinker in Manchester, that smoking is ! 
one of the causes of baldness. Perish | 
the thought! Calverley In his "Ode to 
Tobacco" names some of the objections ' 
to pipes and cigars: 

How they who use fusees 
All grow by slow degrees 
Brainless as chimpanzees. 

Meagre as lizards. 
Go mad, and beat their wives; 
I Plunge (after shocking lives) 
j Razors and carving knives 
Into their gizzards. 
But there Is nothing about baldness. 
• There is a woman in Charles Reade's 
. "Terrible Temptation" who inveighs 
iagalast tobacco, but she objected to this 
: form of birth-control. Nothing about 
, baldness, as we recollect, 
' Even 'if tobacco does produce bald- 
I ness, a hairless dome is becoming to 
some men. Thackeray's Mr, Ranville 
Ranville, of the foreign office, who 
would rather die than commit himself, 
was "growing prematurely bald, like 
Canning" and was quite proud of it. 

Let us appeal to the anthropologist, 
"The Arymphaei, who dwell near the 
Ryphaean Mountaines, esteem haire ! 
upon the head to be a very great shame j 
and reproach, and therefore they affect \ 
baldnesse, and are so from their i 
nativity, both men and women. The [ 
Argippael that live under the roots of | 
the high mountains in Scythla are bald 
from their nativity, both men and 
women. The Miconii also are borne 
VvMthout haire, and baldnesse is lovely 
;ind nationall to them, wherefore they 
are wont to call bald men Myconians." 
"Yet good old Bulwer regards this ab- 
sence of hair most derogatory to the 
honor of nature. 

Men were bald and there were 
strange remedies against baldness 
centuries before the Indian weed came 
into Europe, Baldness had its disad- 
vantages, as when an eagle mistook the 
head of Aeschylus for a rock and 
dropped a tortoise on it. There are 
men who should be bald to play well 
' their part as chairmen of committees, 
' visiting statesmen, judges on the bench, 
but not when the head runs up to a 

There was no tobacco in Bethel when 
rude boys shouted to Elisha, "Go up, 
thou bald head." That the Lord did not 
disapprove baldness is shown by the 
fact that t'WO wild she ^jears ate these 


Samuel "Wilberforce bitterly opposed 
i Darwinian theories. A curate once said 
j to him. "After all, by Lord, I don't 
i see that it would have made any dif- 
I ferenc? to me if my great-great grand- 

father h;\d been an ;ipe.' w 

the bishop, "hut it wovikl h.i.^ u.ulo 

some difference to your great-great. 



We quoted from the "Story of Irving 
Berlin" a passage in which Nathan 
Halo is hanged "on a tine September 
morning from the branch of a blossom- 
ing appio tree." 

Jlr. Charles G. Norton writes: "You 
might be Interested In knowing that on 
our old homestead at Martha's Vine- 
yard, we have a crab-apple tree that 
actually does often have a few blooms 
in Septembor. 

"While we are on the subject of 
freaks of nature, liave you heard of 
L-uther Burbank's success of grafting 
an eggplant to a milkweed. The fruit of 
the new plant is a cup custard," 


(Tlio Ixxjilon Times, Feb, 9, 1S201 
A coroner's inquest was held on Mon- 
day night on the body of Mr. King, who 
lost his life on Saturday evening by be- 
ing run over by a stage-coach in Grace - 
church street. Verdict— "Accidental 
Death." A deddand of 501. was levied 
on the coach and horses. 

Played by Touchette, Pianist, 
and Wetterlow, Violinist 

One of the trials of Old Fogeydorn Is 
the exasperating suspicion that the 
young generation is right. — Sir R. R. 


As the World AVags: 

The quotation from the Conning Tow- 
er (N. y. AVorld) appearing in your col- 
umn leads me to say that there was not 
only an Elizabethan but an American 
"who did this sort of thing very well." 

Frederic Lawrence Knowles is the 
author of "Liove Triumphant," which 

"Helen's lips are drifting dust; 

Ilion is consumed with rust; 
' AU the galleons of Greece 

Drink the ocean's dreamless peace; 
T,,ost was Solomon's purple show 
Restless centuries ago." 

This poem can be found In "The Lit- 
tle Book of Modern Verse," edited by 
.I'essie B. Rittenhouse. 


The poem in The Conning Tower be- 
gins: "Helen's lips are drifting dust," 
It's a good line.— Ed. 

nyiere (in the House of Lords) I see J 
England in all its glory; women with 
their bodies bejewelled — to over one : 
million pounds sterling some of them 
had on them. Standing in that gallery 
looking upon that array, I turned to my 
colleague, John Wheatley, and shouted 
across the floor, "Johnny, we'll smash 
all this!" — Mr. Kirkwood. 

Yes; they thought in Russia they 
were going to smash all this; whereas 
what has happened is that the dia- 
monds now adorn the mistresses of 
commissaries instead ot grand duch- 
esses.— The Observer (London). 


Oh, not for me the rose's blush 

Or bluebird's vernal lay; 
The April thrush will I bid "Hush!" 

For gloom has come this day; 
Insurance men in "selling" me 

Disclosed Life's little joke — 
"Of all the men three-scorc-and-ten, 

Five out of six are broke." 

I thought at 30 I had zip, 

Vim, vigor and Youth's glow, 
But rickets, grip, pneumonia, pip, 

I learn, will lay ine low. 
If them I should escape, what then? 

This thought I can't revoke: 
'"Of all the men three-score-and-ten 

Five out of six are broke." 

How can I, holding thoughts like these. 

Cry to the Spring, "Hurrah!" — 
A silly wheeze, when Heart Disease 

Is muttering "Ha Ha!" 
By 40 I should be extinct. 

Or, living, all in soak — 
Ain't life immense? "Of all old gents 

Five out of six are broke." 

Let robins sing, if sing they must; 

Let sap sing in each tree. 
But please, I trust, if I'm to bust 

Expect no song from me! 
Woe conietli when insurance sharks 

Begin their dismal croak. 
Hark! Hark! tlie larks: "Of patriarchs 

Five out of six are broke!" 

— Gordon Seagrove. 

One more word about tobacco. Dr, 
Samuel Parr Avas a famous smoker. It 
is said that he smoked while preaching 
the University sermon at Cambridge, 
When he sat for his portrait he chose 
to be painted with a church warden in 
his mouth. The dons of a later genera- 
tion insisted that the pipe should be 
painted out, and now the picture at St. 
John's College represents "an apparent 
ly feeble-minded old gentleman, with his 
bottom lip curiously turned down at 
one cornfer, and his fingers ludicrously 
twisted round nothing." 

At Jordan haJl last evening Charles 
Touchette, pianist, and Godfrey Wet- 
terlow, violinist, gave a program of 
sonatas for violin and piano that in- 
■xluded: Grieg. Sonata in G minor, 
Opus 13; Faure, Sonata In A major. 
Opus 13; Sjogren, Sonata In G minor, 

^The^Lnata recital has not been too 
frequent this season, so the Messrs 
Touchette and Wetterlow were wise to 
couch their concert in this form, al- 
though, aside from the Faure sc.ata. 
his iirst. their choice was too Scanu.- 
navlan for a program of so few num- 
bers— Greig's second sonata, in wnicn 
Mr ' Finck deliberates and glows, with 
its homely dolorous airs, and its senti- , 
ment now dulled with too frequent : 
playing, and the lesser Sjorgren s , 
sonata in G minor. » „„j ' 

Ensemble playing is a fine art, and 
one that demands long practise, as 
does any other. And yet these mu- 
sicians have not acqiiired a smooth- 
ness and a rythmic fluency In the r 
playing together. They were at their 
best last evening in the Faure sonata 
which they played with most finished 
Imagination, especially Mr. Touchette^ 

And of the two. Mr. Touchette is the 
better musician, possessed of a good 
though not brilliant technique, an 
agreeable touch. Mr. AVetterlow. al- 
though he seemed at times consumed 
with^emotlon, played -.oil" scratch, 
ily, and with a heavy and ""en unpleas- 
ant intonation. Yet he. as well as Mr. 
Touchette, is not lacking in^ex-| 

Tomorrov/ afternoon and Saturday 
evening Arnold Bax's symphonic poem 
"The Garden of Fand" will be played 
for the first time at the Symphony con- 
certs. It was first performed at Chi- 
cago by the Chicago Orchestra, and this 
orchestra, A'isiting Boston, played it at 
its concert on Jan. 24, 1921. Although 
it was compo.sed in 1913. it was not 
heard in London until after the per- 
formance in Chicago. 

Fand is an enchantress; the heroine 
of the old Irish saga "the Sickbed of 
Cuchullin." She is the wife of Jlanannan, 
the sea god; her garden is the ocean. 
In the saga she lures the warrior 
I Cuchullin from the service of his coun- 
cry. Emer, his wife, follows him to 
win him back; Fand takes pity on her, 
; renounces her love for a mortal, and 
Manannan shakes his Cloak of Forget- 
fulness betv.eon the hero and Fand. so 
that all meniory of their passionate love 
is lost. ' , 

Bax in his score, tells this storj" In 
print, not in music. He says that his 
tone poem has no special relation to 
the events of the Saga. At fir?', he 
"seeks to create the atmosphere of the 
enchanted Atlantic." calm an..i be- 
neath a spell, A little ship bears a few 
voyagers setting out from the shore of 
Erin towards the sunset dream. The 
vessel is cast by a huge wave on 
Fand's miraculous island. "Here in 
ethiTial sunlight unhuman tav-ilr-j- oon- 
tinues unceasingly between the ends 
of time. The travelers are caught, 
unresisting, into the maze of tlie dance. 
A pause comes, and Fand sings her 
song of Immortal love, claiming' the 
souls of her hearers forever. The 
dancing and feasting begin again, and 
finally the sea. rising, overwhelms the 
whole island, the people of the Sldhe 
riding in rapture upon the ridges of 
the green and golden waves, and laugh- 
ing carelessly amidst the foam at ihe 
fate of the over-rash mortals lost for- 
ever in the unfathomable depths of 
ocean. The sea subsides, the veils of 
twilight cloud the other w^orld, and the 
Garden of Fand fades out of sight." 

Bax is known to the Symphony audi- 
ences by his " Kr\ Slaugh Sldhe" ("In 
the Faery Hills"), and "November 
Boughs." introduced by Mr. Monteu.x. 
Songs by him have been sung in 
Boston, He Is a Londoner by birth. 

At the concerts this week Mr, Rach- 
maninoff will play his second piano 
concert, and Mr, Koussevitzky will re- 
vive Strauss'a autobiographical "EIn 
Heldenleben, " which has not been per- 
formed at a Boston Symphony orches- 
tra's/ concert since December, 1910. 
When Mr. Mengelberg conducted the 
New York Philharmonic Society in 
Symphony hall in March, 1922, the 
"Heldenleben," which Strauss dedi- 
cated to him, was on the program. 

I The, program of the Symphony con- 
certs next week is as follows: Mozart, 
Symphony C major (K. 420>, Prokotiebb, 
Violin Concerto (Mr, Burgin); Loeftler, 
"La Bonne Chanson": Wagner, Over- 
ture to "Tannhaeuser." 
At the last concerts. May 1. the usual 

Saturday night concert will be on FrI-l, 
day night — "Prometheus'" and the 
dances, from "Prince Igor" will be re- 
peated; so will Two Nocturnes by De- I 
bussy; so will Bach's Brandenburg Con- I 
cerlo No. 3 for strings witli the addi-,^ 
tlon of Slloti's arrangement for strings ) 
of the Adajio in Bach's Toccata. C j 
major, for organ. 

Mr. Koussevitzky will conduct tonight 
Brahms's "German Requiem." which 
will be performed by the Harvard Glee 
Club, the Radcllfto Choral Society. 
Ethyl Hayden. soprano; Boris Saslaw- 
sky, baritone, and 60 members of the 
Symphony orchestra. The Requiem 
"was inspired primarily by the death of 
Brahms's mother. In 1854 he had 
worked on a symphony, which was 
never completed. He turned it into a 
sonata for two pianos, the first two( 
movements became the first and second i 
of the piano concerto in D minor; the 
third is the march movement, "Behold 
All Flesh," In the Requiem. The tragedy 
of Schumann's Illness also entered into 
the .composition of the Requiem, espe- 
cially into the funeral march, 
' Three numbers of the Requiem were 
performed at Vienna late in 1867, The 
reception was not wholly favorable. In 
fact there were "unmistakable demon- 
strations of hostility mingled with the 
plaudits." Billroth wrote: "His Requiem 
is so nobly spiritual and so Protestant- 
BachLsh that it was difficult to make 
if^o down there. The hissing and clap- 
ping became really violent; It was a 
party conflict." The work as a whole, 
with the exception of a soprano solo 
added afterward, was produced on 
April 10, 1868, in St. Peter's Cathedral, 
Bremen. Stockhausen was the bari- i 
tone; Brahms conducted. ■ 
The first rerformance in Boston was 
by the Cec.Ja Society on Dec. 3. 1888. 
The solo singers were Elizabeth Hamlin 
and Eliot Hubbard. The first perform- 
ance in America was at New York by 
the Oratorio Society, Leopold Damrosch 
conductor, or. March 15, 1877. Marie 
von Heimburg and A. E. StodHlard were 
the singers. 

The performance led by Mr. Kousse- ( 
vitzky will be repeated tomorrow night. 

Louetta Cl apman. coloratura soprano, 
and E. Willis Bradley, dramatic tenor, 
v.'ill give a concert in Jordan hall to- 
morrow night. Songs by Coleridge- 
Taylor. Rubinstein, Handel, Lehmann, 
Burleigh, Rlddick, Puccini. Thomas, 
Bayly. Mozart and a duet from "Aida." 

Tony Sarg's IMarionettes will per- 
form "The I'ied Piper of Hamelin" in 
Jordan hall Saturday morning for the 
Florence Crittenden. 

The mus cal clubs of Phillips Exeter 
.\cademy will give a concert in Jordan 
h,!.U next Sai.irday evening. 

Next Sunday afternoon Mr. Kousse- 
vitzky will conduct the concert for the 
ijoston Syniphony Orchestra's Pension 
Fund. The program will include 
Strauss's "rilldenleben" and music by 

Mary E. Jones, soprano, and Harry 
Delmore, tenor, will give a concert in 
! Jordan hall next Sunday afternoon un- 
der the auspices of the Charles Street 
A. M. E. Church. 

The progrrani of the concert in Sym- 
'phony hall on Sunday evening, April 26, 
I given by Alessandro Bonci, tenor. Ester 
i Ferrabini, soprano and Arthur Fiedler, 
I pianist, will include operatic arias by 
I Cimarosa, Meyerbeer, Verdi. Puccini, 
f Thomas, a duet from "Manon" and 
' songs by Jlozart. Rossini. Pizzetti, 
Respighi, Trucco and Pleraccini. 

The Jlontreal Star siate» editorially: 
"An appeal is being made, on the sug- 
gestion of the Canadian premier, for 
aid in the establishment of a fund to 
assist Mme. Albani, the once famous | 
French Canadian singer, now living in 
London in straitened circumstances. 
. . . It is an unfortunate feature of 
the lives of many artists that old age 
often finds them totally unprepared to 
retire and live their later days In quiet , 
comfort, Thev are bv nature reckless- ; 
ly generous, and both by instinct and i 
practice 'bad business people. They | 

make the most amazing investments 

and they fling their money often after 
tlie most obvious wildcat schemes with 
cheerful optimism. Mme, Albani did 
not escape the general misfortune tliat 
dogs the artist s steps, and the result 
is that at the very period when she 
most needs the little luxuries that 
solace old age, she is compelled to go 
without them." 

,1 Mme. .-Mbant was born near Montreal 
In 1850. She made her debut at Mes- 
sina in 1S67. In 1911 she turned from 
singing in public to teaching. 

Grace Cronin Gives Program 
at Jordan Hall 

At Jordan Hall last evening Grace 
cronin. child pianist, gave the following 
program: Sonata. A ^^^f 

, Scarlatti) ; Toooata (Paradies), 

■ rto, E ml- 

■ : .'tudefi, O 

... 25, A ml- 

noi- op. '.o, .Nocturne, G major op. 37, 
No. 2, Scherzo. B minor (ChoTiln); The 
Nightingale, Rhapsodic Hongrolso No. 
6 (Liszt). 

Despite the tliunderinps of thosn who 
dei-ry the custom of planting Infant 
prodlRles and Infants not prodigleb on 
tho concert stage the amiable practice 
still continues, disconcerts musicianship 
Into showmanship, breeds self con- 
sciousness In the performer. Occasion- 
ally there Is a child of a strange ma- 
turity, of genius. But more often It la 
Bheer virtuosity, well coached, Imagl- . 
natively quiescent. And such was the ' 
case with Miss Grace Cronin last even- 

Miss Cronin has an amazing virility, 
a crtnin elan, a touch tha't Is firm and 
at times quite beautiful. Her technique 
Is l.irse and pliant, although not al- 
ways accurate, and her vigor often led 
her into excesses particularly In the 
excerpt from the Viennese Carnival of 
Schumann's. She played best the 18th 
century music of Scarlatti and Paradles, 
for this was objective, unspeculatlve 
music, of a clear ad supple pattern. | 
Yet there was apt and studied gentle- | 
ness In her V^hopln nocturne, and at j 
times In the difficult Scherzo, al- 
though here she was often rhythmically 

But after all. she Is very young, and 
one does not learn the art of nuance 
easily. Although at times hor playing 
was parrot-Ilke. It was never brittle, 
or mechanical, and that Is much. And 
the fault lies with those who Insist 
on demanding public attention for her 
before she Is readv for it. She sho^vs 
too much promise to be so stunted. 

v.. Ci. 


Sammy Kramer, 12, 

Symphony Hall Recital 

Sammy Kramer, a violinist 12 
years old, gave a recital last 
night in Sj-mphony hall to the ac- 
companiment of Joseph Adler. He I 
played the Handel A major sonata, 
a set of variations in E minor, by 
Joachim; the Vi^uxtemps's Ballade 
et Polovaise. 

The precise degree W talent possessed 
by this young player can be estimated 
only by people who know from expert- j 
ence what young modern violinists can ! 
do. That he has unusual talent seems ' 
certain. i 

In quiet passages he plays with a ! 
sweet tone, moderately strong, with ' 
musical phrasing and taste. So much 
may be due to gootl teaching. A cer- 
tain rj-thmic vigor which he brought 
to bear In one or two of the Joachim 
variations and in the latter part of 
the concerto's opening allegro must be 
laid to his own musical temperament; 
It could scarcely be taught. 

Comments on the boy's technical ac- 
complishment must be left to persons 
versed In matters of violin technique. 
His brilliant passages, while not agree- 
able to the ear of the ordinary listener, 
would seem to show uncommon apti- 

The wonder is that his advisers should 
think It wise for him to give a con- 
cert in Symphony Hail at present. No 
doubt he played his concerto last night 
with a technical facility remarkable in 
a boy of his years; in Its course he 
certainly showed traces of warm musi- 
cal temperament which ought to take 
^Inu '^^ P'ay it With 

^ ^♦K i"*'?''^' ^ilone makes it 

worth hearing, nor has he yet a musl- 
Sinrtf. *T° adequately with 

^,?1H ■ u Joachim variations it 

^rl.. ^^"'"^ ^° '"a'^^ Interesting. 

Troi.»l " / """" °' talent as 'a 
prodigy and to exhibit In public his 
present state of creditable development 
—Undoes not seem judicious. R. r q 

And then St. Brandon demandea oi 
the abbot how lon^ they had kept that 
silence, that none of them spake to 
other, and he said: These twenty-four 
years we spake never one to another. 
And then St. -Brandon wept for joy of 
their holy conversation. — The Golden 
Legend by J. de Voragine. 

, No doubt there are in Boston genteel 
I persons anxious about their crests, their 
jcoats-of-arms, forgsttlng Lincoln's re- 
l^aik that the American's coat-of-arms 
^ is a pair of shirtsleeves. No doubt 
] these Bostonians purchase books on 
I heraldry, and also, thumbing the book 
I of the peerage, endeavor to trace de- 
I scent from belted earls and strawberry 
I bearing Jukes. We urge them to pur- 
I chase not only several sets of coats-of- 
I arms to replace wear and tear, but "The 
British Compendium, or Rudiments ot 
I Honor," published In 1721. It contains 
■V.owire: i>f-<;age: "Abel, the sec- 
>ore, his father's coat 

arsciu. and .losciWi . ■.. t was purty- 
pt r-palo, argent «nj guios." 

Wo have seen women occupied with 
tnmbour-work mentioned In old novels. 
We have seen ■women, although the 
trreat war is over, knitting In, public 
places. Does any one today, even In 
.-^ome far-off village, make halr-brace- 
lots, ear-rings, brooches, linger rings, 
(or Christmas or birthday presents? 
One hundred years ago the London 
Tlnie.s published this advertisement: 

"To Ladies of Taste and Genius — 
i'aught, by a Lady, In 2 lessons, the 
Ijtautlful flosculous Relievo, so highly 
appreciated In tho fashionable world, in 
modern dress, and general decoration, 
for 2 guineas. An exhibition of this 
elegant art, together with a variety of 
new and fashionable works, patronized 
by His Royiil Highness the Duke of Sus- 
sex, President of the Society of Ai-ts, 
may he seen on Tuesdays and Thurs. 
days from 11 till 4 o'clock. Where 31. or 
41. a week may be obtained with ease 
alia elegance, or a pleasing occupation 
is desired, these beautiful and refined 
arts will be found an abundant source 
of profit, use and amusement. . . ." 

"Flosculous Relievo." Ye.s, we know 
the meaning, for we looked up (or down) 
the words in a dictionary. We guessed 
the meaning of "Flosculous," having 
suffered the disadvantage of a collegiate 
education. Are there any specimens of 
••Flosculous Relievo" in the Museum of 
Fine Arts? "Flosculous Relievo." O 
harmonious words! We could keep re- 
peating them, rolling them in the mouth 
like the traditional sweet morsel, sweet- 
er far than chewing gum or "Mechanics 

1 mouth 
i;, it." 
K. C. 0. 

Iv I 


(Tbe new ^«rola* . . rli.Tmra wlihaoliln. 
»sv!> Sir ,\utlion.T Hatm liivliliiiil 

Heboid the Sphinx, 

.\]ul >et nielhlnx 
Who mark her taste In smoke!, and 

Iter bllnx and winx. 

Her cranx and klnx. 
Her hauteur with the "boobs" and 

ller highest Jinx 

In balls and rlnx. 
The arm In fallows' arms she Iin.\. 

Her crinx and twinx. 

Her prftnx and prinx 
On custom's and convention's brinx. 

Her labial Inx 

And cheekbones pinx — 
Sir Anthony assumes she sinx 

From Sphinx to Minx. 

A. W. 


Is it true that Charles Stewart Pamell 
thought green an unlucky color? We 
iread this story In a London newspaper: 
"When he was sent to Kilmalnham, 
an Irish political prisoner, wishing to 
rolleve the bareness of his cell, look a 
green tablecloth which had been worked 
for Ivim by friends outside and put it on 
Parnejl's table. Coming up, he found 
the table bare and the cloth huddled 
away in a corner. 'What have you done 
with my beautiful cloth?' lie asked. 'Ah,' 
sAid Parnell imperturbably, 'green's an 
unlucky color.' " 

■,. power. 
. warmly iv 

,,].,.,], ,1 .J 1 ■ . I MMi'On wa«. .ip- 

pl.uj'i.'d Willi <^nlhu»laKni; he richly de- 
^.■rv^d the tribute. The ncquleni will 
be repeated tonight. , B r > 


As the World Wags : 

Some ot the cleverest people In the 
world, "slop-over" sometimes ; they 
either say something or write something, 
that all the regrets in after life cannot 
undo, or nullify the harm they have 
done, although with tlie best i>oa»ible In- 

In my time, I have been brought into 
close business relationship with several 
people of marked prominence, and I 
have learned in tliat time and with those 
people, that too close watch upon one's 
words regarding them cannot be given, 
and wliai may seem complimentary and 
•v\eIl-in'tentioned, may cause tlie recipient 
of the back-handed compliment, to 
cringe, and say, "Heaven save me from 

! my friends." , 

An instance of this Is seen in the cur- 
rent number of a publication cialming 

i between two and three million drctila- 

[tion weekly. In •wtloh an admiring and 
intensely friendly writer tells admirably 
of the habits and characteristics of a 
natlonally-fatnous woman. This writer 
would not do her subject an intentional 
harm for worlds, but inadvertently she 
(States things that had better be left un- 
Isaid — not that tiiey are uncomplimen- 
jtary; they are not, but they are unwise, 
i One instance of this is — she describes 
; the constan't habit of dress that is pe- 
culiarly characteristic ot her subject, 
and we will say that should she happen 
to be in Cleveland or Detroit this week, 
10,000 readers In that city will re. 
mark wlien they see such a lady as she 
has described, on the street or In a shop 
— "that's So-and-So," or "that's her," 
and the like, for the lion hunter is every- 
where abroad in the land. 

Now this lady is of an exceedingly 
modest and retiring nature, in spite of 
her many years of prominence; and she 
v/ill confine her exercise to her hotel or 
the necessar.v outing of the evening. 

As this publication has so enormous . 
a circulation, to specify another of the 
unwise references will not be in viola- 
tion of ethical confidences. An inci- 
dent that came under my observation 
i.aany years ago illustrates this per- 
fectly. A certain man of unusual wit, 
named Charley, we will eay, was going 
down School street with a friend who 
incidentally remarked to him, "Entre 
nous, Charley. I saw in the New York 

Herald " "TTiat will do," instantly 

interrupted Charley. "If it has been in 
the New York Herald, it is no longer 
entre nous." 

Quite recently the front pages of the 
newspapers have been blaringly head- 
lined with Information regarding a cer- 
Itain adopted child of unknown parent- 
age, who has sudderily become im- 
imensely rich; all ot which cannot m^ke 
'known the origin of the child. Now the 
1 writer I have been referring to states 
something tliat to a considerable extent 
parallels this, all of which is highly to 
the credit of the subject of the article 
m question, but this latter child will 
grow up, and five million people who 
did not know, now do know and ■will 
not forget, that Its real parents were 
never known. This Is not to the child's 
or any one's discredit, still it is unwise 
to broadcast it. 

There was another Instance, but I 
have said enough to Illustrate my point, 
that however complimentary and com- 
-.c.>,i!jble certain actions of celebrities 

Last night in Sjonphony hall 
came the long promised performance 
of Brahms's E,equiera by the Har- 
vard Glee Club and the Radcliffe 
Choral Society, Avith members of the 
Boston Symphony orchestra (Julius 
\ Theodoro'wicz, concert master) to 
play, the whole conducted by Mr. 
Koussevitzky. The soloists were 
Ethyl Hayden, soprano, and Boris 
Saslawskj', baritone. 

The occasion, In many respects, was 
ope to restore faith in music^s salva- 
tion. The young men and women of 
the chorus have been willing to devote 
an extraordinary amount of time to 
learning this Intricate music thorough- 
ly. Their steadiness of purpose proves a 
true love of great music, quickened, no 
doubt, by the enthusiasm of their con- 
ductor. Dr. Davison. In accomplishing 
their noble undertaking. 200 or. more 
young people must have developed a 
fine taste In music that probably they 
will never lose. 


I Of less pcnspquence, but still a hope- 
I ful sign of tha times, Is the circum- 
{ stance that enough people in Boston 
; weie so eager to hear this Requiem that 
I two performances were needed to ac- 
commodate the press. It Is unsensa- 
tional mu&ic, mind. these people 
thronged to hear, music not In vogue 
today, without any brilliant solo sing- 
ing to allure. It has only its nobility to 
commend i*., ivs loveliness. 

They are tnough. In the few pages 
of this score Brahms viewed life from 
many angles. 

He saw life darkly, with those that 
mourn. In his inmost being he felt 
that here on earth wc, have no continu- 
ing place, where for a little time we | 
labor and sorrow. How could a man of ■ 
mature years feel otlierwije? 'I'hanu- 
fu] he could be that he felt as vividly 
the truth of those comfortable wordn: 
"\yiio goeth forth and weepeth shall 

doubtless retnm with WjoJclng."' 

And thankful should we be that he 
gave expression to his views of life in , 
music of a loftiness and charm most 
amazingly united. Fresher It seems to- 
day than 30 years ago. more exqulsid . 
more moving and exalted. Time iti-r-W 
has helped it; a few pages which ina.\ 
have sounded hysterical in their uloor . 
today, in comparison with what 
since have heard, seem notable for '■ : i 
cence. All thanks to Dr. Davison . i 
his chorus for bringing beauty o 


The chorus sang with fine accurao 
Xo doubt they would have sung with a 
more communicating warmth if .Mr. 
Kousse\itzky had not taken many of 
the choruses at so slow a pace thai no 
lingers, either chorus or soloi.'its. could 
do justice either to the force or to the 
shape of the phrases. Tlie splendid 
"Worthy Art Thou," on the other hand, 
he fancied very fast. 

Mr. Koussevitzky, indeed, was not con- to let Brahmj ."-peak for himsc 
{.Andantes he made adagios, piano i 
A^ou!d have pianissimo, forte he war'' 


"Fez," an exotic, rapid-fire musi- 
cal comedy presented by the Vincent 
Club, was given a reception which 
at once stamped it h dramatic suc- 
cess and a lucrative box office at- 
traction, when presented yesterday 
afternoon for the first time before 
a large audience at the Boston 
Opera House. 

The fashionable and usually not-too- 
demonstrativ* audience that gathered 
for the premiere presentation Fhowed 
unm.lBtakably Us keen delight with the 
performance, according It continued en- 
thusiastic applause and demanding en- 
core upon encore. 

It was a flniehed performance, the 
excellence of which spoke eloquently 
;! for the work of those at the directing 
helm and gave undeniable evidence of 
persevering, exacting training f->r cast 
and ensemble during long months of 

The play was produced under the 
personal production of Ned Wayburn, 
.ind had for its scenario authors Mrs. 
Maurice Osborne and Mrs. Charles O. 

The plot, which follows the sketchy, 
dim way of plots characteristic of mu- 
sical comedies, deals with the exciting 
'adventures of Mr. Banks, a New York 
V idower. and his five winsome and 
jazz-mad daughters. Feeling himself 
' unequal to the fast pace of American 
I "life as set by his daughters "jazzy" ex- 
istence, Mr. Banks seeks quiet diversion 
I in Morocco, planning to share his new 
found freedom with Dr. Haines, an In- 
timate friend. He leaves his exuberant 
(aaughters In the care of their Aunt 
I Matilda. 

Accompanied by the aunt, also Tilly, 
the family nurse, and the "boy friend " 
of MImsi, one of the daughters, the five 
girls follow their father to his Morocco 
■ctreat. When they arrive a sheik is 
calling on Mr. Bangs and soon theie is 
fcreat excitement as the news Is brought 
in that the great "Kaba, " a holy stone 
\vorshipped by the tribes, has been 
stolen and ty« natives suspect it Is se- 
fjuestered in the Bangs house. The na- 
tives become feverishly excited and are 
threatening dire vengeance, and the 
fcheik Is suggesting taklns one of th« 
fair daughters as a. hostage, when the 
.situation is relieved-by the recovery of 
i the holy stone, while the Ban^ses and 
their retinue, having had excitement 
aplenty, return to the United States. 

A surprise e'ement, not revealed In 
tlie synopsis of tlie program. Is dis- 
closed with the discovery that the 
sheik is no sheik at all, but really 
Bobbie, the "boy friend" of Patricia, 
one of the Bangs belles. There Is also 
another romance running through the 
plot, with another daughter and her 
"friend" as the principals. 

Mrs. Frederick Bradlee, Jr.. as Pa- 
tricia, and Berthe Braggiotti. as the 
she-ik. played the leading roles ad- 
mirably. The dancing and singing of 
Mrs. Bradlee, and the "dagger dance" 
of Miss Braggiotti, won them round 
after round of applause and many en- 

The costuming ■was exceptionally 
brilliant, while the settings embodied a 
degree of gorgeousness seldom equaled 
even in professional performances. The 
"drill" of 'the Morocco girls in the sec- 
ond act was one of the outstanding fea- 

The play, being given in aid of the 
Vincent Memorial Hospital, is to be pre- 
sen ted again tonight, with a matinee to 
I morrow and the flnal performance li 
' the evening. 



The 22d concert of( the Boston 
Symphony orchestra, Mr. Koussevitzky, 
conductor, took place yesterday after- 
noon in Symphony hall. The program 
was as follows: Bax, "Tho Garden of 

Fand" (first time at these concerts); 

P^achmaninoff, Piano Concerto, No. 2, 

C minor (Mr. Rachmaninoff, pianist); 

Strauss, "Eln Heldenleben." 

.tx Is tha most Intereitlng 
r'n Engll.^h composers because 
^ho most romantically poetic 
this, one lio^s not forgot tho 
< muslo. dripplntr with melan- 
choly, that VauKhan WlUIams wrote 
for "On Wenlock F.dge," and other 
verses from "/V Shropshire Lad," but 
Bax In his symphonic poems, three of 
which have never been played In Bos- 
ton, has a higher and more aiistnlneil 
flljht of IniaKliiatlon thunVaughan WiU- 
l:iins reaohoJ in his "London" sym- 

Is Bax of Irish descent? It Is cer- 
tain that he has been mightily Influ- 
enced by Irish legends, folk lore and 
the wild western coast of Blrlnn. He 
believes in "the Rood people"; he has 
set-n the hostinu of the Sidhe; 1\« has 
heard tho piping that leads mortal 
li.i-n to joy or destruction. 

V.'rltlng: an rrgument for "The Gar- 
<(en of Fand" he first tells how the hero 
Cuchulain fell under the spell of the en- 
.'..antress, Fand, who dwells on a mys- 
terious Island; how his wife, Emer, 
liually won l,im back to the world of 
deeds and battles. And then Bax tells 
the hearer Uuit this music has no rela- 
tion to the legend and he relates an- 
other story in which Fand, the queen of 
the sea, holds with her strange com- 
panions unce.aeing revelry on this 
island, fatal to those tossed by the 
waves upon the mysterious shore; how 
voyagers, thrown there by the sea. 
Joined, willingly or unwillingly, In the 
mad dance :ini1 the high feasting: Fand 
singa to them her Intoxicating song of 
triumphant love. They listen and are 
lost forever. The sea rises, the Island 
is overwhelmatl, the victims sink to the 
depths, while the immortals, the waves 
their steeds, ride joyously and laugh 
at the fate of the intruders. At twi- 
light the watery garden of Fand Is no 
more to be seen. 

Did Bax dream this tale or did he 
And It In some Celtic saga? It matters 
not. He tulls it in beautiful music; 
music that is not fussily descriptive; 
music that needs no Baedeker: music 
that Is not merely literary. Were the 
story not relattil in program notes, tho 
music would .><till be enchanting by rea- 
son of its wildnesE, the fury following 
the cahn, the demoniacal intensity of 
the revelers, the measures that pre- 
pare one for the apparition of Fand with 
the song that maddens with love.vearn- 

.\nd so Fantl's island is like Pros- 

"Full of noisus. 

Sounds, and sweet airs, that give de- 
light, and hurt not." 
Mr. Rachmaninoff gave a brilliant 

performance of his concerto, which has 
been played here several times, twice 
at least before yesterday by the com- 
poser. The concerto Is melodious, at 
times obviously so, with themes that, 
in Tchaikovsklan vein are now charged 
with the melancholy that is supposed 
to bo peculiarly Russian, now as they 
were vodka-Inspired. It Is a concerto, 
which, when played as Mr. Rachman- 
inoff played it, with Mr. Koussevitzky 
accompanying him admirably, is an 
exciting work, that makes an instanta- 
neous appeal to an audience. It Is not 
necessary to Inquire pryingly Into th>5 
contents themselves. Mr. Rachmaninoff 
by his superb performance gave un- 
alloyed pleasure. 

We doubt if "Eln Hlldenleben," 
which had not been on a Symphony pro- 
gram since 1910, will be ranked among 
Strauss's Important works, though 
some of the sections, notably "The 
Hero's Escape from the World, and 
Conclusion," are impressive, having 
emotional depth, being the baring of a 
.soul. No man is perhaps a hero to his 
valet; but Strauss is evidently a hero 
to himself. He Is autobiographical in 
this tone poem as In his "Domestic 
.Symphony." There is a certain pre- 
sumption in asking one to hear nuislca! 
descriptions of a composer's struggles, 
his feelings at being adversely criti- 
cised by wretched Philistines, who do 
not appreciate him, his sulking and 
withdrawal, like Achilles to his tent. 
And why drag Frau Strauss into tha 
musical story and typify her, capricious, 
coquettish, by whimsical measures for 
the violin, even if they are played as 
well as Mr. Burgin played them yes- 
terday' This tone poem, in spite of 
tlie sections just referred to, might be 
justly entitled "A Poseur's Life," and a 
blustering poseur at that. 

No, the great Strauss will be known 
by his "Till Eulenspiegel," the scene of 
recognition in "Elektra," and "Der Ro- 
{ii-.n Kavaller." The performance of the 
orchestra throughout the concert was 
of the highest standard. 

The concert will be repeated tonight. 
The program of next week la as follows: 
Jiozarl, .Symphony, C major <K. No. 
1425) ; I'rokofleff, Violin concerto (Mr. 
Burgin, violinist); Loeftler, "La Bonne 
'chanson" (after Varlalne); Wagner, 
Overture to "Tannhaeuser," 

' The luxury of the stage reflects only 
tha luxury of the age. It Is the common- 
place of every pulpit and provokc.«» tho 
anathemas of Popes, though even iho 
churches themselves have not escaped 
tmscathed. If our New York advices are 
to be trusted. Our very domestio privacy 
has been invaded by It. A generation or 
two ago, and paterfamilias was content 
with a tub: today he must have a batJ\- 
room, If not of marble, at any rate tiled, 
and with the convenient plumbing first 
Introduced by those go-ahead Amerl-- 
cans. When he lunched or dined abroad 
he wedged himself Into the uncomfort- 
able "pew" of a shabby "chop house"; 
now he requires music as he eats, elec- 
tric lamps and flowers on the table, and, 
generally, the appointments of a pal- 
ace. . . . We are still the slaves, the 
virtuosi, the connoisseurs of luxury. — 
A. B. Walkley. 


(From t poem by Dr. O. H. Barloir, Ningpo, 

L'Ueklane, iChlna.) 
May, now, po progressive cataract, 
Lenticular, capsular, or capsulolentlc- 

("Oh, Mln! Where's my medical dic- 

Dim down those fiamlngr orbs and so 

From their sweet radiance In partic- 

Presenile, senile, nuclear, may you have 
no cataract! 

May your dear lamps, O Lee, 
Be nearly always emmatropic, 
(At least till you are forty-flve.) 
And may the focal length of your diop- 
tric apparatus be 
With little deviation from your •visual 

axis optle. 
Myopia, hyperopia, astlgmla, all, 
j avaunt thee! 

The woods are full of eyes like Lee's 
And then of different kinds a score, 
(Hardly ardent flattery.) 
Tou should be glad you ha\'en't had a 
lot of eye disease; 
Retinitis metastatic, blepharitis, 
changes macular, 
Parnchymatous keratitis, amaurosis, 
all of these. 
Divergent squint, coloboma, or what's 

Synechysis sclntllans, many others, If 
you please. 

But only to your eyes I sing. 
As down into their deepest depths I 

("Please don't be silly!") 
I'm not a greedy ophthalmologist, to 

You with a monstrous bill, because I 

have the chance, 
I'm simply scrawling doggerel, for the 

pleasure of the thing. 


As the World Wags: 

A virtuous lady of my acquaintance 
in San Francisco used to stay right In 
her chair when the cafe noir and 
liqueurs were passed around and smoke 
a heavy cigar with the men. She would 
bite the end off with a firm snap of her 
jaws. It was a fascinating sight. 

This wasn't an affectation on her 
part; she believed with Kipling, that "a 
good cigar is a smoke." 

Speaking of snuff, one can procure 
this delicacy at almost any cigar stand 
iilong^the Boston waterfront. In 'long- 
shore' circles, however, it is considered 
the thing to wedge the snufC between 
the gums and the cheeks. 
The quartet will now sing! 

And when I die. 

Don't bury me deep. 

.Tust wrap me up 

In a clean white sheet, 

And print on it 

In letters green, 

"Here lies the corpse 

Of the Cigarette Fiend." 


Strange as It may seem, there is 
nothing in which a young and beautflul 
female app3ais to more advantage than 
In the act of smoking. How captivating 
is a Peruvian lady, swinging in her 
gaily-woven hammock of grass, ex- 
tended between two orange trees, and 
inhaling the fragrance of a choice 
clgarro! But Fayaway, holding in her 
delicately-formed olive hand the long 
yellow reed of her pipe, with its quaint- 
ly carved bowl, and every few moments 
langulshingly giving forth light wreaths 
of vapor from her mouth and nostrils, 
looked still more engaging.— Herman 
Melville. I 


As the World Wags: 

It has occurred to me that, with a 
single exception, I have never known 
of a sympathetic study of a missionary 
in a book of literary merit. 

To quote briefly, Mark Twain in 
"Following the Equator" inveighs 
against the deleterious effects of their 
prudish Influence on the picturesque 
costumes of the heathen. Herman 
Melville In "Typei" says that the Eng- 
lish church trusted too much to the 
.official Christianity of selfish mission- 
'arles; that they were actually often 
'lazy, s,clflsh Individuals who after up- 

setting the existing religions notions 
of tho heathen, Introduced a purely 
fictitious and nominal Christianity and 
reduced the poor natives from a state 
of light-hearted freedom to that of de- 
graded servitude. In fiction what ' a 
disagreeable caricature of a man Is 
Mr. Enderton In Stockton's delightful 
"Casting Away of Mrs. Locks and Mrs. 

My final example is the Rev. Thomas 
Qowles in Andrew Lang's brilliant 
satirical story, "The End of Phaeacla." 
This Ignorant, Ill-bred man of tho 
Bungletonlan sect Is set down Into an 
ancient Greek colony of a high degree 
of artistic culture and becomes ludi- 
crous In his attempt to convert the in- 
habitants to his own absurd and nar- 
, row. views of life. 

1 Tho diatribes of all these witers are 
1 directed not toward the Ideal mission- 
ary but toward a bad variety which un- 
fortunately seems to be too common. 
Lang in a preface took particular pains 
to express his veneration for men like 
David Livingstone. My single excep- 
tion Is the Rev. Titus Fletcher in Caro- 
lineiAtwater Mason's Interesting and un- 
usual "Little Green God". Gentle, well- 
educated, broad and spiritually mind- 
ed, this is a truly saintly character. 
The end Is tragic fr^m the conventional 
point of view. But should we not re- 
gard his fate and that of all martyrs 
to their Ideals somewhat as Schopen- 
hauer regards that of misunderstood' 
and unappreciated genius — recognition 
of this worth comes late, but Is certain 
and lasting. M. S. D. 


Is not "M. S. D." thinking of Herman 
Melville's "Omoo"? . We do not recall 
any comments on missionaries In 
"Type^" but Melville was roundly 
abused by some for the remarks about 
missionaries in "Omoo." He ivas ac- 
cused of "deliberate and elaborate mts- 
represeatation"; he was called a "prej- 
udiced. Incompetent and ruthless wit- 
ness." In the preface to "Omoo" Mel- 
ville wrote tliat he had scrupulously 
observed a strict adherence to facts. 
"Nothing but an earnest desire for 
truth and good has led him to touch 
upon this subject at all. And If he re- 
frains from offering hints as to the best 
mode of remedying the evils which are 
pointed out. It is only because he thinks, 
that after being ma^e acquainted with 
the facts, others are better qualified to 
do so." Mr. Weaver In his life of Mel- 
ville discusses "Omoo" and the mis- 
sionary question at great length. — Ed. 

Til their dealings with the IrrltableTsus- 
plolous, unreasonable natives. 

And we once heard a man say that 
Lexington and Concord were worth 
while If only to give Emerson oppor- 
tunity for writing "the embattled farm- 
1 era" and the shot that was heard round 
the world. Ho thought that Emerson 
coined "embattled," not knowing that 
tlte word Is nearly 500 years old; that 
.Milton had spoken of "embattled ranks," 
Cowper of the "Ipabatlled muUltude," 
Wordsv;orth of the "embattled East." 
It's a good word, and Emerson made it 

Mr. French's book is tajr, unpreju- 
diced, entertaining reading. Descrip- 
tions of battles are as a rule confusing, 
even when blacte and red lines show in 
drawings various positions of contend- 
ing troops. Mr. French is clear In his 
descriptions, not too romantic In the 
story of what preceded and what fol- 
lowed the battles, if "battles" is not a 
pretentious word for what took place. 
He examines coolly tho evidence in the 
matter of the British "barbarities" that 
tired the Indignation of American his- 
torians and spouting orators. Did 
Americans scalp British soldiers or cut 
off their ears? We remember reading 
during our civil war that southerners 
were in the habit of skintiing the heads 
oC northern soldiers and drinking whis- 
key out of their skulls. These stories 
wore believed by many In the North. 

\ A good book for this month and for 
any month Is "The Day of Concord and 
Lexington," by Allen French, published 
by Little, Brown & Co. There are illus- 
trations, portraits of Gen. Heath, Gen. 
Gage, Dr. Warren, Samuel Adams, John 
j Hancock, Lord Percy; four prints by 
j Amos DooUttle of the battles— the back- 
I grounds sketched by Ralph Earl— the 
I engravings were sold In New Haven, 
1 Ct., In 1775 for 6 shilllncs the set plain, 
I 8 shillings colored— the reproductions In 
1 this volume are by Sidney L. Smith, ap- 
: peering with the permission of Mr. 
Charles E. Goodspeed, who In 1903 com- 
' missioned Mr. Smith to re-engrave the 
iset; there Js an Interesting map of the 
country around Boston; a bibliography 
i is followed by an index. The volume is 
I an attractive one In form and type. 

Is American history taught any bet- 
! ter In our schools and colleges than It 
1 was when we were young? In the pub- 
:iio schools of our little village in the 
sixties there was a We have 
forgotten the name of the author. The 
pupiLs were required to learn a list of 
dates. "When was the first block house 
built in New England?" We could an- 
swer this question pertly in the sixties, 
but. alas, we have forgotten the date; 
as we are not cocksure today about 
the date of the battle of Marathon, we 
loft school with the impression that the 
BritiSli In the Boston of 1775 were a 
cruel, ruthless lot; that they were as 
cowardly as the colonists were brave; 
that the British in an overwhe'lnwng 
number were soundly thrashed by a 
gallant few at Lexington and Concord. 

American history was not taught at 
Phillips Exeter Academy In the early 
seventies. The only historical events 
discussed there were those described m 
the works of the ingenious Xenophon. 
.\nierlcan history was not taught at 
Yale in the seventies, but we were 
treated to doses of Hallam's Constitu- 
tional History or England. Prof. Wheel- 
er rhvmed "put'' with "gut" and wa.s 
fastidious in giving four syllables to 
"parliament" and stressing the "i-" 

^Vc• understand that there are his- 
' torians today v. ho would have us 'be- 
llove that the colonists were wTong; 
that Sam Adams was a demagogue; that 
the British were all perfect gentlemen 

There is no place given in the biblio- 
graphy, says Mr. French, to "itieroly 
tine writing, to the screaming of the 
eagle, to the twisting of the lion's tail. 
For the modern reader such literature 
has no longer any value." Mr. French, 
however, does not reject tradition, "the 
basis of all early history," and he em- 
ploys tradition wherever its use seems 
justified, for if stories gain with the 
passing years, "there is commonly an 
easily discerned basis for truth." So 
he might say with Walt Whitman: 

"Great are the myths — I, too, delight In 
them ; 

Great are Adam and Eve — I, too, look 
back and accept them." 

What would Roman history be with- 
out Romulus and Remus? Who would 
wish that the wolf was only a woman 
of doubtful reputation named Lupa? 
Who does not like to think of the good 
Numa Pompilius listening in a grove to 
the wise words of the fair Egeria? Wt 
still think that the pious ."Veneas treated 
Dido in a most ungentlemanly manner. 
In Mr. French's book we like to read of 
Mr. William Dawes, Jr., who shortly 
before he was 30 years old thrashed 
a soldier who had insulted his wife. 
Would that Mr. French had found a ' 
portrait of Mrs. Dawes, that we might ' 
know whether the soldier and Mr. 
Dawes were justified in their respec- 
tive behavior. 

Were the colonists too idealistic, was 
their position groundless? While Sir., 
French is in "complete sympathy with 
the modern school of history which 
strives to do away with the old New 
England ancestor-worship," he looks 
with keen eyes on the matter "as com- 
pared with political readjustments 
since that day." Economic troubles 
were interwoven with the political dif- 
ferences. The British ruling 'class be- 
lieved that democracy was a myth. 
The Tory could not grasp the fact that 
Americans were accustomed to decide 
their own local affairs. The insistence 
of a town meeting on Us rights was in- 
solence. The Tory saw no reason why 
the cod fisheries should not be closed. 
Act after act inflamed the anger of the 
colonists. MTien British troops entered 
Boston to enforce acts which were 
tyrranous, it was time to revolt, to 
follow the example of Hampden and 

Delightful Is Mr. French's description 
of Boston In 1775, "an old fashioned 
town, unaffected as yet by the extrava- 
gant nonsense that characterized Lon- 

"Both Whlgs and Tories were sober 
folk, much given to church-buUd- 
Ing. . . . The colonial capital was 
Inliabited by a people devoted to com- 
mercial enterprise, sea-going folk and 
therefore not entirely provincial, 
inheritors of a strong religious tradi- 
tion and consequently somewhat stub- 
lorn, with a fine Old Testament voca- 
bulary of denunciations and exhorta- 
tions." Lord Percy thought Bostonlans 
the most designing, artful villains In 
the world. "They have not the least 
Idea of either religion or morality." 'To 
him they were "hypocritical lascals, 
cruel cowards." After Lexington and 
Concord, he respected the li.srhtlng qual- 
ities of the New Englander. He saw, 
as from a tower, the future war. 

Contrary to the opinion long held, the 
Americans were not as marksmen su- 
perior to the British. Not the least 
interesting portion of the book are the 
chaptei-s on the flint-lock of 1775, the 
Infantry tactics, the scarcity of pow- 
t der, the mlMtia, the Minute men. But 

1,1-. S u (::iy we quoied fri.i«ii Kdouard Schneider's iiU- ci Kloonov i 
Do6c the luConnt of her last yeare in Europe and the tour in the United 
States that ended in her death at Pittsburgh, "the infernal city, the cellar 
of cojil and blast-furnncos.'' 

This account occupies only comparatively few pages of an intercst- 
itg and valuable study of the woman herself, her opinions on her art, hor 
taltes in literature, what she thought of life. ! 

; M. Schneider first knew her face to face — it was in iNlay, 1921 
I liini that she \vishcd to play only mothers, women without age, 
crc I of eternity, as EHida and other heroines of Ibsen. "When I 
have on 'The Lady from the Sea,' Praga's 'Porta Chiusa,* 'John Gabriel 
Borkiiian,' I shall see. I shall read, reflect, choose." 

"I wish !o have my own theatre. I shall have it; a little theatre 
wlierr 1 shall mount 'real works.' I shall appeal to the young, first to my 
eoir itriots — that's natural — then to the young of other nations. As for 
"■^ lil? A little one, with white plastered walls, simple scenery. No 
onts, almost no scenery. The play must be heard, there must be 
ci. ; communication. If it's necessary, I shall put myself underground, 
In a cellar, like the early Christians. - . If I live! If I live!'' 

She confessed that she wa*? too old to portray the heroine in M. 
Schneider's "Dieu d' Argile." "She is so beautiful!" And Duse hated 
■11 the tricks and lies of make-up; she would not feign youthfulness. 
! cannot play the part Look at me. It's too late. It would be a 

»?iie defined impresario - slave merchant: "One that goes looking 
for actors here and the>e and unites them to rob them." 

ller antipathy towards schools of acting was pronounced. Her friend 
ftt .\solo, Mme. Casale, told M. Schneider that a year before Duse re- 
itomed to the stage Yvette Guilbert wrote to her from America asking 
her to join her in founding a school. Duse was greatly amused. "Do 
ou know how I would besin my h'ssons? By saying to the pupils 'Don't 
atcnd any school.' " 

She read much. One of her favorite books was Maurice Blondel's 
'L'Action." "Seeing my surprise, she said: 'Yes, for the last three months 
iring my work at Turin and Milan, and resting at Cortina, this book has 
one me the most good, brought me the greatest comfort.' Why should I 
ot be astonished at finding in the hands of an actress, even a genius, 
his famous book, one of the fundamental works of the so-called philos- 
jptiic moderniste, considered by everyone difficult reading, requiring for 
tull understanding a primary initiation?" 

Mr. Schneider used to send her lists of books to be read. Whenever 
iie named one tc her she exclaimed: "Put down a zero mark! 
How ignorant I am.' How many things there are to know. And there's 
M little time. Life is so short. It is necessary to make haste even in 
trying to understand. It's so sad to arrive at the end of one's existence; 
to say I have understood nothing, nothing." 

Siie was interested in everything, literature, philosophy, memoirs, 
religious quest'ons, social problems, music, painting. She re- 
tiiat her mind had not been disciplined. "I knew nothing. I 
rything to learn. Twelve years ago when I left the theatre I did 
out regret. I did not wish to live any more for others; I wished to 
myself, to learn, to understand, to attend courses, lectures. There 
imc remarkable men at the Florence University. To think that I 
attend a single meeting. Yes, I have read a little, but not enough." 
y when I had spoken at length about Loisy and "loysisme," she 
• ith childish joy: "I'm learning, I'm learning. You are educating 
ne. 1 am so ignorant." 

Siic had her prejudices, her aversions. Her comments were often 
'ausing. Of a novelist greatly esteemed in Italy she said: "He's a hair 
He curls, puts on ribbons, arranges adorably the slightest detail, 
> it so well tlipt no one can recognize a real being among his fig- 
1 by lii.s chattering, he's a hair dresser." 
preferred author.^; were Claudel, Romain RoIIand, Suares (espe- 
s "Trois Kennies.") She liked Holland's "Jean-Christophe"— the 
umes in particular— and his "Beethoven." She overcame in a de- 
• "acute Ciaudelitia," though she remained fond of "Annonce faite 
." though she prefened "Jeune Fille Violaine." "Outside of the [ 
quality, I find his religion too severe. No, this form of Christian- [ 
ty Kf-.s me sick, yet there are magnificent scenes in 'L'Otage' and in' 
L L> .^nge,' and what beautiful characters, so human, so true!" 

There were "Anglo-Saxon" authors she read with pleasure— "Jack 
^ndon and Thonias Hardy among them"— dear to her for their "dolorous 
-ion.' She look the Nouvelle Revue Francaise, the Mercure de 
and the young literary periodicals, but she was horrified by the 
oduction of books, by the "current subtleties of a sterile formalism." 
ight for "the echo of an interior life," aud so was attached to thei 
of Maurice and Eugenie de Guerin, to books by Clemiont and 
•iu Card; to Papine'.s "Uomo Finite," and she was passionately fond 
uussian authors, Tolstoi, Gorki, above all Dostoievsky. 
^ I P night she went to a theatre and asked if she could not portray one 
M th. Pitiable women in "The Lower Depths." Tolstoi was to her a fore- ; 
■unr, ' He alone, during the war, had shown himself high up with the 
ivfp He IS dead; there are no more men." 

hilc the literary genius of Anatole France and Maurice Barres did 
lot r cape her, any expression of art strongly marked by scepticism or' 
hlettantism was to her insupportable. She did not ask that a book should 

'Tu^.'°"r, '""^' ^""^ ""^^ '"''^^^^ *° it a ii^-ing man, a thought, a 

aith. I love only those who construct; for example. Taine.'' 

.^Iic regretted she could not appreciate CorneiUe. Racine, other French 
. also Mallarme. "One of my friends has tried her best to convert 
(.acme. Impossible. One must be French to feel Racme, as one 

^Ume to halt, although nearly every i 

tempts one to quotation. The I rich the nistorv oi me rtoman em- 

V footnotes are as valuable ks those pire's fall by Gibbon and the •'Cause- 

1 with a malicious turn, that en- liu:. " of ."Salnte-Beuv*. 

'I I ' I ■ Italian to feel certain Italian works. !• mm thl^^ point ol v 
comprehend the idea of palriotiani." When tlicy talked to her of Mallan 
she oppo.scd "the warm human passion of Baudelaire, the nad senKitivnic 
of I .eopardi, the pitying tenderness of Verlaine— "ho goe-s spontaneou' ! ^ 
to the heart, without ooniplicalions" — and i-hc appreciated Rimbau I 
•n<l Vigny. 

She was enthusiastic over Holljind's painters. "One cannot know 
painting well unless one knows Holland well." Among Italian painters 
■he preferred the Venetians, Giorgione and Tintoretto first. Carpaccio 
Interested her, while the cold brilliance of Veronese was foreign to her. 

Of all the musicians she chose Beethoven, and nearly always carried 
his portrait with her. "In the savage accents of his sj-mphonies and sonatas 
she found again the throbbings of her own stormy nature, and in the heart 
of this or that adagio the vision of the peace to which her soul aspired." 
Contemporary music was not indiflerent to her, but if she was seduced 
by the genius of Debussy, and pcriiaps even more by the Russians, she 
lik»-d still better the great classics, "the limpid grandeur of Montcverde 
and the polyphonic richness of Palcstina's choruses." 

Her love for the Russians was not solely for their literature and 
music. She believed that a writer should not only write; he should ex- 
plain his thoughts, defend them, go out into the world. Now, the Russians 
in her eyes were capable of leaving the pen and living by work; hence 
their power, their grandeur. She thought she found in this oriental Eu- 
rope the most sensitive, the most intelligent audience. The mystery of 
the great Slav people fascinated her mind and her heart. 

She once showed a book she had just purchased. "It is written in 
German; I don't understand a word of it; but this face when I look at it 
does me so much good." On the cover was the serene facc^f Rabindranath 

T am !:ot a practising Christian. My religion is not that of the 
church. I go to church often, but M^hen it is deserted. Then I stay a long 
time, an hour, to meditate and pray. Never when it is full of peojjle. 
Near my house at Asolo is a little church. I often enter it. There I 
recognize the true evangelical simplicity." 

When she and M. Schneider were deploring the post-bellum frightful 
materialism and he spoke of the difficulties in her path, she said with a 
flash of pride: "We are all unhappy beings. Victims, sacrifices are neces- 
sary. Destiny kills us. Otherwise we do not live." 

There are other memorable sayings. There are other revelations of 
Duae's extraordinary character. M. Schneider's book should be translated 
into English. P. a. 

An Olla Podrida 

Letter from Marion Elmore-Falstaff Again in 
Opera. John Coates, Tenor 

One of the most amusing scenes in the Music Box Revue, now in 
town, comes so early in the show, that some may miss it: "The Fraudway 
Ticket Office," played and sung by Dorothy Dilley, Solly Ward and Eric 
Titus. Here is an excellent example of the hypnotic power of reiteration; 
the would-be ticket buyers for the Music Box Revue insisting on their 
preference while the proprietor of the office recommends every show but 
the one they wish to see. And in this scene is the most original and char- 
acteristic music in the revue, music that sets forth the verbal reiteration 
in a melodiously tripping and haunting manner. 

The true way to enjoy luxury in the playhouse. "We can sit in our 
stalls, or the pit (with a bus fare in our pocket), and revel in the vicarious 
squandering of millions, with untroubled. digestions share imaginatively 
the Prince's abnormal passion for caviar and note the elegant voracity of 
the party devouring the supper kindly supplied by Giro's Qub. That, in- 
deed, may almost be called a spiritual experience, not only for ourselve'^ 
the spectators, but for the actors as well— for, after alf, the millions and 
the caviar are as imaginary for them as for us. All the same, the balancr- 

n- V""*^,^ the supper kindlv supplied by 

tu-o s Club, while we only look on.— A. B. Walkley. 

, Falstaff again appears on the stage, in Hoist's new opera, "At the 
I ^Jif^d- It is a "musical interlude" in one act, an adaptation of the 
■ f^'^t^ ^"^ ^'■^"'^^ Eastcheap tavern; the words 

of the libretto are practically all Shakespeare's. Mucli of the music Is 
founded on old Ehghsh melodies. Doli Tearsheet is the leading, one might 
say decidedly forward woman. The hostess, Poins and Bardolph are intro- 

John Coates, who will give a recital of Shakesperian songs at the 

fordTn m-'^H Englishman, born Sfa^'srad- 
ford m I860 He first appearea m London as a baritone at the Savov 

iZl l fJ fi '^ and Amenca. In 1900 he appeared as a tenor. In 
1901 he took the part of Faust at Covent Garden. He has sung in the 
H.'"^" °Pera houses, at Paris. In 1906 he sang at the Cincinnati 
testival. He was in the war, serving in France (1916-19). Dr. Eagleficld 
Hull says of nim: "He unitos to a fine tenor voice, wide culture, perfec- 
tion of vocal declamation and high dramatic attainments." 
..H ^°;°P!,he sang as a "star." in "Lohengrin," "Romeo and Juliet" 
and Faust His teachers were Walton and Shakespeare in England and 

aZ L'lSt^:; ^'"^''^ ""'r' '"'"^ archchanfer John" 

and has ^^Tltten for his voice, as^ntock did in bis "Omar Khayyam." 

To the Dramatic Editor of The Herald- 

■ ^ '""'"5_.^^.<^v'^^" Herald was recently sho^™ to me. The heading 

Aaiows; caocs in" the Woods" and the letter was published in As 
rid Wags columr. 

V- I was one of the oiieiiial members of the Colville Folly Company. 
J look the part of Sally, one of the babes, I can answer the writer of thi» 
etter correctly. The c mnany did play in Milwaukee. 

"Babes In the Woud" wns produced durinj? tlio Christmas holidays, 
; 1877-78 at th.- Eagrlc Theatre (New York), afterward called the Standard, 
I where Gamble storewnow stands. The cast of the play, written by William 
' Gill and directed by Willie Edcuin was as follows: Sir Roland Maccassar 
William Forrester the Very Pad Man, William Gill; Tommy (a babe/ 
Willie Edouin; the Donkey. A. W. Mafliin; Dr. Puff, Kate Everleigii;] 
the Bad Man, Marie Williams; Lady Maccassar, Alice Atherton; Miss 
Jones (governess), Lena Alerville; Sally (a babe), Marion Elmore; the! 
Fairy Godmother, Eunice Roseau; Jennie Wren (a bird), Carrie Elberts; 
Cock Robin (a bird). Kettle Hogan. Chorus: Annie Deacon, Ada Leej 
Rose Leighton, Be.^sie Semple. Venic Bennett. Sussie Winner, Annie! 
Winner, Mary Winner, Jennie Elberts, also a male quartet and a numberl 
. ot children who played birds in the forest scene. The characters in the 
pantomime Avere: Clown, Wil'ie Edouin; Pantaloon, William Gill; Harle- 
quin, A. W. Maflin; H^^rlequ•:na, Marie William.s; Columbine, Lena Mer- 

At the close of the New York engagement, going from there to the 
Globe Theatre, Boston, I played Columbine as well as .Sally and continued 
to do so for the balance of tlie season. The reason for the change- was 
this: Messrs. Edouin and Colville thought they were sacrificing my sister, 
Miss Merville, in the character of Miss Jones. They had Mr. Gill write in 
for her the part of Prince Prettyfellow, sweetheart to the Fairy God- 
mother. One of the big "song hits" was "The Man in the Moon is Look- 
ing," sung by Alice Atlierton. The part of Miss Jones was, after the 
change, taken by Elinor Deering. 

Your correspondent is right about the engagement at the Boston 
Iheatre m 1878; also the Union Square engagement in 1879. "Robinson 
Crusoe" was played by Miss Lydia Thompson at Wallack's Theatre Broad- 
way and Thirteentli street. New York, in either August or September 
1877. My dear sister. Lena, and I were members of that company which 
later in the season of that year, on Miss Thompson's return to England 
became the Colville Folly Company. MARION ELMORE. ' 

(Mrs. Frank Losee.) 
Robinson Crusoe" was at Wallack's in September, 1877. Miss Elmore 
took the part of Beda in "Bluebeard" (Lydia Thompson, Selini) and. 
Gretchen in "Oxygen" (Miss Thompson, Prince Fritz) at that theatre 
in August, 1877. Lena Merville, the daughter of Barnett L. Elmore, once 
Joe Jefferson's manager, was born on the Caucasia in the Indian ocean 
when the company was en route to Australia. As a child .she played wil !i' 
Jefferson. Going to England when she was 13, she joined Lydia Thomp- 
son s company and came to the United States in 1877. Some no doubt 
remember her in "A Bunch of Keys," Jane, "A Trip to Chinatown " She 
retired from the stage about 1905, but she was seen for a season in vaude-l 
ville with her sister Julia, "the two Juliets." She died at Yonkers, N. Y. 
the home of her sister Marion, on Jan. 5, 1920.— Ed. ' " 

I\Ir. 0. L. Hall WTote appreciatively hi the Chicago Daily Journal of 
an actor who has many friends in Boston :- 

"Before 'White Cargo' scoops np its African sand and wheels it to 
some far dumping ground, I should like to say, repeating what manv a 
playgoer has said, and which I have a right to say because I justified I 
myself at the beginning of the long run of the play, that Conway Wing-' 
field has been in no small degree responsible for the fine success of tha ' 
melodrama here. I think these words are due a proficient actor who ha 
ever been the same whenever I have glanced into the Cort." P H 


SUNDAY— Symphony Hall, 3:30 P. M. Concert by the Boston Symphony 
Orchestra m aid of its pension fund. Mr. Koussevitzky, conductor 
See special notice. ..viiuu>,i.oi . 

Jordan Hall. 3:30 P. M. Concert by Mary E. Jones, dramatic 
soprano, and Harry Delmore, tenor. Mrs. Jessie E. Shaw accom 
panist. Under the auspices of the Charles Street A. M E Church 
TUESDAY— Symphony Hall. 8:15 P. M. S. L. Rothafel (himself). Roxy and 
His Gang, presented by Albert Stelnert. The Gang, Capitol Quartet 
and the Capitol Studio orchestra. 

Jordan HMI. 8:15 P. M. Agnes Hope Plllsburv. pianist. Handel 
Suite. D minor; Glucl<. Sgambati. Melodie: Haydn. Seiss, Scherzo- 
Heller, Ten Preludes; Franck. Prelude, Aria and Finale: Chopin Ber.' 
ceuse; Debussy, Dr. Gradus and Parnassum and The Little Shepherd 
Hier, Prelude; Sears, Improvisation. 
WEDNESDAY— Symphony Hall, 2:30 P. M. Roxy and His Gang 
Symphony Hall. 8:15 P. M. Roxy and His Gang 
Jordan Hall, 8:15 P. M. Susan Williams, pianist. Granados Ro- 
mantic Scenes (Mazurka and Recitative), Berceuse, Lento, Intermezzo- 
Allegretto, Allegro appassionato. Epilogue. Andantino spianato; Rach- 
maninoff, Humoresque; Roger- Ducasse, Etude in E major; Palmaren 
The Pinwheel; Pick- Mangiagalli, Deux Luniares (A Dialogue in the 
Moonlight) and Olafs Dance; Chopin, Nocturne C minor. Prelude F 
major, and Ballade A flat major; Granados, La Maja et la Rossiqnol; 
Mompou, Childhood Scenes (Clamoring In the Street. Play Youna 
2^'"'^^"'.= ""^'l^- Andaluza; Schumann-Liszt, Spring 

Night. Liszt, Hungarian Rhapsody, No 10 ' "u 

FRIDAY— Symphony Hall, 2:30 P. M. 23d Concert of the Bosto- -.-m 
phony Orchestra, Mr. Koaescvltzky, conductor; Mr. Burgin -^~-s± 

See special notice. ' ' • 

Steinert Hall, 8:15 P. M. The Women's City Club presents the 

^""jordT HaM^'s-irp- Mendelssohn'a'nd RtvlL"= 

Jordan Hall, 8.15 P. M Marguerite Sylva, soprano: Mario Cap- 
F^lli. The program will Include the second act of "Carmen- sung in 
costume. '» 

^ Prudden, soprano, assisted by 

William D. Strong, pianist. Songs, Handel, Air of Emira from 
■•Siroe"; 17th Century, Have You Scene but a Whyte LiHie Grow 
Haydn. With Verdure Clad; ^chubert. the Miller s Joy and Wh^th^^-- 
Jl^"'"^' d'ispahan and N-sll; Debussy, Mandoline; Homer'. 

, Cuddle Doon and Sheep and Lambs: Carpenter, The Lawd Is Smllin' 

Thru the Do- and Treat Me Nice; Chadwick, The Danza. Piano Pieces- 
Macdowe.l. Prelude. ^620 Rigaudon. From a German Fores . R°gaudon: 
Symphony Hall 8:15 P. M. Repetition of Friday's Symphony Co" 
1 ~'-t, Mr. Koussevitzky, conductor. ,7 


I Bur^li. 
I Chanson 
Overture . 

Hannibal, the negro philosopher and 
teller of -wondrous tales, -who was one 
of the ornaments of Tale In the seven- 
ties, used to preface hlfj extraordinary 
stories by saylnR-: 'Now, pentlemen, I'll 
tell you something that -would make 
you laugh right out loud, even If you 
were In the woods, by yourself, all 
alone, no one near you, absolutely soli- 

Can this be said of many designedly 
humorous novpls'.' Or of any thick book 
written with the purpose of making thP 
reader laugh and beat his sldp.s In glee? 
We defy any one to roar over "The 
Comic >Ilstory of Rome," or "The 
Comic History ot England," though the 
Illustrations l)y John Leech are still 
amusing, chiefly perhaps by their ana- 
chronistic spirit. Why is it that Julius 
Caesar is funny when he is represented 
sporting a stovc-plpe hat? Ask Berg- 
son, Sully, Baudelaire and others that 
have examined Into the causes of 
; laughter. Suppose that Punch or Life 
•were the size of the Atlantic; who 
would have the courage to read it from 
cover to cover? There are exceptions: 
I one cannot have too much of Mr. Chris- 
j topher Ward burlesquing novels of the 
day. One can read from beginning to 
the end Thackeray's and Bret Harte's 
parodies of novels. Artemus Ward's 
"complete works" are an unfailing 
wellsprlng of pleasure. "Wellspring!" 
Was not that the title of a Sunday 
school paper that was given to us 
youngsters in our little village when 
we were asked to purchase stock In the 
missionary ship, "The Morning Star"? 
But -w-e wander. The old German song 
says, "To Wander is the Miller's Joy." 
We unfortunately are not in the milling 
industry. Query: If the miller wan- 
dered, how could he attend to his 

Doubleday, Page & Co. of New York 
have published two stories that are real- 
ly amusing; "The Old Flame," by A. 
P. Herbert, and "A Cuckoo in the Nest," 
by Ben Travers. Mr. Herbert, we be- 
lieve, -nTites for Punch, but no one 
should therefore be deterred from read- 
ing his books. 

"The Old Flame" is the story of a 
man and his wife who had arrived at 
a stage in their relations when they 
knew that if they lived together for a 
moment longer they -would scream. Be- 
ing- sensible, they did not scream; they 
did not hurry to Italy, one with an- 
other man, the other with -lanother 
woman ; all hands round, change part- 
ners. They separated for a month and 
6njo5"ed their holiday. "In five years 
of matrimony this was only our third 
holiday moon : and many more ortho- 
dox couples are married, divorced and 
re-married twice over in the same 
period." Angela, the wife, in this case, 
is an agreeable creature, but easily 
perplexed. Her liusband. Mr. Stoon, is 
something of a philanderer. There is 
Phyllis, with hair of old gold. "It is 
neither bobbed nor shingled, nor bar- 
naded, nor rib'oed. but grows as Go<J 
(intended." ("Barnaded"? Mr. Herbert, 
we give it up.) Phyllis is Mr. Moon's 
old Nor did he mind it when 
she said to her adoring swain, one 
Smith. "Jlr. Moon'.s an author: and 
they never know what they're saying." 
It Moon sentimentalizes over Phyllis, 
there is Maj. Trevor for Angela. "There 
is a well-establl.shed theory that I am 
not a jealous man. Nor am 17 None 
the less, it baffle? me to see what a 
decent, intelligent woman can see In ' a 
man like the major. Well-groomed. I 
know; but so are race horses. Well 
.set-up, yes ; but so is a policeman. 

. . . The truth is, the man is pas- 
Kiopate. And he Is^ heroic. Tlio last 
time he invited Angela to run -away 
with him. he said things -which would 
liax-e brouglit the Lyoeum do-wli in 
ruins on the auditorium." 

Mr. Herbert's story jogs along pleas- 
antly ani relates the adventures that 
befell the quartet — no, the quintet, for 
Smith, a nice j-oung man, must be in- 
cluded — during the Holiday Moon. Other 
women are introduced. Will Smith mar- 
ry tiie dark lady, Jean Renton. or fair 
Phyllis? Poor Smitli keeps asking Mr. 
Moon's advice, from the moment he 
saw Mr, Moon ordering two soups at 
his club. "Artichoke," he said to the 
waiter; "for tliat is a thing of solid 
worth, which I shall consume and en- 
Joy. Then I shall find fault with It and 
wish I had had the thin first. But be- 
ing no longer in a po.-«itlon to enjoy the 
tliiii (for no man can consume two 
soups. Paragon), I shall tlo no more 
than toy with it, as with an unattain- 
able dream." This convinces Smith that 
a man can be in love with two women, 
so he pesters Mr. Moon, of all men In 
the -ivorld, by asking, "Which one shall 
I marry?" 

There arc delightful adventures, as in 
the Wliispering Gallery of St. Paul's, — 

rhyllis and .Moon in the elevator liiat Is 
stuck— Smith working Phyllls's hands 
up and down, "as you may sec men 
work the beer handles In our hou.<(ps of 
refreshment" -(vhile Moon, unknown to 

them, sees and listens In a hammock 

suspicions and quarrels. If the storv \n 
amusing, IVie dialogue Is still more so. 
Thp humor and wit are not of the 
forced draught species. There Is this 
test: the book can be re-read. It Is not 
a book to lend to a notoriously careli-s.s 
friena, praying he will forget 'to return 
It. We gave it to Mr. Herkimer John 
son. Like Sir Ralph— is that his nam, - 
—in Tennyson's "Queen Mary," he i.-< .i 
sad man and a serious one, but he en- 
joyed the story hugely, 

'A Cuckoo in the Neet," showing th,. 
mess that Peter fell into when he missed 
a train so that his wife was left alone 
going to Sir Stirling Bunter's for a 
week-end visit, has the flavor of a 
Palais Royal farce, but one that ha,: 
been judiciously chastened for Kngli.sli 
and American consumption. If Peter 
had not been seen talking -with the fas- 
cinating Margaret at the railway sta- 
tion, just before he lost the train. Tf 
he had not imprudently hired a motor- 
car to take her to the house party. It 
they had not been obliged on the -way 
to pass the night at the Inn kept by 
sternly moral Mrs. Spoker, an inn with 
only one spare bedroom. If the med- 
dling clergyman hail not appeared and 
believed that Margaret was Peter's 
wife. There are two bedroom scenes 
ludicrous in the extreme, but daintily 
I described. 

Margaret's husband was hardly to be 
Warned for his black thoughts; Peter's 
] wife had apparent cause for Jealousy 
and divorce, egged on as she was by 
her mother, who at the end was acci- 
dently locked in a bedroom with the 
parson. The fun is fast and furious 
The attempts of Peter and Margaret 
to extricate themselves from the di- 
lemmas are humorous, doubly so be- i 
cause the comedy does not degenerate 
into burlesque. Margaret is an ador- i 
able -woman, never more so than when i 
she forgot prudlshness at the Inn and 
rescued Peter dripping from the rain— 
for he had gallantly proposed to sleep 
outside— and told him to put out the 
light, hang his outer garments on a chair 
to dry, wrap himself in a blanket and 
keep warm on the floor. And Peter 
cried out: "Are we spending the night 
-or doing 'Saved from the Sea' for the 
.cinematograph?" If only the landlady 
•Mrs. Spoker, had not come in.' She is 
a character that Dickens might have 

U is somcfmcs saUl of a novel Ih.u 
if.s "good reading for summer." "A 
Cuckoo in the Nest" la good reading for 
any season 


y«r the Pension Fund concert, yes- 
'ffflay. afternoon in Symphony hall. Mr. 
?-:ous.^evltzky began the program with 
•. ;:c overture to Wagner's "Flying 
Tmtchnian." He followed it -n-ith 
."^trauss's "Fin Heldcnlcben." and that 
in turn with three V.'aerncr oxcerpts — 
the "Waldwehen," from "Siegfried." the 
"Good Friday Spell," from "Parsifal ' 
find the overture to "Tannhauser." Ti-- 
audience, very large, showed lively e''- 

There .was ample reason for it. The 
"Waldenleben," though probably no bel- 
ter pla.ved than on Friday and Satur- 
day, came better by its own because of 
its more favorable place on the pro- 
grwn, before people had been given 
their fill. 

The stir it made, nearly 25 years ago: 
There were many who dammed it up 
and down. Some swore they liked it, 
though it was plain enough they did not, 
and some were genuinely thrilled by its 
surge and sound and sweetness — and 
they felt a pleasant conceit ot them- 
.•selves, for the modernity and their dar- 
ing. Twenty-four years, after all, do 
little to human nature. 

But they have done much to Richard 
Strauss. His "Heldenlcben" yesterday 
showed pages worn very thin. Those 
episodes where he clung closest to the 
past, where he profited most from tlie 
work of his predecessors, like Wagner 
wnd Franz Liszt, they stand the test 
ot time. Parts of the opening section 
are impressive still. Much of the help- 
mate episode retains its sweet senti- 
mental charm. The escape from the 
world and the conclusion still thrill b; 
tlieir splendor of sound and their emo- 
tional depths. 

But where Stra-uss would be an inno- 
vator whether he could or jio — it's here 
li;s mtisic shows its .<;hallown€s?. The 
wildness of the opening has an empty 
Kound today. Though the shrill crack- 
ling of the .Vdversarles sets one to mar-, 
veling at Strauss's uncanny cleverness! 
in foreseeing tlie treitd that certain of: 
his successors would take and so step-, 
ping in ahead, those brittle snaps and 
snarls exert slight force today. The ex- 
periment ot the solo violin to suggest 

LOc.-s:.a;. '^'.0 fleld of ba'.tlo, Ias..: 
1 ut-LlsiteJ, by its Added din sho-vvs but 
nttt« pow»c Kaln«d. 

I Innovatore who lean too heavily on 
fheir Innovations alone ralg-ht well take 
warning: by the examiile of Richard 
ptrauss. Ev«n he. a genius, with mu- 
elc of worth to his credit before Ihn 
quest of nove'ity entereJ his head, f.->und 
no endurinff success when be carried too 
far afle'd his quest for new means of 
expression. Conriposers of lesser genlu.^. 
to describe them politelj', with little to 
their credit, would show their wisdom 
If they made hasrto In their experiment.'; 
more slowly still than Strauss should 
tMW don*. 

It was an afternoon of beautiful play- 
ing, the "Fl>ing Dutchman" marcJiing 
Mlllantly, with exquisite sone in its 
£«nta episode, the "Parsifal" excerpt 
prowinn notable for Its lovely sound. 

R. n. G. 

... „llllV,| 

With I'Jinll. 

"iiiidiu't f« I 
.1 Inna: i< i 
,1., ■ ..r .-^i-rll..- 
.MoT' iii. s.irilou collabo 

2 / 



forniance of Hip slxtii r-dition I'f tjoorgi 
W'lilte s "t<candal.<.'" no"k by \A'ilHaiii 
K. WellK and Goorgp White: lyrics by 

■ . C. De Sylvn and Kallard MacdonaM; 

musIc by Gcurge Gcishwin. Urohestra 

d by Vvillaini Daly. 

Tnore were pleasant features In thi- 
low anw tlicrc were some that werv 
ilnterestlas, not to say dull. For the 
illtiess. the comedians were chiefly to 
lame. Tiiey workeO hard in the bur- 
l.^sqiie manner, but when opportuni- 
!'cs were ^iven them— tthese oppor- j 
tunlties were few— they did not Im- 
prove litem. Take for example the i 
scene of the Cen.sors. played by Le.= ter 
.Mien. James Miller and others. Her, 
was a chance for witty ccmedy. bul 
the dialogue was vapid, the "comedy" ' 
^^•as .'lapstickcd and mugging. For- 
:i)nateh- Tom r.^trleola danced ececn- 
irlcallv and almost saved the soeiie. 
The acts that fol'.owed— the drama nn- 
rensored and censored — l)?d more soir' 
.^nd the danee.s werft pleaslM:?. Tli 
other scenes In whcili tlie comedian'^ 
'"igured were of Ihe burlesque iirms.- 
ord'-r and not ot the ftrst-class in thai, 
field of e#itcrta;nmen^ 

T^rre were features wdll worth .see- 
ing, first and foremost the graceful, ex- 
pressive and f:<.soinatiii? dancine by the 
De HTaroo.s to the n>u.'if of tlie Ue Marco 
Sheiks. It l.s not worth while to ask 
.vhethcr thes-^ dances migiil be seen in 
.\raby, a country to which Mr. Kieliard 
Bold in song distinctly expressed his 
desire to go: nor would Haveloek IClli.s 
probably hace recognized the Spanish 
dance a.s peculiar to Spain, although ; 
Ntr. Bold Introduced it by singing with i 
hi." manly vol-'e "The Rose of Madrid." j 
However non-national the dances were, 
tiiey were charming. The chorus "The | 
Tillers" would no doubt have been I 
amusing if the pretty girls bad sur.g the i 
\erses intelil^enlly. In the buresque 1 
•The Wild Irish Rose" 'use was make of : 
the £tranger-and-thc baby story tliat i 
\ea.s century-old when we first heard j 
it at district school. 

The scttincB for the successive scenes' 
for the song "Tear after Tear We're ' 
I Together " v.ere gorgcou.sly affective. 
; Miss Winnie L.',?rhtner sang indefatigably ; 
throughoul tile show in an inexorably ; 
metallic way. In ".Somebody Uoves Me" 
■ould we launch wildly at Mr. Fatricola's 
initalion of .lackie Coogan, tlioiinih the 
large audience was con\ ul.sed and could : 
, not have enough of it. - i 

The story of "Mah .long" wa.s in- | 
eeniou.sly told, while Mr. Bold sang to ! 
' t^he ■Williams sisters, by the i haracters 
representing the Dragons, Wall.s. Flow- , 
ers, etc.. tools of the game that we : 
read is going out of fashion, driven i 
, to the wall by the cross-word puzzle, . 
hut in "Coloratura Poetry" we were ■ 
Liack again in cheap burlesque. j 
i The most artistic feature of the show i 
Hs a .spectacle was the representation | 
'of famous statues by w-ell-graced ' 
young women. This was, indeed, beau- ' 
1 liful. and for this alone the burlesque j 
I scenes may be forgiven and forgotten. 
Not only were the women on t le ped- 
estals fair to the eye: the setting and 
the changing effects of light aided In 
;he iili*sion and enhanced the efTeot. 
.Vnothev admirable setting was the 
background for the Spanish dance, witli 
the musicians far lo the rear and the 
Lie Marcos dancing with irresistible 

iMii'd for ",\liidii iiH' .Sii iis-Geiie," n 
I'iay. nejTliRibie from tin' liieniry vlew- 
i.i'iiit.' but wlilrli iirver fails lo ntlr 
iludlrli- Interest whether in Its original 
I'irm, In lh» more or less fragmentar.N 
I xeervt."! that escape to the vaudeville 
'taije now and ihen, or even In Us 
!• sser known light opera irulH«,>or "The 
I'lichesB of DanxlA." 

For Catherine Hulwcher lik« the lusty 
Catherine, the vivandiere, who later be- 
citme queen of the Rtisslas, savours of 
Ihe soil. She in, capricious, 
loiid-moulhed, po.sses.sed of n pretty face 
j and a blunt eloquence; a combination 
' I'l the original Madame .Sans-G«np who 
was Tberese Figucuer, a vivandiere of 
Ihe 'Napoleonic campaigns, and the 
reKinictiial laundres.s wiin -flipped, by 
; tile fortiine.s of war. into the lace of 
Inieliess of Danzig, -ah her sergeant luis- 
'liand bccanii- a JnUe, -.uiiX strangely ' 
; enough never acquli eil Ih.. slightest sug- 1 
g.estion of a lady of fashion. ' 

A\ilh an uncunn.x genius for resur- 
rcoling the past, Sardou his recreated ' 
! Ihe zest and flavor of the .Vapoleonic 
; regime, in plot and in dialogue, much 
•of which lias ncces.sarily been lost to 
i the screen, although, with a few exccp- 
j tions, the story has not been tam- 
|l>ered with. Yet. despite the pictorial 
I effectiveness of the settings and the 
I skill of Miss Swanson, much of the film 
! lacks life and theatric interest, particu- 
larly during the later episodes of the 
Napoleonic court. 

Filmed in France, with the con- 
nivancp of the French government, 
I which has lent for the uouce its closed 
i palaces at Versailles, at Fontainebleau. 
iuiu! at Conipiegno, with xarious his- i 
[torie hihclol-K. there Is reality and the 
dignified beauty of the original setting. 1 
But I-eoncc l-'errct, although he ha.i 
done well with many of the mob scenc.4 ' 
and the laundry episodes, has failed to 
frive dramatic interest to the court, a 
.strange combination of of Na- 
poleon and of the last Louis. Yet the 
scenario is a good one and the titling 

But it is Gloria Swan'son, alone, who 
stirs life into this vast assembly. With , 
an inimlUble gusto, and an. unerring \ 
sense of comedy, she has added an- i 
otiier SansrCene to the list that com- i 
menced with Rejane, has included Ada 
Rehan, and will, no doubt, include still ! 
otliers yet to come. K. G- I 




;. SANb-iitHii 

.STATE -"Madame Sans- 

film verrion of th» play of 
a:d^n s^iifl limlle Moreau. with Gloria 
icanson and a cast that inclu'les Emile 
;rain as .Napoleon and Chrales rt'r 
J Roche asLetrbvre. and various French 
lactors in the other roles. The film 
|has been directed by T..eonee Perret. 

In a single epithet Shaw summed up 
I Pardon and his benign anj almost 
■rrevocable influence on the stage of 
early twentieth century — "f^„: 
ir'.lrdori" S.i I'e linked these pla- 

Shubert — "Rose-Marie,'' musical 
comedy with Desiree El- 
linger, Guy Robertson 
others. .Second week. 
Colonial — "Music Box Revue, 

ving Berlin's annual produc- 
tion, with Florence Moore, 
Johnny Burke, Phil Baker, 
Ivy Sawyer, Joseph Santley, 
John Steele, Solly Ward and 
others. Second week. 
Sclwyn — "Romeo and Juliet," 
! Jane Cowl with Rollo Peters 
j in return engagement. Sec- 
j ond and last week, 
i Majestic — "Betty Lee," musical 
j comedy, with Joe E. Bro^KTi 
I and Gloria Foy. Second Aveek. 
HoUis — "Loggerheads," comedy 
j of Irish country life, with 
Wliitford Kane, Gail Kane 
i and others. Second week. 
' Wilbur — "The Immigrant," play 
j by Mr. and Mrs. Gulesian, 
with Arthur Ashley. Last 
week. A 
Plymouth — "The Goose Hangs 
High," play by Lewis Beach, 
with Norman Trevor and 
Mrs. Thomas Whiffen, Last 

Copley — "Isabel," and "Shall We 
Join the Ladies?" plays by ' 
Curt Goetz and James M. 
Barrie, held over for another 


Tremont Temple — "Quo Vadis," 
film version of Henry Sien- 
kicwicz's great no-'el, with 
Emil Jannings as Knro. Sec- 
ond week. 

New Park — "Romola," screen ; 
version of George Eliot's 
novel, with Lillian Gish star- 
ved and her sister Dorothy 


> .seat .n Ke.ih'f 1'lieatro was 
Hst evening when the curtain was 
I '>n wfial proved to be one of n>« 
n. si protentiou.^ and p.easlnsr vaud«- 
'iKp blll.'» of the season. The larfc au- 
>•,' was In a holiday mood and ever?' , 
1 the lengthy program was eetier* ' 
iipnuded. ' 
I 'iitrasting <he re.eption of the va- 
' i 'ns acia. Meyer Golden's fanLa.stic nov- 
el:'. "The .Antique .siiop," with Val 
i:i iien in the premier role, easily cap- 
1 11-, .i (lie Ireadllne boners. Prcsent'tig 
■ Ireasured sem.s of collection In a 
'•• toilful and artistic K^itlns, <he ati 
: Hie I'oilector surprised his audle,i, 

a d'.si»]ay of versatility, coupleii 
!■ Ml unusually One ctjstuniing and seen- ! 

• ffecvs. 'Hip iiovellies of tht act iii- 
•I'i'led ".\ l«oroelali. fn,-\:- wilh ilio! 
e, r-o;<e"te 1 In ....^s 

and Adeline Sclffert; the "Madeinuls* 

leiipn ne Cover." '.Nrla^iio. ' ».i 
I-oulse I^nc~knd IJnton Mopps- " \ .)».)- : 
anese D.,n " the "Duth .Mil .'• and "Bo.v I 
or (,onfectiencr.\ , " , ) 
T'vo ro-featnrod acts of e-.- -if |„iti i ! 
merit were Charlie King, pres^Uk,-» "A I 
Bil of .Musical ConiPdv in a XHiide'Mllel 
"ay. and the old. familiar ' Aunt le- ! 
mima." billed as "The Flower of Vaude- 
ville. Kxccptioiial also was the one- ' 
act play. ".Smarty.s Party. ' witli Mine 
Resson In the lead, assl.sted bv TIarry 
Moore Betty Barlow Mary Gildca 
1 ne plot concerns the secret marriage 
of a young couple and the tragic con- 
sequences thereof. 

Other acts which were well received 
were i;d. Lowry, comedian with the laugh; .Shone and .Sfluire. in 
■T.obby I<-ollies"; Kco, Taki and Voki. 
something new in oriental entertain- 
ment; Three and , One- Half .Arlcys. in a 
perch balancing exliihition. and Paler- 
mo's performing dogs. .\esop'.i Fables, 
Topics of the Day and the Pathc News 
complete the program. 

ST. JAMBS— "Hell Bent for Heaven, ' 
a play In three acts by Hatcher 
Hughes. Produced by the Boston Stock 
•company with the following oast: 

DaTid Huat I^ouis Leon Hall 

Steg Iluut .Xnna Laying 

8td Hunt., .Bernaril .Ne<lel! 

fliife Prj-or Houston Kichard* 

.Mnlt Hunt Ro.T Wklng 

Anfly I.owrj- John Collier 

Jufle lyiwi-T Klsle Hltz 

Hatcher Hughes's play has been j 
g'iven here so recently it needs no de- ] 
tailed summing up. and although he [ 
has since then added "Ruint" to hla i 
repertoire of plays of the lusty moun- 
taineers of the Blue Ridge, it is In tlll^; 
first plaj-. that won him the Pulitzer 
prize, that he has written most surely 
and emphatically. 

There have been several attempts tn 
! get at the folk lore ii\ the Carolina and 
\"irginia mountains, and they have 
j usually re.solvod themselves into a mere 
reproduction of the cvternal accents 
. and lightl.v glimpsed ways of these 
I isolated people, primitive, half savage 
I in their civilization. But in "Hell Bent 
for Heaven, " Jlr. Hughes has gone 
deeper. He has made his people real, 
yet without sacrificing his theatrical 

In the person of Rufe Pryor. he ha.s 
seen the strange fanaticism, the re- 
ligious ecstasy that are theirs, and Us 
effect on the Hunts and the I.y0wr.>s. 
His dialect is racy, and honestly re- 
corded, yet he never makes it stand out 
against the development of his charac- 
ters, as so many playwright dialecti- 
cians have done. 

A play of rich and flavorsome char- 
acterization, of melodrama and of a fine 
and sweeping imagination. And. as the 
Boston Slock Coinpan.'- presented it last 
night, it lost none of its savour, and 
Mr. Richards assumed the difficult 
role of Rufe Pryor. one that taxes tlie 
actor both mentally and physically, 
with his cu.'5tomar>' competence. Miss 
Flitz was attractive as Judc L,ow r;-. The 
rest of the company supported them 
ably. The audience was very larjje 
and enthusiastic. 


"Personar* journalism ta not dead m 
Paris, Witness this etory about Mile. 
Mlstlngiiett. told In the Crl de Parts 
by Michel Georges MIoheL He begins 
by oalllng to mind her reiJy when a, 
reporter asked her which of the two 
women who said they were her mother 
really had the honor. 

"Before I csan answer you, I mu*t wait 
till the proposed Uw comes to a. vote," 

"Wlmt Uiw7" 

"Gonocmlng the "recherche da la ma- 

ternlte,' " 

Apropos of the report that MUe. 
iV'lst'nguett win publish her memolrB, 
M, Michel asks If she Will tell the etory 
about her first hat. 

"When she was little more than a 
child, still unknown tn spite of her 
pretty dreamy eyes, still called Jeanne, 
she bad such a desire to have a hat 
with feathers to go to her piano lesson, 
that she bought a sparrow trap, cut oft 

the wings of the prisoners, 
them to her flat-brlmme< 
first day the effect was oh' 

second day the wings dried 
third, the class was poison?'^ 
a stench, so many flies buzEed 
the feathers, that the future star 
home bare-headed. Since this aa' 
ture, Mlstlnguett eporte only artlflc!'! 
feathers, mounted on a solid setting o 

Did mie. ir:stlnrJ«tt wrtte to M 
Michel thanking him for actjualntlng hit, 
readers with the happy dayt ot her 


(Tor As the 'World Wagi) 
L«t us live, my L/esbla. and love, 
Nor heed those lonjr-faced ancients 

Their whole output's not worth a red 
(And I'm not jekkig). 

Fof suns may seit and rise again, 
But when once our short light has ended. 
We'll find one long, unbroken night 
Oil u3 descended. 

So give a tliousand W'sses now, 
A hundred more, or so, to top 'em. 
And then a thousand hundred more 
(And please don't stop 'em). 

And when we've reached a million, say, 
We'll camo-jflage our mathematics. 
And kind of lose our reckoning 
By mental acrobatics. 

Lest some malicious envier 
Should blight by evil observatiou 
Our overflowing complement 
Of osculation. 

— GAAaiA. 

M. P. D. -nrttes that Herman Mel- 
ville a sour remarks in "Tj-pee" about 
jmlsslonaries are to be found on page 288 
et seq, "especially page 290." There Is 
nothiog a'oout missionaries on the pages 
thus named in the edition published by 
Villey and Putnam, Xew York, and John 
M-urray, London, In 1848. The para- 
graplis tn -the flrsrt edition (1846) at- 
tackmg the "republican missionaries of 
Oahu for referring to the Hawaiian 
chlefiam as "his graclo'us majesty" 
?'fo'"f.'"®™°^'®'' '^^e revised editions 

hifn , ^"i^ '^■''«" <-»e chapter 

headed "An Allusion to His Hawaiian 
Majesty was thrown overboard. Mel- 
if, ^'^^l preface to the revised 

^i'v'^^.^"'*'"^' passages uncc«ti- 
neoted wl'th his adventure had been re- 
jected as "Irrelevant," for example, "as 
those rtferrlng to Tahiti and the Sand- 
wich Islan'ds which, crttlcally speaking 
have nothing to do with the narrative " 
fo.Ti^ ^^^"^ passages are to be 

found In Weaver's life of MeUr-l'Je. 


Tl?i''KJ;^"/'"^ , K^blnson sends to 
The Herald a picture of the Fort Myers 

?amL s^J-^--' Published In the 

Tampa (Pla.) Dally Times. The plc- 

Vi^^r^^^ *° '^I'n ^rom Tampa by 
<^'^i"^'er, artist and traveler, 
who wrote above It: "this I., a hot 
bunch of rubes." The Times quotes 
Mr. Peter O. Knight's story of the great 
day when this band, which he had or- 
ganized, visited Tampa to compete with 
a negro band from Key West: "I stood 
on the corner blowing my horn when 

fuJl^^^'i!^ "'^L '"-^' ^^"^ me home 
that night and told mo it was either 
the horn or her. The 'oand broke up." 
Mr. Chandler wrote to Mr. Roblnaon: 
Of course I do not know any of thes" 
musicians but I think the photograph 
is amusing Reminds me of a bunch of 
misguided friends of my vouth in Mil- 
waukee who- formed a brass band. John 
Hinsey and Thorne Birmingham were 
r,fi"u!'f',^^'''"""! Played a trombone 
and had the neighbors crazy with his 

ouf^f^'fi;.';?"''* °' -"-hlch.was wafted 
out of the back window. One dav I met 

sLTd'tw'^b' . in a ruT 

Said that his band leader had Issued 
a hurry-up call to learn and rehearse 
a dirge, as the captain of the Lincoln 
Oruards was not expected to live Ha 
seemed rather eTatef\ over tt. 

'■Some time later I again' mei him 
and asked about the dirge. He was 
quite disgusted, for the man had m^t 

play " "^"^ ""^ "'^ * chance to 

Mr. Robinson adSs this note: 
''Chandler doesn't know that another 
mtlmate friend of his (and mine) once 
smote a bass drum in this same band ! 
but Qutt because the route of a parade 
led past the Milwaukee College and the 
girls used to hang over the fence and 
hurl criticism at his technic. Little 
did he dream that the lowly bass drum- 
mer was to come into his own as the 
star performer in a Jazz symphony. 

"In those days one haa rather a 
sheepish look marching behind a bass 
drum partially carried by a small boy In 
front. Even expert cross-whacking of 
the drum-stick wag Just beginning to 

I appear in professional bands, but beyond 
an occasional modest attempt at svn- 

jcopation, the amaieur bass drummer's 
contribution was largely Umph-Umph- 

|hocm-boom-b6om, and the cognoscenti 
hadn't begun to appreciate the lowly 

, Tes, there Is a bass drum technic, yet 

u'e (iPln creil [ 
"1 met a j 
> t any teeth, j 

in he.ia, yet that man I 
on the bass drum better 
Tvan I ever met." 


'ley, !ii his usual cultivated 
:ii>d etyle, soys of the report 
of the finance cPinmlssicn resardliig; the 
city treusury department: 

•'The commission • • • has labored 
lonir, Bquftndertil city money and, like 
the mountain of which Scripture tells 
i:s, has brought forth a wee animal.'" 

"Parturlunt montes, nascetur rldlcu- 
!U8 mue," the famous expression of the 
1 afcan foet Horace Is thus, on the au- 
thority of the eminent biblical scholar 
now occupying the Mayor's chair In 
Hoston, Included In tlio canonical -WTlt- 
InKS. G- F. B. 

The proverb was !n common use 
airon» the ancients: 'i'aohaos, the king 
oi Empt, ridiculed Ageslluaus when he 
rame to him as an ally and lost his 

"The mountain wiis In labor; Jun.'ter 
was snreatly frightened; lo, a mou.je6 
\\a8 born." 

Now AKesJlaus was a very short man. 



(Martial Translated by J, X. Pott) 
On« eye was sone and the other dim, 

Put A notable thirst had he, 
'T3rlnk no more wine," said the leech to 

< 6r blind yen will imrely bal" 

Ha smiled and rnil4 to hli ulsfht, 

And he drank both deep end iong^-' 
■WTiat neit? He poisoned his only eye. ] 

But his thirst Is well and «tren|t. 


Agues Hope PlUsbury, pianist, gave 
a recital In Jordan hall last night. Her 
program read as follows: Handel, Suite, 
D minor; Gluck-Sgambatl, Melodle; 
Haydn-Selss, Scherzo; Heller, Ten Pre- 
ludes; Franck, Prelude, Arla-Flnale; 
Chopin, Berceuse; Debussy, Dr. Gradus 
ad Parnassum and The Little Shep 
herd; Hler, Prelude; Sears, Improvisa- 

Isldor .SelsB, who taught and con-, 
ducted at Cologne, amused himself, 
when he was not uniting his own com- 
positions, by transcribing certain string 
quartet movements of Haydn's and 
chamber music by Beethoven for the 
piano. Hler and Sears — he dedicated his 
"Improvisation" to Miss PlUsbury — are 
unknown to us. 

The name of Stephen Heller now sel- 
dom appears on a program, yet there 
was a time when the name was familiar 
to piano pupils. His Eludes were some- 
thing more than dry studies for tech- 
nic; they were valuable as music and 
were an excellent school for phrasing. 
Pianists young and old played his 
Tarantelles, his "Cradle Song," and 
many of his other pieces. A shy, re- 
tiring, lovable man, born at Budapest, 
but living for years In Paris, where he 
j died, he was highly esteemed by Ber- 
lioz, Liszt, Heine. Kven the captious 
Buelow admitted that his musical ex- 
pression was poetic. Me belonged to 
the romantic school. Many of his 
charming pieces bear titles, as "In the 
Manner of Teniers," "A Pen Sketch," 
and there are Suites "In the Forest," 
"Flowers, Fruits and Thorns," "Sleep- 
less Nights," "Walks of a Solitary," 
"Journey In My Chamber." 

Heller's music demands for the full 
expression of his Joy In nature, his medi- 
tations and confessions, his dreams and 
Illusions, caprices and vague longings, 
a romantic pianist. Miss PlUsbury Is a 
matter-of-fact player. 

She has evidently given more atten- 
tion to the acquisition ot technical pro- 
ficiency than to the, art of interpreta- 
tion. She has facility ; her rapid pas- 
sages are clear when she does not 
, abuse tlie damper pedal ; she has more 
I than sufficient strength. On the other 
; hand. If one is to judge from her per- 
formance, the spirit of the composer es- 
capes her, and she does not reveal an 
individual conception of it. This Is as 
I true of her playing Handel's music as 
well as IloUer's. Handel's Suite is to 
! be played In the grand manner ; Gluck's 
I melody should be sung, as If, aa Haz- 
lltt said of melody of Mozart's, It came 
i from the air and returned there. 
I Holler's Preludes are anything but pro- 
' sale Last night, as they were played, 
1 there were some strange misconceptions 
I of appropriate tempi, and grace and ele- 
j ganco wc;-(; '..-j.^l 


"Roxy,'' otherwise known as S. L. 
Rothafel of the Capitol Theatre of 
New York and the radio, gave an 
entertainment in Symphony hull last 
cveninp: with the followini? members: 
Ketsy Ayres, "Betsy;" Gladys Rice, 
Caroline Andrews, Marjorie Harcuni, 
Ava Bombargrer, "Bomby;" Joseph 
Wetzel, Slieddon Weir, Peter Har- 
rower, "Peter the Great;" William 
Robyn, "Wee Willie;" William Axt, 
"Dr. Billy;" Maria Gambarelli, 
"Gamby;" Julia Glass, Margaret Mc- 
Kee, Frank Moulan, Douglas Stan- 
bury, James Parker Coombs, "Daddy 
Jim;" Yashu Bunchuk. Dr. Onnandy 
Blnu, "the Blue Blood." 

Only in an age ot radio and of broad- 
' casting is such a phenomen^)n as the 
I fabled "Ro-xy" possible. I^Yom his first 
sweeping entrance from the rvings of 
the decorous stage at Symphony hall 
last evening, and his thin and familiar, 
"Hello, Everybody," the audlencei was 
a vast murmur of applause. Hero was 
their idol in the flesh, with each of his 
heralded entertainers, «.nd his sturdy 
oi-chestral band. An idol unencumbered 
with the etiquette of the concert hajl 
or the more formal stage, a genial and 
alTable showman, "a natural musician 
rather than a technical one," as the 
program lists him. 

Each was Introduced In his or her 
turn, with "Roxy" jubilant, Jocular, or 
affectionate; and each met his or her 
need of applause even before the per- 
formance had commenced. They were 
, all familiar to their audience; such Is 
! the power of the radio. 
I The entertainment began with a com- 
!blned perfomance of Lusuius Hosmer's 
! "Southern Rhapsody." rather more 
brassy than usual, and with alterating 
men's and women's choruses picking up 
, the familiar themes. 

Then each of the "gjing" In turn, 
prefaced and postluded by remarks by 
Mr. Rothafel, displayed his or her 
i peculiar talent whether It was In the 
' singing of "The Road to Mandalay," 
I with an orchestral accompaniment, or 
'playing Kreisler's "Tambourln Chlnols" 
I and "Liebesfreud" for the violin. There 
I was the firm and far-reaching cola- 
' tura singing of Gladys Rice, who, like 
Charlotte Greenwood, has long and ir- 
resistible arms, the burlesque of Frank 
Jloulan, and the whistling of' Margaret 
McKeen, graduate of a western con- 
servatory of whistling. 

But to list the entertainment would 
be to ennumerate the many excellencies 
of this choice band, whose members 
are the deligth of those accustomed to 
sitting up and tuning in,j and whose 
presence in the flesh only empha- 
sizes their gifts as amusement makers. 
Surely no visiting potentate has been 
greeted with such salvoes of welcome, 
such brass bands, such personal at- 
tention. And again, twice today in 
Symphony hall, "Roxy" and his per- 
formers will toss off their quips and 
their pranks, their musical badinage. 

maWei a pUSrlma'ge to Weimar. Havlnd 
been uilowed to hear some of LIsit'si 
pupils play In the presence of Liszt, 
they returned to this country and called 
themselves his pupils. 

The program of the extra Symphony 
concert next Monday night will bo as 
follows: Vivaldi, Concerto, D minor, 
for orchestra with oreran, edited by 
SUotl; Franck, Symphonic variations for 
piano and orchestra (MIeczyslaw Muenz, 
pianist) ; Tchaikovsky, Symphony No. 5. 

The program of the concerts next 
week (Friday afternoon and Friday 
evening instead of Saturday evening) 
remains as yet unchanged: Bach, 
Brandenburg Concerto No. S; Bach, 
Adagio for strings arranged by Silotl 
from the Adagio In Bach's Organ Too- ^ 
cata, C major (first time here); Scrla- 
bln, "Prometheus"; Debussy, Two Noc- 
turnes; Borodin, Dances with Chorus! 
from "Prince Igor." Mr. KouSBe\'itzky 
will go to New York that Friday night 
and sail on Saturday to fulfil engage- 
ments in London. 

The Boston University minstrel show 
will take place tonight. 

Tomorrow night the r>ox-Burgln-Be- 
detti will play trios by Arensky, Men- 
delssohn and Ravel In Stelnert hall for 
the Women's City Club. 

A concert by Marguerlta Sylva and 
Mario Cappelli (tenor) has been an- 
nounced for tomorrow night In Jordan 
hall. The announcement stated that 
the "second act of 'Carmen' would be 
performed 'in costume.' " The Herald so 
far has not received other particulars. 

Lilian Prudden will sing songs by 
Handel, Haydn, Schubert, G. Faure. De- 
bussy and others, and William D. Strong 
win play piano pieces In Jordan hall 
next Saturday afternoon. 

John Coates, the celebrated English 
tenor, wUl givo a recital at the Copley 
Theatre next Sunday evening: at 8:30 
o'clock. His program includes altema. 
tlve settings, old and modern, of Shakes- 
peare's Bongs. 13 in number, a program 
of unusual interest. 

bretto was wri^lciT as a pastnne and for 
the amusement of Humperdinck's chil- 
dren. It was said thaCCoslma Wagner 
suggested that the hideous witch should 
be represented by a beautiful Borcerees 
In the intervening scene, so as to make 
her power over the children more plausi- 
ble, and that this innovation was made 
at Dessau. 

The first performance of the opera In 
the United States was in ISngllsh at 
Daly's Theatre, New York, on Oct. 8, 
1895. The company — Marie Elba and 
Jeanne Douste were the children — was 
brought over by Sir Augustus Harris, 
who made a speech on the opening 
night in which he called the composer 
"Mr. Humperdinckel" and said that the 
opera contained some "beautiful music 
composed for this occasion." Humper- 
dlnck heard the first German perform- 
ance of his opera at the Metropolitan 
Opera House on Nov. 25, 1J05. He came 
to superintend the rehearsal. He vis- 
ited New York again In December, 1810, 
to look after the production of his 
"Kocnlgskinder" tor the Sr»t Una* on 
nay «tav«. 


Siegfried's funeral inuslo from WasJ 
ner's "Dusk of the Gods" wUl be per-: 
formed In memory ot John Singer Sar- 
gent at the Symphony concerts tomor- 
row afternoon and Saturday evening, i 
Mr. Koussevltzky has arranged thl? 
program: Mozart, Symphony C maJo:j 
' (K. 425); Prokofleft, Violin Concerto (Mr; 
iBurgln); LoefEler, Poem, "La Bonna 
I Chanson" (after Verlaine); Wagner, 
Overture to "Tannhaeuser." When Pro- 
kofleffs violin concerto was performed 
i for the first time at Mr. Koussevltaky's 
concert in the Paris Opera House on 
'•October 18, 1923. Marcel Darrleux was, 
the violinist. The program contained j 
' this note: "The concerto was begun by | 
' the composer in 1913 and completed In 
that year. Like the piano concertos, 
the first and third of -which are known 
by Parisian audiences, the violin con- 
certo, In spite of its great technical dif- 
ficulties, 18 not a virtuoso piece, 1 1 s 
svmphonlo. The concerto has not yet 

performed at a 
and the first performance of ^•JV<J'-K 
^ at the same time the first __on the 
platform of a symphony concert 

The other pieces on this week s pro- 
gram do not call for comment-they are 
S o^ less familiar: Schubert's sym- 
phony in B flat 

A correspondent wishes to know if 
any "genuine pupils of Liszt" are now 
living. Yes, Indeed. One of the more 
famous of the later generation is now 
In New York: Alexander Slloti. In the 
•80s some American students used tol 

The performance of "Haensel and 
Gretel" at the Boston Opera House with 
Mrs. Swartz-Morse and Mrs. Fisher- 
Butler" as the children should revive 
pleasant memories of the performances 
by the Boston Opera company. When 
the opera was first produced by this 
company Marie Mattfleld took the part 
of Haensel (a rather mature boy) and 
Bella Alten was Gretel. Maria Classens 
was the witch. She will take the part 
on Saturday. The other parts were thus 
assigned: Gertrude, Florence Wlckham; 
Sand maiden, JeskaSwartz; Dew maiden, 
Bemlce Fisher; Peter, Otto Oorltz. Mr. 
Goodrich conducted, as he will on Sat- 
urday. Jeska Swartz and Bemlce Fisher 
did not play the children until Jan. 37, 
1912, when Florence De Couroy and 
Madeleine d'OUge replaced them as 
Sand maiden and Dew maiden. Miss 
Swartz and Miss Fisher then made the 
parts their own until Dec 27, 1913, 
when Gretel was played by Mabel 
Riegelman. The cast otherwise was as 
follows: Haensel. Jeska Swartz; Ger- 
trude, Lila Robeson; the witch, Llla 
Robeson; Sand maiden, Ernestine Gau- 
thier; Dew maiden, Lea Cholseul; Peter, 
Paolo Ludikar. Ralph Lyford conducted. 
This was Oie last performance of the 
opera by the Boston Opera company. 

The Prelude was first played in Bos- 
ton by the Boston Woman's orchestra, 
Arthur Thayer conductor, April 30, 1895, 
but the orchestra was not complete. 
Landon Ronald conducted the Prelude 
at a Melba concert Nov. 7, 189o, and 
■ Mr. Paur brought it to a heari^ng at a | 
' Symphony concert Dec. 23, 1897. I 
The opera was heard here first in 
English at the HoUis Street Theatre,! 
Jan. 21, 1896: Marie Elba, Jessie Hud-1 
dleston, Mary Llnck, Louise Melssllnger,! 
Grace Damlen, Edith Johnson and 
Jacques Bars. There was a small or- 
chestra. It was said that the score had I 
been condensed by the composer. 

The first performance in German was 
by the Metropolitan Opera company at 
the Boston Theatre April 6, 1907: Mmes. 
Mattfleld, Alten, Weed, Jacoby, Moran, 
Shearman, Goritz. Mr. Hertz conducted. 

The opera was produced at Weimar 
on Dec. 23, 1893. Richard Strauss con- 
ducted. The librettist, Mme. Wette, 
took her story from a nursery tale In 
Grimm's collection. It was not her and 
Humperdinck's original intention to 
produce the opera In public. The 11- 


Susan Williams, pianist, played 
program last night in Jordan Hall- 
Romantic Scenes, Granados; Humor-, 
esque, Rachmaninoff; Etude, E major, | 
Roger-Ducasse; The Plnwheel, Palm- 1 
gren; "Deux Luniares," Pick-Mangla- 
salli; Nocturne in C minor. Prelude In 
F major. Ballade in A flat major, Chop- 
In; La Maja et la Rosslgnol. Granados; 
■Childhood Scenes, Frederic Mompou: 
Andaluza, De Falla: Spring Night, 
i Schumann-Llszt; H^jngarian Rhapsody, 
Xo. 10, Liszt. 

In novelty of program Miss Williams 
went a step beyond most of her col- 
I leagues, unless Mme. Eva Gauthier may 
be accounted such. Though she labelled 
none of her offerings "First time In 
Boston," sho had found in the music 
stores much material that is unfa- 
miliar. The only pity is that In her 
searchings she made few lucky finds.j 
For after all, it does not follow thatj 
music, because its print is not yet drj', 
is blessed with either interest or' 
charm, or is suited to performance ln| 
concert. ! 

Those romantic scenes by Granadosj 
— a skilled musician wrote them, soj 
let them pass for music very well madej 

An intermezzo that comes in theirj 
course would prove pleasant to listen 
to. of an evening at home after din-i 
ner. But surely they are not of the| 
substance that holds the attention for 
nearly 20 minutes" at a stretch. 

By the same argument, the Rach- 
maninow piece, the one by Roger Du- 
casse, and Palmgren's suggestion of 
a pinwheel are all better fitted for 
parlor than concert performance. 

The first pieec by Pick-Mangiagalll| 
has a more obvious effort for character- 
and poetical suggestion, though It hard- 
ly succeeds; the second is salon music 
again, pretty of its type. Unless the last 
group differed more In kind than its i 
titles suggest, Miss Williams limited ; 
her music of breadth and bigness to the 
Chopin nocturne and the ballade. She 
was not wise. No doubt, if one may 

judge by her performance of the noc-1 
turne, she plays light music best, and 
no doubt she has observed that audi- 
ences like light music best. , . , . 

But none the less the princip.e ot 
contrast holds good. 
pieces delight most when they follow a 

fitting amount of music stout of body. 

Miss Williams plays with singularly 
beautiful lone. She m.iUes her scales 
run with exquisite evenness, she phrases 
iwoU; she lets her melodies sing; sne 
accompanies thtm with unusual skill 
and discretion. If to her charming 
delicacy and refinement she couM ad* 
a broader variety of tonal color, a widaf 
scale of dynamics, a stronger rhylhmio 
urge, she uculd add much to the In- 
terest of her playins. 

An excellent audirn.-o applauded hep 
heartily last night. R. K O. 

l^e April number of th« Jlevue des 
Deux Mondes contains a short but for 
?ible article that f hould bo of ^ 
interest to those incensed by th« con 
duct of some judges ^hf" 
drivers of motor cars are ^''-o^Sh' be^ 
fore them. The writer quotes Pierre 
Wolff s picture of V,, 
Pu-^ of the speed maintained In the 
Tt eets; of the accidents and «l«^ths that 
result. Then the Revue des Deux 
Mondes says with no ""'^f "'^^ 
that the responsibility lies In the 
courts "The judges by scandalous ac- 
qSis or by decepUve sentences en- 

\- imitlon by the auionioblle Is uii 
V f.ivorlte sport. And It la so with 
I .ill th - other forms of ussusslnatlon. In 
the same Journals that tell us of th« 
l.icoliU>nt that befell MIU'. Hobert. we 
! ihat the inanuf.-u-tiirer who In a 
over a bill killed with a re- 
. \> 1 .1 ooutraetor. ii hero In the war, 
I inariiod and with children, has been ac- 
Uiultted. Judges no longer dare to 
punish. The induU'ence of all the oourlB 
I is at the base of the present breaking 
'out of crime. It is this indulBCnce that 
MOW makes the llfo of e\ erv oii ' . f us so 

A canon oliinbod the steeple of Sjt. 
.Sepulchre's Church, Northampton, Kng., 
to sprinkle a vane with water brought 
from the Jordan. Was It worth 
the risk? Are weather cocks the more 
trustworthy by reason of this water? 
It is used for royal and other high-class 
christenings, but would It pass muster 
with a health officer? "When Abdul 
Hamid was in his glory a company was 
formed to bottle and export Jordan 
ater. "Was the business profitable or 
did the company bust? In the Crusades 
men were drowned trying to bathe in 
the rapid river. Some travelers say the 
waters of Damascus are better than 
this thick and muddy stream, better for 
men and weather cocks. That is what 
the leper Capt. Xaaman, proud of his 
horses and chariot, thought. "Are not 
Abana and Pharpar, rivers of Damas- 
cus, better than all the waters of Is- 
rael?" But he went to the Jordan. 


As the "World "W'ags: 

I am six feet in height and weigh 
208 pounds, so you can see that I am a 
fairly sizable man; I am also 42 years 
of age, so am reasonably set in my 
ways. Before marriage I felt sure that 
no one would care to sleep with mo 
since the habit of years made me lie 
diagonally oven In a double bed — on ac- 
count of my height I reached from the I 
left upper ':orner to fhe right lower. 

I married a little runt nearly a foot 
shorter than I and barely half my 5 
weight so that there might be no ques- i 
tion as to who would be boss. After 
two months of married life exact meas- 
urements show that I am allowed 41 per 
cent, of the width of the bed, and that 
wifey is in sole possession of the re- 
maining 59 per cent. Score one more for 
the "weaker sex." Yours for sympathy, 

p. s. — For obvious reasons, especially 
to save ray 'life, don't publish my name- 
or address. I planned to use the Latin 
for "hen-pecked" for a nom-de-plume, 
but somehow "uxorius" doesn't appeal 
to me. 


"As a rule 1 have been careful in the 
choice of guests and successful in seat- 
ing them to ensure good companion- 
.shlp, for what you put on the chairs is 
quite as important as what you place 
oa U»e table, but let. me confes^^to a 

terrible blunder when I invited Gilbert • 
and Burnand to the same dinner. At | 
an early stage of it, when all was going I 
well, a loud-voiced guest said: 'Tell me, I 
Mr. Burnand, do you ever receive for I 
Punch good jokes from outsiders?' Bur- i 
nand replied: "Oh, often.' . . . Gil- } 
bert sharply grunted. 'They never ap- | 
pearl' The rest was silence. This is | 
the true version of an otherwise much- 
told tale." 

It should be remembered that Gilbert 
"failed to become attached to the staff 
of Punch," as Sir Squire Bancroft says 
on another page. 

From the breach of promise case of 
the moment: "It's one easy thing to say, 
when you are at dinner, "Come and let's 
get married.' " I suppose it was to pre- 
vent these awkward gaps In the conver- 
sation that the restaurant band was in- 
vented. — The Observer (London.) 


As the "World "Wags: 

He's the kind of a goof who sends me 
a picture postcard of the Podunk hotel 
with "my room" indicated by a cross 
on one of the windows; or, when he goes 
to New York, it's the "V^'oolworth build- 
ing, showing some one hanging over the 
top ledge and the word "me" alongside. 


As the "World "V\'ags: 

Other things besides charity begin at 
home, it seems. Upon reading "Wednes- 
dny's paper, I was sorry to learn that a 
Vermont girl had been drowned, but 
was positively shocked by the bit of 
news contained in one of tlie sub-head- 
lines, which read as follows: "Drovmed 
Horse and Buggy Also in "V't. Stream." 

I wonder if the- unfortunate buggy 
. as worked upon with a pulmotor? 

R. H. B. 

;ld Wags: 

I opy I'f the "Free and Ej 

Song Book," published In 1834. A pic- 
ture of Dav.v t'rockitl on the cover. In 
this book, the vwrses of "The Star Span- | 
gltd Banner" are printed, but the title 
is -Tho Defense of Fort M'Henry." 
How la this? li- I 

When Key's verses were first printed 

in the Baltimore Patriot, Sept. 20, 1814, 
thev were headed "Defence (sic) of 
Fort M Henry. " In the "National Song- 
ster, or a collection of the most admired 
patriotic songs, on the brilliant victories 
achieved by the naval and military 
heroes" (Hagerstown, Md., 1814) tho 
heading was "Defence of Fort M'Henry: 
Tunc: Anacreon in Heaven. "Wrote by 
an American gentleman who was com- 
pelled to witness the bombardment of 
Fort M'Henry, on board of a flag vessel 
at the mouth of the Patapsco." But the 
poem was "accessible to the public as 
a broad.side, possibly as early as the 
morning of Sept. 15. 1814." Mr. Oscar 
C.. 'P. Sonneck wrote an exhaustive 
study of the verses and the tune, which 
was published by the Library of Con- 
gress In 1914.— Ed. 


(From Pickup) 

Co-Ed. — I want something to wear 
round the dormitory. 

Salesgirl — How large Is your dormi- 


(From the SprlngHeld. Mo., Leader) 
CLOSE in, choice large front bedroom 
with hot and cold running water, five 
widows, twin beds if desired, telephone 
Installed, also garage. Mrs. King, 454 
East AValnut. 


(From the Los .Angeles Ueral<i) 
At the age of 3 his parents brought 
(him— oldest boy in a family of 12 — to 
America. They landed at Halifax. They 
settled later In Vancouver. 



The 23d concert of the Boston 
Symphony orchestra; Mr. Kousse- 
vitzky, conductor, took place yester- 
day afternoon in Symphony hall. 
At the beginning , the orchestra, 
standing, played Siegfried's Funeral 
Music from "Dusk of the Gods" in 
memory of John Singer Sargent. 
The audience stood during the per- 

The program was as follows: Schu- 
bert, Symphony, B flat major. No. 6; 
Prokofieff, Violin Concerto (first time 
in America); Loeffler. Poem, "La Bonne 
Chanson" (after Verlatne); AVagner, 
Overture to "Tannhaeuser." 

Mozart's Symphony In C major (K. 
425 had been announced and notes about 
it were in the program book. As the 
book was in the press It was too late 
to substitute notes for Schubert's Sym- 
phony. "Why the change was made is 
a question answered only by "So the 
conductor wished." Schubert's Sym- 
phony No. 5 is not unknown here. It 
i was played from manuscript under Mr. 
I Henschel's leadership in 1883. "When It 
was performed at a Symphony concert, 
in 1908, It was thought that It would be 
entombed, never to be exhumed again. 
Some have thought that the music was 
composed for a little orchestra, a pri- 
vate musical society that grew out of 
the concerts, at first chiefly of quartet 
music, given in the house of Schubert's 
father. The score calls only for a flute, 
two oboes»,two bassoons, two horns and 
strings. "Writing the symphony, Schu- 
bert had the music of Haydn and 
Mozart In his head, but not the music 
of their high estate. Occasionally there 
are hints at the Schubert to be: In this 
or that melodic figure; in a few modula- 
tions not common in the Vienna of 
1816; and, alas, in the prolixity. Yes- 
terday the audience was apparently in 
thankful mood, but when the symphony 
was played in 1873 at the Crystal 
Palace, a contemporary critic wrote: 
"The audience listened with very few 
jrlgns of liv^y interest and applauded 
very slightly." 

There are still In Boston men and 
women who believe in the plenary In- 
spiration of the long-acknowledged great 
composers. To these believers the name 
"Schubert" was enough; anything signed 
by him must be good. And so there 
was clapping of hands, the customary, 
yet barbaric, manner of showing rap. 
turous enjoyment. 

These believers probably looked with 
dread on the production of Prokofleff's 
violin concerto. "Prokofleft" ! Any man 
with a name like that must be a ter- 
rible, a dangerous fellow, given to nen-e- 
rasping dissonances, moanlngs, shrieks. 

' ' ' ' ' '■' ■" ••>U to In, a .l.-llKh;- 
work, as dollffhtful as It Ik unusual 
. Indlvldunl Violin ooncertn . in .,r- 
^..odox r too often 

l'J\-en til thoven n - 

arodlstr. Inded, u, 

of IrrltallMK niniltlon and yuwii 
veiling padding. The majorltv of 

.oncerlos .should be put In a duck- 

tvfore serving. I^alo's Symphonle Es- 
pngnole la nn exception, as Hans von 
rtuclow remarked long ago when he 
freed his mind about Max Bruch and 
M.U3 annoyed many respectable persons 
who were "fond of music." 

IVokopleff s concerto Is" not too dellb- 
enuely unusual. It Is free and unconflned, 
l.'it not laboriously so; not from any want 
of technical skill in the composition. It 
abounds In Ideas, In turn beautiful and 
Joyously humorous. The treatment of 
these Ideas for solo violin and orches- 
tra I.s as refreshingly Interesting as It 
is original. The "accompaniment" 1^ 
more than an "accompaniment" In the 
common meaning of the word; it is 
symphonic; masterly In Itself There 
are charming effects of color, surprising 
hut not extravagant; the unexpected Is 
a fresh fascination. The effects In the 
whole work are gained with such au- 
dacious simplicity? Mr. Burgin played 
superbly and Mr. Koussevltzky reveled 
in the brilliance of the orchestral per- 

• '^If" ^"e^'er's "La Bonne Chanson" Is 
justly called a "poem." There are sym- 
phonic poems that are pedestrian prose 
Mr. Loeftler's Is shot through with 
beauty; there is the enthusiasm, the ex- 
uberance of romantic feeling; not only 
verlalne's break of day, but the dawn 
and the flush of amorous ecstasy And 
so Verlalne's adorable little idyl be- 
comes in music a sonorous, eloquent 
long-sustained cfiant of passion. The 
audience was quick to appreciate the 
music Itself and the character of the 
performance. Mr. Loeffler was sum- 
moned to the platform. 

An impressive interpretation of "Wag- 
ner s overture brought the end. In the 
final measures Mr. Koussevltzky followed 
the example of certain conductors and 
aid great stress on the inner voices for 
liorns. y\.h, the walls of Jericho! But 
those of Symphony hall are stoutly 
built; the statues in the niches were 
unshaken; great was the Joy of the 
hearers, as always when there Is a 
thunderous musical speech. 

The concert will be repeated tonight 
The program for next week Friday af- 
ternoon and evening (for the custom- 
ary Saturday night concert will take 
place m the night before) will be as 
fololws: Bach, BrandenburgConcerto No 
V . J V ? arrangement for strings 
of the Adagio's from the Organ. Toccata 
m C major; Scrlabin, "Prometheus" 
Debussy, nocturnes; "Clouds" and "Fes- 
tivals;" Borodin. Dances, with Chorus 
from "Prince Izar. ' 

Stars of Boston Stapc 
at 16th Annual Bene 

Fox-Burgin-Bedetti Trio 
Pleasing Program 


At Steinert hall, last evening, under 
the auspices of the "Woman's City Club, 
the Fox-Burgin-Bedettl trio gave the 
following program of chamber music; 
Trio, Op. 32, D minor, Arensky; Trio, A 
minor, Ravelj Trio, Op. 49, D minor, 

Although the trio added nothing to 
their repertoire by the concert last 
evening, and merely repeated three of 
the trios they played elsewhere earlier 
in the season, there was no touch of 
perfunctoriness or dulled edges In their 
playing. As In each of their previous 
concerts, there was only a fine musi- 
cianship, of the individual and of the 
ensemble, a sensitiveness and zest that 
are rare in the performances of cham- 
'oer music. 

A Russian and a pupil of Rlmsky- 
Korsakoff, there is still more musical 
kinship between Arensky and Men- 
delssohn than there is between Arensky 
and his own Russian school. He has 
the facile melodies, the musical refine- 
ment, the suave melancholy of the ear- ' 
Her German, rather than the dark and 
psychological musings or the riotous 
exoticism of the Russians. So there Is 
logic in combining them on a single 

As arbiter and contrast, they chose 
Ravel's only pianoforte trio. Here is the 
Ravel of the war, ironic, passionate, 
mordant, yet still imaginative, De- 
bus.syan, especially in the PassacalUe. 
There is no suggestion of the sentl- 
mentalism of either Mendelssohn or of 
Arensky In this trio. It Is pungent and 
terse, modern in Its accent and har- 
monization. And the trio played It to 
the best of their abilities, sensing each 
delicate nuance and dramatic gust, ar- 
ticulating finely Its subtleties of phras- 
ing and of harmonics. Not once was 
their playing unmusical, oT unimagi- 
native, and as they play together, sc 
their ensemble grrows in finesse and In 
tonal beauty. e. G. 

With the connivance, or rather t 
t;aidiince, of Joseph Santky of i. 
Music Box RevTJC, the I6th o£ the ^ 
annual actors' benefit perform:in< 
was staged at the Colonial Tl 
yesterday afternoon and augnun.. 
the fund to the extent of $7500. Ii 
was a performance that "was never 
tedious, never lagging, with ex- 
cerpta from plays and revues now 
in to"wn, and several original acts, 
one of which, an amusing "Efficien- 
cy Drama," written by Mr. Santley, 
included in its cast Hugh Cameron, 
Ivy Sa"wyer, Jessie Ralph and Eric 
Dressier, besides its author. 

As is the case with each of these 
benefits, there was no dearth of per- 
formers or zest. From tho Music Box 
came Florence Moore and her scale 
climbers; Phil Baker and his balcony 
assistant and abettor; the dancers, 
Dorothy Diiley and Oeorgo Horn; and 
Florence O'Denlshawn with Nelson 
Snow and Charles Columbus in provoca- 
tive pantomimic dances. 

George "White's Scandals were repre- 
sented by Tom Patrlcola, "Will Mahony, 
jthe De Marcos, the De Marco Sheiks 
and Lester Allen. There was Phoebe 
■ Brune of the fan dance, Beatrice Kay, 
Icharles Meaklns and Charles Sllber In 
jthe "Only a Kiss" episode, and a wale 
jquartet from "Rose-Marie." 

Jane Cowl and Rollo Peters gave the 
balcony scene from "Romeo and Ju- 
liet"; Aunt Jemima came from the 
stage of Keith's; "William Seymour was 
marked for an act of his own. Norman 
Trevor and Jean Spurney from "The 
Goose' Hangs High" had an amusing 
and sentimental little one-act play, 
"The Ninth "Waltz," by R. C. Carton. 
Joe E. Brown and Dorothy Barber 
came from "Betty Lee"; the Fllene 
show gave Its broadcasting scene; and 
Hap "Ward appeared long enough to do 
his somersault. 

Then to close there was an act, "Dear 
"i'esterdays," staged by Mr. Santley, 
with verses written by John Steel. The 
singers were Richard Bold and Ruth 
Thomas; Its actors, Hugh Cameron In 
tho guise of John McCullough as Cas- 
sius; Florence Moore as Modjeska's 
Mary Stuart; "Whitford Kane as Joe 
Jefferson's Rip Van "Winkle; Gail Kane 
as Mary Anderson's Parthenla; Guy 
Robertson as James O'Nell's D'Arta- 
gnan; Ivy Sawyer as Lotta's, The Mar- 
chioness; George( "Wilson as himself In 
the role of Caleb Plummer; and Mrs. 
Thomas "Whlflen. 

The audience was large and highly 
amused. There was scarcely a flaw In 
the performance, thanks to the skilful 
management of Mr. Santley and his 
collaborators. ' 

Our correspondents are clamoring for 
a hearing. Letters by writers who for- 
got to sign their names, letters written 
on both sides of the sheets have been 
welcomed by our faithful and much- 
enduring friend, the waste basket. 

, F. C. S. asks "the origin of th» ex- 
resslon 'The life of Rellly'." "We re- 
gret to say that we never heard the 
phrase in conversation; have never seen 
it in print. 

Apropos of waste baskets. "Wo read 
n a London newspaper the story of a 
tidy wife, who, vexed by her literary 
husband's habit of throwing discarded 
paper on the floor, bought him a basket. 
A few days later she found the floor 
still covered with paper. The waste 
basket was by his chair, and In the 
basket were neatly typed sheets. ""What 
on earth are you doing?" she demanded. 
He answered mildly, "Those articles are 
to go to an editor tomorrow, and I'm 
just breaking them In, poor things." 

■bids any 

any other ti.. 

As the "^Vorld "Wags: 

Soeaklne of cold holidays, the fore- 
some preferred the warmth of three no • 
trumps to one club. Later iny wife de- 
scribed the upstairs show as follows: 

Three-year-old; "Mens are going 
away. Mama." 

"No they're not, they just got here. 
"What makes you think they are leav- 

" 'Um said "bye." " i 
A. S. PRATT, JR. . 

— - 


As the "World "Wags : i 
Archaeological explorers generally find I 
nothing more than they have been • 
trained to look for (an interesting ! 

theme upon which I hope to en- ' 
large a Mttle later). .\ccordIngly, it is 
regretable that Mi-. Herkimer Johnson 
was not present at the recent opening 
of the tomb of a Punic dancer of say 
23-00 years ago. whose jewelry was ap- 
praised at MOO. 000. Several other, un- 

\i-'r,-> found treasured, 
as the 

f sundrv or liei- SJ^Uaiits as In 
tance meiitloned below. Sho was 
r<h<,i In tho news accounts of the 
i-ry. a more-ancletit Salome. 
W-v 'le la:ter danced away the head of 
Jc\-A Vho F.irtlst. and why this (eat has 
bee'i so i.iv ^nte a subject for many de- 
cadent artlcits In pen and pencil, was 
elucidated In a sdcntlflc art clo : 6^- 
;ome the Necrovhlle' tn Alierlst and 
N ni-o' -iTlst (St. liOUls). ISn. XXXII, I 
' , . '43 Her per\-erse Ukins for, 
1 ^ ^ oonnectod wlj:h the dead Is chowi 
r.i m.Kler degree by many ladles (In I 
our own tl'-'io but more In a generation 
or two aso) dellsht In attending fu- 

A striking Instance of such a necre- 
phlle was a princess at the court of 
Louis XUI: m her farthlpgale (or 
hooped oklrt) she had pockets In each 
of which Bho had encased the heart of 
one of her dead loversi, which she had 
obtained and embalmed: thus she kept 
tale (or tally) of the dear departed and, 
■JO literally kept In touch with them. De^i 
tails of this, and of much else equally 
sUrtling. are to be found in the recent 
translation (good even If somewhat 
toned down) : "Love Tales from Talle-, 
mant rendered from the French"; these, 
written about 1650 but not printed till 
1S34 give a lively and sarcastic view of 
a society as artiflolal as our own ; Its 
"foolish and feverish" (In the local cant 
of the moment) ways had an outlet in 
killing each ottier by the due'.llng-sword 
Instead of by th» automobile. 


This "Princess at the Court of Loulsi 
XIII," this lady of the souvenir far-; 
thlngale, Mr. Aab. waa no other than{ 
Marguerite of Valols. wife of Henry the; 
Fourth and Queen of France. You wlllj 
And other pleasing Information about 
her in "t-es Hlstorlettes" of Tallemant 
des Reaux. the first volume of the] 
seven In the third edition. ed(ted ■With 
Interesting notes by Monmerque and 
Paulln Paris (lHol). The volumes of de- 
lightfully scandalous keyhole and back- 
stairs gossip were lirst published in 1S33, 
not in 1834, as stated recently by a writer 
In the literary supplement of the Lon- 
don Times. This Gedeon Tallemant des 
Reaux of the 17th century did not know 
when to keep his mouth shut; he was 
certainly cynical, probably malicious. 
Was he a bit of a liar about the be- 
havior of noble dames ,and the adven- 
turous wives and daughters of untitled 
citizens? . ^ . 

As for Marguerite, she became hor- 
ribly fat and toward the end of her 
days fell In love with a singer, one Vil- 
lars or Le Vlllars. Truly a sad ending. 

And she Insisted (hat this Vlllars 
<;hould wear stockings attached to 
tucked up breeches although this dress 
was then not in fashion. The people 
called him "King Margot." As for her- 
self she was bald at an early age and 
wore wigs that were trimmed from 
time to time. ^ j, , 

Tallemant, n-ere you not a good deal 
of a liar? We like to think of Dumas's 
"Margot" as an apparition of delight. 
She danced the bourree gladly, for her 
feet, ankles and legs were famdus for 
their beauty. 


As the World Wags: 

A correspondent signing hlm.self M. 
S. D. In your Saturday column says 
that, with a single exception, he has 
never known of a sympathetic study of j 
a missionary In a book of literary merit, 
and quotes from a number of books to 1 
sustain this contention. The following ; 
extract from a novel enUtied "Yone j 
Santot" by S. H. Housft, Is th» Icoenestj 

deflnltion I have ever seen of the clasbl 
to which he refers. The scene is laidj 
m Tokio, in 1880 or thereabouts, "rhe 
! superlicial, one-sided and utterly self-; 
nsh views of life, education, religion: 
and humanity which were there pro- 
pounded by weii-intending but curi- 
ously unintelligent and illiterate pro- 
fessors of a narrow and microscopic 
Christianity were often irresistibly di. 
verting in their unconscious humor.! 
The sincerity of these same professors.l 
their self-reliant faith, and their ada-j 
mantlne conceit kept them unaware that 
concealment of their spiritual nudity 
and squalor was desirable. Totally 
ignorant that Indecency was not neces- 
sarily confined to physical exposure, 
and that Intellectual nakedness might 
also iiave Ha repulsive features, they 
presented Buch spectacles as. I fear, 
only an abandoned cynicism could view 
without compassion." 13. ,S. .M. 

I Salem. 


jlr J. M. Barrle's play, "Shall We 
Join the Ladies?" leaves the audience 

j in complete Ignorance as to Its out- 

! come. Hence thsse lines.) 

i Said the mayor of the city: 

I "I do not consider pretty 
Th"; "rip.nce comrtilsslon's customary at- 

No improvement I attempt 
Kver seems to to exempt 
From that needless Institutlon-s eros, 

All my projecte hav» l)*en knocked. 
And at times completely blookea, 
And the esUmate I wish to have con- 

veyed is. 
That by any calculation, 
That entire aggregation 
i Is a bunch of perfect—. Shall we Join 
the ladles?" r 

The commission In replying 
<!aw the folly of denying I 
Their efficiency might stimulate vexa- 
tion, . . I 
And the services they rendered 
Not infrequently engendered 
A decidedly annoying Irritation. j 
Bui they said, "When duty calls us, 
No iil-consequence appals us. 
And the only thing of which we a,. 

afraid is, 
Lest the public fail to realize 
ThK nartv thev idealize 
?s nothing but" a-. Shall we Join the 

Mr. Goodwin. It Is known. 
Suffers troubles of his own. 
While for safety on the highways he Js 

He objects to glaring lights 
On the motor cars at nights. 
And is bitterly opposed to drunKen 


If the men would shun the cup. 

Or the courts would back him up- 

He would never get as fui-ious as hades, 

: And declare right up and down 

' That the judges of the town 

I Arc a precious lot of—. Shall we ]oln 

I the ladies? 

j And the Judges in return 
With exasperation burn, .....rinU/- 
As they listen to his languagejitrloUc. 
When he comments on the flaws 
In controlling tlu-ough the Ifws 
Auto drivers in condition alcoholic. 
So they hearken to appeals 
From the criminal who steals. 
ind arrange that prison punishment 

delayed is. „*or„.A 
For they say. "Sincere repentance 
Ought to bring suspended sentence. 
But that Goodwin person—. Shall we 
Join the ladies?" 


blank V^arg ns-^d he wor ^^^^ 
logue and P*^^^,'^^'',^" -Pogonoiogie on 

ss: vro'Sue_d^ ^ 

For once we, too%ad the mania ^of 

^.''.irTs rranTe^gU^s to go down j 
'^Trad'.-aiui^ge I cStC ' unSl 
JTe^Yoyf se/S 'n °-l-.,^,rTust all 
hJ-lS^^a^o? ti^^i-^I^ ■ 
ror"o^ne^^witrforvTu!"tlJr^ short- ; 

than>ny quaffed at^pontiffs feasts. | 

There is no sadder sight than that of 

,^r.\r tVpasured volumes exposed In the 
long treasurea ,„Hifforfint. the un- 

There was, IndO' i' 
the person of J 1 ' 

Home of the singn'-s are i'" loiigcv ^.lu- 
dents. To the Conservatory, none the 
less, is due all the praise or blame the 
performance ifills forth. . » 

It calls for hearty praise. That Blr. 
Goodrich could make an orchesti-a of 
>oung musicians play with such Bf- 
curltv and at the same time sucli 
elasticity, (lexlbleness and life, not to 
forget a flue fulness and quality ol 
tone, seems a genuine feat. 

Praise Is due the scene painters, too, 
for their forest that really looked dark 
with trees, the witch's house for once 
not overgrown. To Mr. C. Howard 
Walker thanks must go for the fine 
Imagination pervading the dream scene. 
The angels this time might truly have 
emerged from an opening in the sKy, 
a skv of marvellous blue. They descend- 
.<! their shining steps with very un- 
iBual dignity, to come to rest In groups 
beautifully arranged. h„a„tv 
It was tasto secured this beauty. 
Taste and intelligence, plus enthusiasm, 
made the whole performance one to 
Blve delight. Since it was a benefit, 
Individual comments must not be made 

i^r,\r treasured volumes exposea ■» Individual comments musi noi. u« 

long treasurea ^_ indeed, moved by that ad- 

^nnre°c alive the ignorant, who bid only '^^^^^^ ./^hich lays nice manners by." 

Tdonar or 'two. perhaps 50 cents, or »'f^,^„„ot refrain from 'Pen lonmg 

thakrtLir head with an air. "No. you Butler's astonishingly Vivid Ini- 

don't fool me," and let the book that ^^,„„^jio„ of a little gir . and Mr 

was the delight of your eye go to the j, sharply characterized sketct 

^"B"t"we a^e iT^n. nothing abo.t Mr i 
N?rris's "Costume -^^^ J-^'- 'wealth ' 

^S^Sr t^^y^t^str^S'f I -[Sf^-felUg^e'^tld^ir^r to 

personation oi o. 

Pearson's sharply characterized sketch 
of Peter who made brooms. . 

But it was no question of individuals. 
They ail did well, some excelling In 
song, others in their action. The in- 
teresting point is_ that peop e blessed 

of maps. And, praise be to Allah, an 
index that is an index. 
Women should turn at once to the 

tn fashion today. A woman of the sec 
i»nd century with her plaited hair, a 
thick ""rcle"^ behind with a long orna- 
Sal pin passed through the Centre 
would feel at home this «onth in draw 
Z^s room or dance hall of Boston. 

Mr Herbert Norrls. the author of 
; ^r^A p-oshion- The Evolution 
"Costume and pashion. -paHler 
of European Dress Through the Earlier 
Ages," a sumptuous volume published 
fn^indon, by J. M. Dent & Sons Ltd 1 
and in New York by E. ^utton &, 
Co., asks in his preface: How many 
Br tlsh actors wear the toga correctly? : 
If they and American actors shouW 
turn to pages 66-71 and 93, 158, ".S tney 
wo^ld find not only all sorts of enter- 
taining information, but their 'snoj I 
Ince would be corrected by foUowing 
the directions for putting on the toga 
and arranging it. j 

The toga should be worn today byi 
United States senators. ch^,\™«" °[ 
committees, presidents ofj^ank^atj 
meetings of directors. Thero are im 
,pressive men in humbler walks ofj fe 
I to whom the toga would give ^ ^'f^'^'j 
that would overpower even a noxei 
' c le^-k We know men who go down the 
als es oV a theatre or Symphony hall 
tJuTthe s'tateliness Of a statue d.a 
along on casters. What it tney _ 

And these dear dead women some- 
Hmes— In the late empire— took elgnt 
ba hs a day. They had their toilet 
boxes corresponding to vanity bags: 
oamt rouge, powder, cosmetics were in 
general uie they prided themselves on 
fherr teeth, their "dentifricium" applied 
bv a small brush: their oils and poma- 
tums; their nail-flles. polishers, tweezers 

'"^•Inernhe'onquest of the Gauls, the 
Romans learnt the Peculiar quality of a. 
certain pomatum, used by the barba 
i-.ans for giving a lustre and a more 
lefinite coTor to red and yellow hair^ 
This colored hair became the rage In 
Some 'on this account ^^he pon^atum 
received the name of 'Sapo. It was 
foSnd afterward to have cleansing prop- 
erties, and came into general use for 
washing— soap!" 

There are long chapters on the dress 
the hl?r. the armor of the bronze and 
tl^e iron (and still earlier) ages; of 
Greece! the Byzantine empire, the Brit- 
ons of the dark ages, the Franks, the 
Teutonic tribes, the Anglo-Saxons! 
showing the costumes and hair of all , 
classes, with incidental lessons in his- 
tory," haglology, ethnology -a _book| 

able to give a thoroughly satisfying 
performance of an opera that demands 
an exceedingly good orchestra, a fine 
conductor, a large body of figurantes. 
cCmpeteni singers, actors with a sense 
of character, and. above all else, a di- 
rector who can maintain the certain 
Itmolphere without which this opera 
In particular is nothing. 
One single establishment achieved^ 

r this triumph yesterday. Suppose a 
proper organization had all Boston as 
well to choose from: the inference 
would seem to be that they could give 
some excellent opera performances. Peo- 
ple would like to hear them, if one may 
judge from yesterday's throng. And 
since the singers ye.sterday, in especial 
Mrs. Butler and Mrs. Morse, enunci- 
ated their words with remarkable clar- 
ity, it follows that other singers can 
acquire tlie same skill all to the good 
of opera as drama. 
AVh« will malie the start? 

7 R. R. O. 

unbecoming dinner jacket 

Mr Norris regrets in '.h'/ beautifully 
illustrated volume dedicated to the 

memory of Lady ^^^^^^l\^^;toh^^^ 
whose encouragement the ^^'""f " jj^. 
book is due," that stage folk know m 
tie about Wstorlcal costume, and, "worse 

^^^h^rirsles look as if^horn en^^ 

-ro^f^ X' inren^rfhi^ rk Uht 

-rco-urn? sTea'k Ser 



r^'plt'^Th'o'^iVukf 1} t^e "Le Par- 


?Ltc) Perrugulere ouvrage curleux a 

hairdresser by P'-o'ff '°"',,„^^k= „or a 

retd Mr J. Stewart's "Plocacosmos or 
^he Whole Art of Hairdresslng, with 

ages, and numerous fine plaUs, 
Hating the extravagant head- 
of the last century, roy. 
boards, uncut." Some 
"Plocacosmos" — O 

Is a Vong chapter. "History of Silk 
from the Earliest Times to A. D. 
1600 " We note a singular omission. 
In the early years of the Roman eni- 
p"re a pound of silk cost a Pound of 
gold, and so stuffs were woven thin. 
To tiiin that the S^arme.its of Cos were 
■■imost transparent, and they excited 
th? censure of moralists: Dresses that | 
have been ably reproduced by ingenious, 
producers of revues in their justly cele- 
brated "glorification of the American 

''wrare glad to learn (page 281) that 
Anglo-Saxon women of all classes wore 
fheir hair long and flowmg .in the 
privacy of their homes. 

xcellent Performance 
"Haensel und Gretel" 


1 Gretel " opera by Humpevdmck, 
esent'ed'by the New Kngiaud Con- 
^,?tr cU^rC^^cr^otr^ertnid. 

"Tw- The Witch Maria Claessens; 

Hazel bunlap: Dewman. 
.aunne"^'«!' Conductor, Wallace 

^Thf occasion was """-al. What 
10- the New England Con^ 


ts own forces solely, from 


" At Jordan hall yesterday afternoon, 
Lilian Prudden, soprano, assisted by 
William D. Strong, pianist, gave the 
following program: 
Siroe (Air d'Emira), Handel; Have 
biif a Whyte LilUe Grow, 

Sidney Homer; The Lawd bmi'in 
Thi ll the Do,' John Alden Carpeniei , 
?!?:a" m: Nice, John Aid- C^Penter, 
The Danza, George W. Chad«lck. 

Miss Prudden has a large and robust 
volte one that is not incapable of a 
.sensuous warmth, yet such ^™ h is 

■J « that thev demand. Ana nei 
lining of them was almost meaning- 

«h» sans the earlier airs, so she 
sang tht romantic lleder of Schubert 
?n an English version, and the songs of 
Faure and Debussy. ,It was onU- v^th 
the Hebrides folk song that she gave 

f^vmpathetic intelligence. Her dic- 
tion rfnteliigible. yet without imagin- 
ation mere arlicuiateuess is harren. 
^ For his share of th^ concer aside 
from bis accompaniments foi Miss 
Prudden, Mr. Strong played five o 
MacDowell's most frequently and least 
fnterestins pieces tor the p.ano. ^ . t 
he Played them con amore. with a me 
JtcXii^ aud XaoUe technique, ao ta-^^ 

telligent musicianship, '»V^*'°^f at^Ume^s- 
inclined to over sentimentalize at t 

On Nov. 7, 1910. in the second fieason of Henry Kussell's reign at 
he Boston Opera House, Leon Sibiiiakoff appeared on the stngre as Me- 
phistopheles in Boito's opera. He was a tail, stalwart pei-son with a voice 
linown to the Germans as a "beer-bass." He roared lustily at the unseen 
ngfels in the heaven above. Some in the audience wore miphtily ini- 
"•essed. One of the male patrons, now dead, after the first act -said en- 
lusiastically to Mr. Jordan, so that those standing near could hear: 
There, that's what I call a bass," and he put a heavy emphasis on the 
ronoun "I." Others, perhaps less cock-sui-e of their own opinion, were not 
> enthusiastic. 

Mr. Sibiriakoff also took the part in that month of Mephistopheles in 

(lounod's opera, and was heard as Don Basilio in "The Barber of Seville." 

After Dec. 9 he was seen no more. It could not be said of so robust a 
•orson that he vanished into thin air; hut he disappeared. It was whis- 
■ red at the time that he had hecn grossly impertinent to the wife of 
10 manager; but many rumors abourt; the members of the opera company 

voro flying about. Tliey added to the gayety of the time and broadened 

;'.o social horizon. 

Ah, if one only had the courage to write the aesthetic and social his- 
Ty of the Boston Opera Company from the beginning to the end! What 
1 entertaining little book it would be! But the edition would necessarily 
• limited and privately printed, sold, like Mr. Herkimer Johnson's colos- 
J work, only to subscribers. Even then the writer might be obliged to 

i Hve Boston, sporting false whiskers, and between trains. 

Soma ingenuous person may ask: "Why speak of the forgotten Leon 
ibiriakoff at this late day?" Because La Semaine Musicale of Paris on 

10 third of this month contained the announcement that on April 15 Leon 
■ biriakofF, bass, with the assistance of Tamara Steckiewicz, singer, 

^ ould give a recital in Paris when arias and songs by Gomez, Glinka, 
Borodin, Rimsky-Korsakov, Schubert, Verdi, Delibes and Moussorgsky 
ould be sung. The accompanist is named: B. A. Rachmaninoff. Is he 
related to Serge? 

So, 15 years after he was in Boston, Mr. Sibiriakoff turns up in Paris. 
" hat has he been doing in the mean time? Was he forced to leave Russia 
;■ the so\-iet government? Possibly, because it is said by those who 
■ive recently been in Russia, Fannie Hurst among them, that this gov- 
'■nnient encourages art in the opera house and theatre, and that the 
rtists, in whose souls no merchant traffics, sing for sheer love of art. 
We note that at Mr. Sibiriakoff's recital the price of tickets ranges 
from 5 to 30 francs, so enjoyment is within the reach of the humblest. 

What has become of those who sung here in opera with Mr. Sibi- 
akofF? Robert Lassalle, a tenor and a poor one, went back to Paris 

11 d held a leading position at the Paris opera. Giaccone, we understand, 
dead. Mr. Stroesco has given recitals in London with marked success. 

line. Alda is still with the Metropolitan. Mme. Carmen Melis, the 
beautiful Carmen jMelis, sings and is applauded in Italy. Mme. Claessens 
was here yesterday, singing with unquenched fervor. Amoldo Conti, the 
conductor, who worked indefatigably, is dead. Alice Nielsen, happily 
married, retired from the stage, and so did Jeska Swartz, now Mrs. 
i\Iorse, a charming Siebel when Mr. Sibiriakoff shooed hei* from the 
village dance, though she was again seen as Haensel yesterday. George 
Baklanoff has matured greatly in his art, which was fully appreciated 
here when he appeared recently as Escamillo, Golaud and in "The Love of 
the Three Kings." Is Marie Mattfeld stiU living? She was alive a few 
years ago. She has had a long life on the*stage, for she was touring with 
the Damrosch company in 1896. Herman Jadlowker, the last we heard of 
him, was singing in Berlin. What became of Frederick Huddy? 

Lydia Lipkowska, unforgettable as Lakme, marri^-.d to a French officer, 
who rescued her and her daughtei at Odessa, has been singing in Japan, 
China and India. Anne Roberts, of whom much was expected — her French 
diction was admirable— married and left the stage. Constantino, the 
useful tenor, is dead. He used to accuse the manager of not sufficiently 
interesting the critics in him. He really thought that they were under- 
pay to boom this or that singer. "Look at Mr.—," he said to Russell one' 
night; "he's had two overcoats this winter and they're expensive ones." 
Poor, misguided Constantino! Whenever he came upon the stage he cast 
an appealing, propitiatory glance at the top gallery. Mr. Fornari, 
voluble and chatty as Figaro, and when he showed the young ladies about 
in "Lakme," is still with us; but where is the joyous Attilio Pulcini? We 
see him now in "La Bbheme" -w^earing those astonishing trousers and 
thro\ving stage money right and left. And there was the excellent buffo 
Tavecchia. Pierre Letol, is he still on earth? Lillian Nordica was once 
Gounod's Marguerite when Mr. Sibiriakoff put the jewel box next Siebel's 
bouquet, so that she could burst into the too celebrated bravura air. 

As for Henry Russell, he is writing articles about music for the 
Riviera edition of the Chicago liibune, articles abounding in moral re- 
flections, inveighing against "snobisme" in music ; interesting articles, 
even to those who have not had the pleasure of knowing him personally. 

Wouldjhe Boston Opera Ci mpany have continued performances if 
the war had not come in 1914? The last performance was on March 28 of 
that year. The bill comprised "II Segreto di Susanna" (Miss Sharlow, 
Messrs. Fornari and Tavecchia); the "Mad" scene from "Lucia di Lam- 
mermoor" (Evelyn Scotney); second act of "Faust" (Mmes. Beriza, 
Swartz-Morse, Leveroni and Me!srs. Jou-Jerville and Ludikar), and the 
ballet ".the Pance of the Hours" from "La Gioconda." The conductors in 
turn were Messrs. Rimini, Lyford, Toumon and Schiavoni. The season 
did not end in a blaze of glory. 

It would be an unprofitable task to give reasons why the company was 
disbanded. Mr. Jordan was discouraged; he had every reason to be, for 
he had maintained the existence of the opera at a great cost, and others 
were not wiling to assist in large measure, much less relieve him wholly 
of the burden. He had other reasons for discouragement, reasons that are 
known to all those who are intimately acquainted with the story of the 
undertaking from the modest beginning to the pretentious and extrava- 
gant ending. 

The question comes up and frequently: Can Boston support opera for 


His Beneficent Activity As Oboist and Conduc 
or in Boston's Musical Life 

The retmn of Mr. Georges Longy to France will be a serious lo8« to 
music in Boston, for not only lias he been the distinguished first oboist of 
the Boston Symphony Orchestra; he has been untiring as an orchestral 
conductor and leader of the Longy Club in the introduction of many worka 
which would otherwise have been unknown in this citv. 

Gustave Georges Leopold Longy was born in Abbeville, TVance, on 
Aug. 29, 1868. He wa.s educated musically at the Paris ('onservatory, 
where in 1886 he was awarded the first prize for playing the oboo. His 
oboe teacher was Georges Vital Victor Gillet, a famous virtuoso in his 

Mr. Longy was not deterred from choosing the oboe for hi.i instru- 
ment by the old French slang: "to play the oboe," i. e. be hanged. "Ju.<Jlice 
plays the oboe for she rigs the gallows for the mournful dance." 

The French delighted in jests connected with executions. The hanged 
not only played the oboe, he "danced the branle of the bishops," for ho 
gave by his feet a benediction to those standing near. The cord that knot- 
ted his neck was called the E string of the hangman. "To give the bene- 
diction with one's feet" is found in Rabelais. Another pleasant metaphor 
for hanging now in French use is "He died of the high disease." And so 
in English slang there are many ghastly jests from "To take one's laPt 
fiing" and "to die of hempen fever," to "he preached at Tyburn cross." In 
"Slang and its Analogues" nearly two pages are devoted to English, 
French and Italian synonyms for "hanging." In New York a crook's curso 
was, "May he dance, when he dies." 

Mr. Longy before he joined the Boston Symphony orchestra as first 
oboist in the fall of 1898 had been associated in Paris with these or- 
chestras: Lamoureux's, Colonne's, Folies Bergere and the Opera Comique, 
His artistry was often recognized in the reviews of the Parisian concerts. 
From 1898 to 192.5 — 27 years of valiant service in the front rank of Bos- 
ton's orchestral players. 

In 1900 he founded the Longy Club for the purpose of performing; 
music written for wind instruments. The original members were Messrs. 
Andre Maquarre and Selmer, Hackebarth, Litke, Gebhard (pianist), with 
Mr. Longy as leader. There were necessarily changes in the personnel 

^from season to season until the club was disbanded in 1914. Major Hig- 
ginson was interested in the club and gave it liberal support. Would that 
the Boston public had followed his example! A glance at the programs 
shows the catholicity of Mr. Longy's taste. AiWong the works heard here 
for the first time were compositions by Bernard, d'Indy, LoefFler, Caplei, 
Bird, Lazzari, Herzogenberg, Malherbe, de Wailly, Roentgen, Quef, Gou- 
vy, Rietz, Longy, Hure, G. Faure, Lampe, Kovacek, Perilhou, KaufFmann, 
Klughardt, Woollett, Handel, Weber, Grieg, Mouquet, Lacroix, Hahn, R. 

! Strauss, Schreck, Magnard, Bumcke, Wolf-Ferrari, Mozart, Falconi, En- 

I esco, Pierne, Reger, Cossart, Ravel, Fried, Moreau, Dukas, Debussy, Eu- 
gene Wagner, Diemer, Rimsky-Korsakov, Kriens, Florent Schmitt, Wein- 

; gartner, Flament, Strube, Loeillet, Juon. 

{ But these names do not give one an idea of the richness of the pro- 
j grams, for many other composers were represented by works that had 
.been played once or twice in former years. The club was assisted by 
j capable artists from time to time in order to bring out the more elaborate 
I works by players of stringed instruments from the Symphony orchestra, 
jby Armand Forest, violinist of Paris, who played here for the first time; 
I by that admirable singer, Charles Gilibert, and Mme. Gilibert; by Mme. 
|Sundelius, soprano; by Mrs. Richard J. Hall, saxophone, who was con- 
stantly a staunch friend and supporter of Mr. Longy in all his under- 

These concerts, like the concerts of a similar nature heard many 
years before when the late Charles Mole, the first flute of the Symphony 
orchestra, was fired with a similar ambition, were caviar to the generaL 
And in 1914 the war broke out. 

As conductor of the Orchestral Club (1900-1906) Mr. Longy ac- 
quainted Bostonians with important modern works. He was the first to 
conduct here Enesco's "Poeme Roumain," Debussy's "Prelude to L'Aprea 
midi d'un Faune," Rabaud's "Procession Nocturne" and "Eclogue," Mous- 
sorgsky's "Night on Bald Mountain," Rameau's "Les Indes Galantes," De- 
bussy's transcription of Satie's "Gjinnopedies," Chausson's "Hymno 
Vedique" with chimes; Hue's suite from "Titania," G. Fame's "Pa vane"; 
the preludes from Bruneau's "L'Ouragan," Bourgault-Ducoudray's "Cam- 
bodian Rhapsody," Berlioz's impressive "Hamlet's Funeral March," Loef- 
fler's "Divertissement Espagnol," Rabaud's Fantasia on Russian songs, 
d'l^dy's choral variations. The ILst is a long one, including compositions 
by Dubois, Saint-Saens, Lefebvre, Delibes, Marechal, Massenet, Chevil- 
lard, d'Ambrosio, Blockx, Augusta Holmes, Wider, Ten Brink. Georges 
Sporck, Bordier, Guiraud, Caplet. 

In 1908 Mr. Longy conducted a series of orchestral concerLs organ- 
ized by Mrs. Richard J. Hall. The programs again showed his broad mind, 
fine taste and" courage. The first program is a fair sample of the others. 
Rabaud, Symphony No. 2; Chausson "Poem of Love and the Sea"; Balaki- 
rev, "In Bohemia." 

He continued his good work as conductor of the Boston Musical As- 
sociation an^ the Macdowell Club. 

: a season of more tban two weeks? 

Vv'ould the supporters be contented with 
' ingera of moderate ability, with slm- 
:o BtfLga settings and a comparatively 
mall orchestra The sanguine say, 
Yes." The more experienced «ay 

"no." After all, opera even when it : 
is given In only a fairly satlstactor* 
manner la a luxury. The moving ' 
pictures and the radio are enough for 
the great majority. P. H. 

Thus he played a leading part .in the musical life of Boston for nearly 
25 years; often conducting in the face of discouragement, often achieving 
surprising results vnth the material at his disposal. Not as a chauvinist 
for he recognized that music was not confined within the boundaries of 
France. To him there was good music and there wr.s bad music. He did 
not inquire first of all into the nationality of a composer. He did not 
worship in any particular chapel of musical Paris. 

As a master of the oboe his influence was equally beneficent. H^s 
phrasing in the Symphony conceits and in the club named after him was 
a gratuitous lesson to violinists, singers and pianists. For he was much 
more than a florid rhetorjcian. No matter how short and comparatively 
insignificant was the senten •■ v ■ ' '•^m-^ of beautv 

When Henri Brod,_a 1 ; Ux Paris, in" 'hi^^ 38th 

\: l^y acquainteii Chcrubin 
Bro( ." "Ah! poor tone." 

i witii the 

ii, .. not everything fnUrToutT''^ 
^ • . ar, 01,0.0 the oboe as the n vlium^n; ^ 
-it^tic natuio. nitinum for expressing 

„ careerJ 
thorough lyi! 
expressing a truW! 


SUNDAY— Symphony Hall, 3:30 P. M. John McCormack, tenor. See 
special notice. 

Boston Art Club, 150 Newbury street, Dartmouth street entrance. 
Twenty-sixth Concert of the Boston Flute Players' Club, Georges 
Laurent, director. Joseph Lautner, tenor; Messrs. Laurent and Turno, 
flutes: Acierl, clarinet: Allard, bassoon; Leedy, pianist. Boardman, ac- 
companist, and the Durrell String Quartet. Ibert, two movements for 
2 flutes, clarinet, bassoon. J. F. Wagner, piano quintet. Clough-Leiter, 
••Day of Beauty," lyric suite, string quartet and piano; Ravel, Chan- 
con de la Mariee, La-bas vers I'eglise, Quel gallant m'est comparable; 
Debussy, Des Fleurs: Auric, Hommage a Erik Satie; Satie Phedre; 
2nd Division of "Socrate" (Mr. Uautner); Haydn, String Quartet op. 
77, No. 1. 

Symphony Hall. 8 P. M. Alessandro Bonci, tenor. Ester Ferrabini, 
soprano, Arthur Fiedler, pianist. Concert In aid of the relief fund for 
Incapacitated Italian soldiers in Boston. See special notice. 

Copley Theatre, 8:30 P. M. John Coates, tenor, with program of 
Shakesperian songs. See special notice. 
MONDAY — Symphony Hall, 8:15 P. M. Last extra concert of the Boston 
Symphony Orchestra, Mr. Koussevitzky, conductor. See special notice. 
TUESDAY— Stelnert Hall, 8:15 P. M. Willard Erhardt, tenor. Harris 
Shaw, accompanist. Handel, Figlia Mia from "Tamerlano"; old Eng. 
Ilsh, So Sweete Is Shee; Buononcini, L'esperto Nocchiero from "As- 
tarto". Grieg, Letzer Fruehling and Ini Kahne; Schubert, Der Jungling 
am Bache; Rubinstein. Morgenlled. Irish Folk Songs arranged by 
Hughes: Kathleen O'More, the Fanaid Grove, I Wish I Had a Shep- 
herd's Lamb. Dunn, The Bitterness of Love; English Folk Song ar- 
ranged by Taylor, May Day Carol. F. Bridg«, So Perverse; Elgar, Is 
She Not Passing Fair? 

Jordan Hall. 8 P. M. Fourth Concert of the 54th season of the 
Apollo Club, Mr. Mollenhauer, conductor, assisted by Doris Emierson, 
soprano, Frank H. Luker, pianist, and Messrs. Boyd, Cummings and 
Hanscom, members of the club. Part songs: A. W. Thayer, Trelaw- 
ney; Schumann, The Dreamy Lake; Zander, Minstnel Song; Gounod, 
Chorus of Bacchantes; Handel, Where'er You Walk with tenor solo 
by Mr. Cummings. 17th Century Melody, Ye Watchers and Ye Hoi/ 
Ones: Maunder, Border Ballad; De Koven, Recessional with tenor solo 
by Mr. Boyd; O'Hara, Wreck of the Julie Pl.ante with baritone solo 
by Mr. Hanscom; Stevenson, Omnipotence with soprano solo by Miss 
Emerson. Soprano solos: Massenet, Gavotte from "Manon"; Anns 
Stratton, May Magic; Charpentier, Depuis le jour; Woodman, The 
Joy of Spring. Piano solos: Debussy, La Cathedrale engloutle; Chopin, 
Ballade, G minor. 

WEDNESDAY — Copley-Plaza, 4 P. M. Boston Chamber Music Trio: (Bar. 
bara Werner, violin; Marion Moorhouse, 'cello. Persis Cox, piano): > 
Mozart, Trio G major (K. 564); Piano Solos: Gluck- Brahms, Gavotte; 
Heilman, Intermezzo op. 6, No. 1; Hopekirk, Robin Goodfellow; Whl- 
thorne, Chimes of St. Patrick's; Griffes, The Lake at Evening; De. 
bussy, Jardins sous la Plerie; Ireland, Phantasie Trio, A minor (first 

THURSDAY — Symphony Hall, BdS P. M. John McCormack, tenor. See 
special notice. 

FRIDAY — Symphony Hall, 2:30 P. M. Twenty -fourth and last Concert 
of the Boston Symphony Orchestra, Mr. Koussevltzky, conductor. See] 
special notice. 

Symphony Hall, 8:15 P. M. Repetition of the afternoon's Symphony; 
Concert, Mr. Koussevltzky, conductor. 1 
SATURDAY — Symphony Hall, 8:15 P. M. Paul Whiteman and his orches- 
tra. See special notice. 

cmne from Toronto. His hrolher, ■ lii i) 
Ray was a hall attendant at the 'I'l'e- 
niont rear entrance, who years before 
had alnio.'iit wholly lopt his night from 
a sudden back -lire flaro from the firc- 
l)Ox Of a Cranrt Trunk loconiollve iis he 
told nie. When I first came, as a small 
youth to Koston. "Nobe" Ray took me 
to the Bo.^ton Theatre to see the big 
chandelier and "The Black Crook," also 
tc Dr. Jourdnlno's "I'arlslan Gallery of 
Anittomy" on Washington etreet near 
Essex; to Ycaton's oyster saloon on 
Court street, and also on a Sunday to 
ste the Coliseum used for the Jubilee 
festival, built In 1869. 

At that tlmo as we rode into the 
Pity over the Boston & Albany, men and 
boys were to be seen f.shlng with rod 
and line from tho cribs when the tide 
was m, all the way from what Is now 
Ma8Sachu.'?etUs avenue northward almost 
to Dartmouth street. I often went 
early mornings In summer out In the 
Fenway marshes to shoot pcepa. But the 
blrtls invariably escaped. 


I The Theaire Arts Monthly for May 
'contains a portrait of Mr. Lionel At- 
will as Julius Caesar In Shaw's "Caesar 
and Cleopatra." Mr. AtwUl has a stern 
and forbidding air, with a high fore- 
head, and, unfortunately, a fine head of 
hair — what was known In an old Lon- 
don song as a "nobby head of hair." 
We say "unfortunately," for Julius 
Caesar was bald. Suetonius tells us all 
about it In his book of entertaining 
gossip. We quote from Philemon Hol- 
land's translation: 

"Moreover, finding by experience that 
the deformity of his bald head was 
oftentimes subject to the scoffes and 
scornea of back-blters and slaunderers, 
hee tooke the same exceedingly to the 
lieart: and therefore he both had u.'su- 
ally drawne downe his halre that grew 
but thin, from the crowne toward his 
forehead: and al."o of all honors de- 
creed unto him from the Senate and 
People, he neither received nor used 
any more willingly, than the prlvUedge 
to weare continually the triumphant 
Lawrel gulrland." 

In Republican Rome men's hair was 
worn short, without parting. Brushed 
forward over the forehead, it lay flat 
r.r was crisped with curling-tongs into 
umall curls. Men under the empire wore 
h.-iir short, from one and a half to two 
Inches, from a close crop to wavy curls. 
"The hair was combed and brushed from 
the crown of the head forward on to 
the temples." Swells slushed their hair 
with oil and pomatum, as New Eng- 
landers early in the -sixties anointed 
their hair with precious oil as they 
prepared for a stately walk up the, 
broad aisle of the Old Church on a Sun- 
day morning. Our old friend Nero used 
to powder his hair with gold dust. 
Romans dyed their hair. They also 
wore wigs. 

aiiil Tennyson ana others, speaking of 
her as swarthy, made a bad break. This 
reminds us of tho old question. What 
sort of a gin should a young man 
choose for summei ? Should he prefer 
the stern acridity of the brunette, or 
the saccharine sweetness of the blonde? 
We understand that Mr. Herkimer 
Johnson has di.soussed this important 
question at length and con amore in 
his colossal work. Vol. 13, Section V, 
Chap. 4. 

Professor Barcroft has told his hear- 
ers at the Royal Institute, London, that 
the chameleon does not really change 
his color. Tet for nearly six centuries 
i English writers on zoology have as- 
sured us that thl,? interesting little rep- 
itlle turns yellow, red, gray, brown and 
dull inky blue at will. We shall next bo, 
ttold that the leopard changes his spots 
according to his pleasure. 

A reporter of the London Daily 
Chronicle called on Mme. Albani. She 
denied the report published in a Mon- 
treal newspaper that she Is living "In 
straitened clrcum'itances." 

••tt is true that I have earned much 
money, but .all urtists are generous, 
and I should like to be richer than T 
am Is it not uviite natural? But 1 
am not In poverty, not in 'straitened 
circumstances': I -still give lessons. I 
have enough pupils, but my voice, ah, 
the voice has gone." 

A.S we have b.-iid, Mr. Atwill in his 
portrayal of the mighty Caesar shows 
a high forehead exposed unblushlngly. 
Does Miss Helen Hayes represent Cleo- 
patra as a brunetto? According to late 
advices the noble dame was a blonde. 


As the World Wags: , . . , 

I have been in Tom Early s Jomt In 
lAgrange street. I saw Early once give 
a. vicious chin Jolt to an offenflln g young 

ch.ap one night-thls was about 25 years| 
ago-and I had a poor lo^-do^^ °P'" , 
ion of Early ther<>after, for the ^oung| 
man hadn't done any mean act to can 
for such treatment. Early was a big. 
fat brute of a British bully. He would 
not have so abused, or tried abuse, 

a full-grown man of ^ o^ , ■ 'N obe^' i 
Those Who remember Noble ( Noby 
W. Ray, bartender at the old Fremont 
House, also for Louis P. Ober, Tom 
Fenton on Harrison avenue, and other 
Refreshment resorts, and remember 
■pMlv Pitcher of the 'I'remont House bar; 
n 1S69-70 will recall what a big muscle 
Ray had on his right arm and what a 
graceful club-swinger he was. He, too. 


[Far As the World Wags.) 
Yesterday I happened to glance from 

a window adown 
Into the busy market place, 
MTiere, facing the crowded, narrow 

Buildings old and email seem to jut 

and to meet: 
There were stalls, and stands, and 

vendors' carts, 
Horses, drays, motors and people, 
And in the distance, a slender steeple. 

A vendor of flowers across the way 
Waa showing his wares colorful and 

gay — 

Hyacinth; tulip; jonquil yellow; 
Cyclamen; calla, and primrose mellow; 
They threw a shaft of beauty and 

Dazzling, kaleidoscopic a4id bright: 
And the blossoms seeiiied In the dull, 

drizzling gloom 
Like a vivid motif In a sombre loom; 
While over and over a whisper smote 

the ear, 

"Spring, vibrant spring, is already here!" 



50. MASS.— Middle age lady, wid- 
ow by death, young looking, good hab- 
its, refined, educated, brown hair, blue 
"eyes, hgt. 5 ft. 6, wgt. 1890, good 
housekeeper and companion, golden 
rule religion, would be Interested in 
gentleman of good morals In business, 
or professional. American preferred." 


As the World Wags: 

A firm of dealers in sea products 
disp'ays the sign. "Oldest Fish Market 
in Boston." Thus does custom stale 
the finny variety of food, and "ancient 
good," ,so far from being made "un- 
couth," is extolled in the market-place. 
The rage for the antique has reached 
the point where not only the table, 
but tho viands on it must bear the 
stamp of a "period." 

"Old books to rcsd. 

Old wine to drink. 

Old wood to burn. 

Old friends to talk to, 

Old fish to tempt the palate. ' 
If the last Une be an Interpolation, 
make the most of »t. PETER ASH. 


JOHn"cOATES, tenor, gave a 
curious recital last niglit, at th^ 
Copley Theatre, of old and new set.- 
tings of Shakespeare lyrics. His 

program read: 

"Under the greenwood tree Arne, 
Parrv; "It was .i lover and his lass. 
MoricV, German; ' ' B}^-^:: J^'""^!^ 
winter wind," Arne, Q".'".^'^,'p„°'f' X 
more, ladies," Arne, Aikin; Come unt« 
these yellow, sands," Banister° 
••Full fathom m-," •I°l^"«°"' ^PV"^;.' 
"Take O take those lips awaj. 
son" ram- : "Lawn as white as drive 
.snow " Linley, Gordon A. ^'a";" 
^•wi^en daffciils b.-gin to peer, Bo^ ce 
Ireland; "Who., .c.cles ','^'^ \^'^y< 
vail" Arne. Gardmer; Come awa^ 
Arne- "O mistress mliv", 
Btrd CrlpF^; •'When that I was and a| 
111 tip tlnv bov," A'i'althpw. , 
Mr. Coated.';, plan, though original 
r.roved not altogether iiappy. A doze.ij 
' o^ so vongs of the time of Arne, some; 
l?Ir earliof and none much later, cou d 
scarcely avoid monotony. Oddly enough 
too the more modern versions did not 
'ucceed altogether well in the 
tedium, for Their co.v.posers, the most of 
them at all events, m , heir reverence 
i or Shakespeare, confusing "'f 
with his .nanner.s, wrote °^ 
Ike that of T><-. Arne himself, of a 
simpleness that seemed a little sought 
Perhaps they r<fu\d do t^o differently. 
•Hey - nonny - nonny." "Helgho the 
nollv," after all. and •;^'lth helgh^th« 

more opportunity tor niu iical. c>.pi'o.'. 
slon than a lively refrain. 

The wonder Is that composers should 
not prefer to cxe.-ciso their talents on 
tho countless lyrical passages in th« i 
plays which all but cry aloud for mn- ; 
sioal selling, passages for whirh mel- , 
odle.^ would almost shape themselves-. 

Mrs Ooate.s does nut share any such 
view As well as sinE:tng Hip '"Usjc and 
Kivii.g much Interosting and nitertam- 
Ing Information about the am-ient com- 
„ose.-s. he ofte.. d.^-w thoughtful co.u- 
parlsons between tho old versions and 
the new, point h^j,' out excellences in 
the settings of today which do not cxl:^t 
in tVose of long ago. 

He finds them more imaginative, mor« 
— although he did not use the wprd. If. 
us sav exhaustive. Undoubtedly the^' 
are; the only pity is they arc not so )n 
greater degree. • . 1 

Songs of humorous nature and thos'^ 
I of marked dramatic cliaracterixation, | 
like Ca'iban s song from "The Tempest, 
Mr. Coates sang remarsably well, i'- - 
lightfully he sang the old setting of ■l' 
I Was a Lover," with a vocal skill 
[truly amazing. All tho evening ho 
' showed himself a singer ot extremely 
line direction, of a strongly developed 
power of differentiation of mood, or 
nice feeling for the melodic liiie. By | 
his manifestly keen interest in Shakes- , 
pcarcan song, and his infectious humor, . 
he established an unusually friendly re- 
lation between himself and his larg« 
audience. Edward Harris played excel- 
lent accompaniments. ^- 


Testerday afternoon, "in Symphony 
hall, John McCormack gave the first 
of his two concerts this week. I>aurl 
Kennedy, 'cellist, and John P. Marshall, 
the organist, assisted him In the fol- 
lowing program: 

Grave - and Vivace, Sammartlnl, 
played by Mr. Kennedy; My Dearest 
Jesus, I have Lost Thee, Bach: Let us 
■hut Rest Here in Quiet, Bach — sung 
by Mr. McCormack; Melodie, Rachmani- 
noff. Allegro Splrltoso. Sennalle — played 
by Air. Kennedy; I Tempo Assai Lon- 
tani, Resplghl; Cradle Song, Harty; 
When You are Old and Grey, Bridge; 
Panis Angellcus (with organ, 'cello and 
piano), Franck — sung by Mr. McCor- 
mack; Irish Songs: The Meeting of 
the Waters, arranged by Page; Open 
the Door, arranged by Hughes; The 
Irish Emigrant (by reque8t)_ Barker — 
sung by Mr. McCormack; " Nocturne, 
Chopin; Vlto (Spanish Dance), Popper 
— playej by Mr. Kennedy; Were You 
There (Negro ' Spiritual), arranged by 
H. T. Burleigh; The Ould Plaid Shawl 
(by request). Haynes; The Trumpeter, 
Arlle Dix — sung by Mr. McCormack. 

It seems to be a stern and almost In- 
eluctable thing that when an artist has 
achieved a clamorous success, he either 
'^ps '.Into an^npremedltated dulness 
or else his lassitude leads him to exag- 
geration. Yet this has never been the 
case with Johr. McCormack, although ] 
until yesterday there has l^een little of , 
the variant in his programs, and his 
tmdencv has been to give his bloc of ; 
Irish songs the predominance. , 
",;r'c.;ilo Mr Marshall the organ. an<4 

h^ar the folk and near folk songs of the 
Gaels applauded themi with so frank 
and unstinted an enthusiasm that they 
ana uiiot departure from 

sine liturgical music as he, and theie 
are many who can revel in the popular 
duty to the complete satisfaction of an 

*"For ?he rest of his concert, as was hLs 
custom, he sang songs of Bach, of Res- 
S of Frank Bridge, as well as his 
Irish group. Again there waa the su- 
I^rb resonance, the flawless vocal tech- 
^que the clarity of phrase ond of dic- 
Tl^m the cool and vibrant tones which 
(n the first group he coupled with the 
ilch Tmperloiflllty that liturgical music. 

In particular, demands. 

For his stiare of the program. Mr. 
Kennedv played various 'cello solos with 
f smoot'h and agreeable t<«e, a sound 


his *are In the applause. _ t- <-•• 


In Symphony t evening 

Alrssandro Bonci. . and Ester 

Fcrrabini, soprano, with Arthur 
Fiedler as their accompanist, gave a 
benefit concert for the Italian war 
wounded. Tliey sang alternately -and 
at the close, sanp the duet from 
the first act of "STanon." The pro- 
gram was as follows: 

VIoletta, "JIatrlmonIo So- 
Srplto." Cimarosa: air from I.a Gita 
In Gondola, nosslnl; sung- by Bond. 

r.a Madre al flglio lontano, Pluz^-ttl: 
Xebble, Regpig^hl; sung by Ester Kcr- 

Afrlcana: O Paradlso, Mevcrbecr; 
sung by Ponci. 

Otello: Aria del Pallce, A"erdl ; sying 
by Ester Ferrabinl. 

I Re\e blanr. Trucco; Keve nolr. 
Xrucco: II IniprcsstonI cainpcstrl, Pier- 
accinl; (a) Chi tardi Rrrl\a. (b) Uno. 
due, fre. sung: by Kster Kerrabini : Bo- 
henie: Racconto. Puccini; sung by 
Bonci: Romanza: Connais-tu le pays, 
TiioniAs: lister Kerrablni: Jlanon^ 
Duetto l,o atto. Massenet; Ester V^r- 
rablnl. Bond. 

Although the concert was a benefit, 
it was not so well attended as It might 
have been, yet there was no suggestion 
of empty space in the lusty and long 
applause, the occasional fleeting bravos. 
that escaped the balcony for Bond and 
for Miss Ferrablni. 


.\gain. after a long silence, Bond sang 
here, in concert, In a repertoire almost 
wholly Italian, of operatic origin. Those 
who have heard him before say he 
never was a singer of robust propor- 
tions, that his voice was more suited 
to the concert hall than that of many 
operatic tenors, because of its lyricism 
and lightness. And In his excerpts last 
evening, his strcngtli lay in his suavity 
of intonation. In his instinct for the 
stage, his dramatic bravura, his per- 
sonal magnetism. 

The operatic aria is lost in the con- 
cert hall, often, and so Miss Ferrablni 
was wise to choose songs of the modern 
Italian, Pizzettl and Respighi, ratlier 
than a preponderance of bel canto airs; 
so that she divided the program evenly 
with Bonci, supplementing him. She 
sang these songs very beautifully, with 
the exquisite nuance, the strange and 
piercing melanch&Iy. that invades them. 

Hers is a rare charm and feeling for 
mood and drama. Tet in her dramatic 
arias she has a tendency to force her 
upper notes, particularly in the forte 
passages. Again, in the songs of the 
moderns, her head tones were beautiful. 

Jlr. Arthur Fiedler, the accompanist, 
was, as usual, an able one. Each sang 
several encores, and Mr. .Tacchia ac- 
knowledged his wife's singing of his 

There are humorists In South TSfrlca, 
as is shown by a literary competition 
in which a lyric by Shelley, Bubmltted 
by a Joker as his own work, received 
the third prize. '-The Judges, acting for 
the Magazine committee of the Wlt- 
watersand University found some 
promise in the poem but complained of 
its diction. They preferred for first 
and second prizes lyrics written in the 
Taal or Cape Dutch." This led the 
Manchester Guardian to say: "Before 
we join m the laugh we should do well 
to turn up the Shelley l>-rlc which be- 
gins 'Like the ghost of a dear friend 
dead' and decide whether, if we met 
t filling an odd corner in a magazine 
above an unknowr. signature, we should 
on our own responsibility pronounce it 
first-rate. The chances are, one fears, 
that we shouldn't bother to read it , 
through twice, not because it is bad, 
but because (t is not instantly arresting. 
Indeed, while we are about it, we may 
apk ourselves how many even of the 
masterpieces of lyric poetry, without 
which no anthology is complete, we 
should 'spot' for ourselves if we came 
across them casually and unfortified by 
any 'crested and prevailing name.' 

They have Hffn celebrating In Lon- 
don the cenjJ|ary of Charles Lamb's 
good-by to Kastfcidia House. Swin- 
burne once •'or^ljkted" a dinner to 
celebrate the amiWersary of Lamb's 
birth, going to London, settling the de- 
tails, brooking no interference. "The 
guests met in an old fashioned Soho 
hotel, and the 'coarse, succulent dinner' 
was presided over by .Swinburne beam- 
ing 'over the table like the rising sun.' 
The dinner over, cam« the reckoning. 
'Our shock was the bill— portentous!' 
wrote Mr. Gossc. 'Swinburne, In or- 
ganizing, had made no arrangement as 
to price, and when we trooped out into 
ilie frosty midnight there were five 
long faces of impecunious men of let- 
ters.' " 

tPor as the 'V\'orld 'Wars) 
Quite a Pill would he be — 
.Should one let him tell It: 
Though his Maker, you see. 
But made him a Pellet. 



As the World ^Vags : 

I do not refer by this title to 
useful article which in my boyhood days 
we used for cutting off the candlewicks; 
Solid silver when compan^' was around; 
brass for daily use; black metal for the 
kitchen — the whole lot an unmitigated 

There has been some talk recently i 
In your column concerning the use of | 
snuff, but not I think, About the way 
it Is still used In the large mill »ltlee I 
of this state, where the users are termed 
dippers or snuffers. I was present not 
more than 12 years ago In the store of 
a friend located near the entrance of 
a large cotton mill where during the 
noon hour several young girls and older 
women came in, handed my friend a 
dime and received a package containing 
a small piece of Italian ta&teless white 
soap, some imported Danish snuff called 
Copenhagen, and a small white article 
of some soft wood, sharp at the end 
like a screw driver. The method of use 
is to soap the teeth and gums, and 
ijthen dip the wood in -.he snuff. The 
soap makes it adhere. The result, he 
Informed me, was lery pleasant from 
the user's point of view. I found later 
that all the nearby stores Sold snuff 
in this way, and in most of our mill 
cities. It is said that "dippers" work 
faster than non-dippers. 

It seems to me that I have read or 
1 heard that many years ago snuff dip- 
|plng was largely practiced in some 
southern states. I ought to say for the 
credit of my sex that men do not "ilp " 

Point of Pines. x, i<\ 

I Mr. "William L. Robinson said in, The 
Herald of the 18th, that In "long- 
shore circles" of Boston it is considered 
the thing to wedge the snuff between 
the gums and the cheeks "and snuff 
can be procured for this practice at al- 
most any cigar stand along the water- 
front. "Dipping" has been for many i 
years a practice with "poor whites" in j 
the South. r'reierick Law Olmstead 
mentioned the habit in his "Joum-ey 
in the Seaboard Slave States" (185C); 
Bartlett in his "Dictionary of Ameri- 
canisms" (184S); Pumpelly wrote in 
"Across America and Asia" (1870) : "The 
woman, a very hag, ever following the 
disgusting habit of dipping — filling the 
air and covering her clothes with 
snuff." A split, or brush-like stick, or 
bit of rattan was dipped in the snuff 
and then rubbed on the teeth and gums. 
Early in our civil war Robert H. Newell 
("Orpheus C. Kerr") wrote the "South- 
erner's Farewell to His "Wife." It be- 
gan (we quote from memory) : 
"Fresh to his arms from snuff-dippiiig 
she went, 

Wiile he removing from his mouth a 
quid. " 

\ Ed. 


Why is Palm Sunday in England as- 
sociated with figs? Fig fairs are hel'3 
in Buckinghamshire on the eve of Pajm 
Sunday; there and elsewhere iii Eng- 
land fig pudding or fig cakp is the Palm 
Sunday treat: Wiltshire villagers climb 
a hill to eat on the top oi" it their figs, 
la parts of England Palm Sunday is 
known as "Fig Sunday" and mid-Lent 
Sunday is called "Fig-pie Sunday." 
These pies are made of dry figs, sugar, 
treacle, spice, etc. A writer in Notes 
and Queries (1356) said: "They are 
rather too luscious for those not 'to the 
manner 'oorn.' " Fig-sue, a dish made 
of bread, i'.gs and ale, is eaten on Good 
Friday, or it was up to 1895 in the north 
of England. In 1822 a writer to the 
Lonsdale Magazine wrote that a mess 
made of ale, boiled with fine wheatcn 
bi-ead and figs, sweetened with sugar 
was the dinner of Good Friday. A box 
of figs and a box of sweets were pres- 
ents for Palm Sunday. A writer in 1S69, 
speaking of Lancashire; "The orthodox 
customs of Fig-pie Sunday are almost 
obsolete there now; but some time ago 
they were carefully observed by mem- 
bers of the Church of England, for 
with the Nonconformists the lig-ple 
found no favor." 

The only reascti suggested Cor the 
Palm Sunday i^raotice, we find in 
Wright's huge "Eng:ish Dialect Dic- 
tionary": "Probably because the curs- 
ing of the barren flg tree is the first in- 
cident of the ensuing day recorded In 
the Gospel." 

Was Uie practice of eating flgs in 
honor of Palm Sunday ever observed in 
New England? 


'For As the World 'Wags) 
It's all over the place 

Ev'rywher* I looJc, 
Bllnkln' on the eartri's face, 

Glintin' in the brook. 

Lots of it In town, 
haiki of It at l ountry faiiB — 
Moe that ludy'H g\iWii' 

I'olks turn an' look .Tt < 

Kinder like It 
■Some stop ;iir i 

Laugliln' u.s tin'. , 

Shines like ev'rj-thtng, 

L'azzles like a prize ; 
Golly : Like a pixie's ring — 

Better close your eyes I 

lt'8 a'l over tlie placc-- 

Wonder wtiat It tiz? 
I'.'s all over the place — 

Wonder wlio.s» li tiz? 

— JiOW'AflD yi&riXA. 

The Journal of the American Medical 
Association quoted by the N. T. Times: 
"Tall, heavy persons possess heavier 
brains than shorter and lighter per- 
sons. The differences may amount to 
as much as 18 per cent." 

Thomas Fuller (1608-1861): "Often 

the cockloft is empty in those whom 
Nature hath built many stories high." 

"There Is something wrong with a 
cnan if he does not want to break the 
Ten Commandments." — G. K. Chester- 


"The New Bedford disturbance (earth- 
quake). Dr. Mather went on, was very 
local and of only slight Intensity. Po- 
licemen were not startled, and even 
light sleepers were hardly disturbed." 

G. W. B. H. 

"I hate plays that I can understand, 

because they are not like life, which no- 
body understands."— G. Bernard Shaw. 


As the World Wags: 

Will you swing the gates outward to 
admit Mr. Mel Stepper, who conducts a 
dance orchestra, to the Academy? 

M. W. S. 


This is sad news from Albany, N. T 
Keeler's oyster house In Green street i: 
closed. Fairfield died long ago and thf 
glory of the Windsor in Maiden Lan€ 
departed. Between 12 and 1 o'clock ir 
the daytime prominent citizens were 
lined up at the bar. "They calmly drank 
and Jawed." And what good meals were 
served there! How delicious but treach- 
erous was the "cold tea"! 

Johnny McCardle's was famous for 
steaks, creamed potatoes and ale. 'WTiat 
became of the pictures showing Inci- 
dents In the expedition of Walker to 
Nicaragua? Johnny used to tell won- 
derful stories about a relative of his 
tllat was one of Walker's men. Joaquin 
Miller should have spent an evening 
with Johnny. He might then have 
added a few lines to his "With Walker 
in Nicaragua." Are "Songs of the Sier- 
ras" still read? We picked up a copy 
the other day and spouted the verses 
aloud with gusto: 
"A piercing eye, a princely air, 
A presence like a chevalier. 
Half angel and half Lucifer; ! 
Fair fingers, Jewell'd manifold 
With great gems set In hoops of gold; 
Sombrero black, with plume of snow 
That swept his long silk locks below; 
A red serape with bars of gold, 
Heedless falling, fold on fold; 
A sash of silk, where flashing swung 
A sword as swift as serpent's tongue." 

There's a William Walker for you! 
What matters it if he did not answer 
the description? 

Jo Walter's oyster shop In Washing- 
ton avenue, opposite the tapltol — Jo Is 
no more, though oysters may still be 
erved there. We see Jo now, moving 
his liead forward and back like a snap- 
ping turtle: wise about city politics; an 
authority on prize fighting; entertain- 
ing, Jo, » good, stanch friend. We re- 
call the fried oysters, the box-stews, 
the Boston stews, the pan roasts. Was 
It Jo who, when asked the difference be- 
tween a box-stew and a Boston stew 
said: "Mighty little, but the waiter puts 
[his thumb in a Boston stew." It was 
ja grand sight to see judges of the court 
of appeals at Jo's eating stews and but- 
tering oyster crackers, even though they 
did not wear their Judicial gowns. 

'\ye Iqdged In State street, near Cap- 
ron and Pike's, a famous place for old 
and new ale, and milk punches; but the 
farmers who held market from the 
earl.v morning in the street drank huge 
quantities of hard cider, sometimes 
with a stick in it. Where now is 
Clark's, once not far from St. Peter's 
Church? A quiet place for thoughtful 

niuiiripr. A, "cunalcr " near 
cmplled a bottle of tomato saucn 
plate of cold slnw and then, ovcrcor 
by beer, rested hia head on the i>I:ii> 
.Nick Engel died and his widow lib 
fnr a timo to run the beer house. Imi 
the beer fell off In quality, and ."-li'- 
wa.s not the philosopher that Nick wn.i 
when he was muzzy and moUphyulcally 

No, Albany la not what It The 
glory la departed, 


As the World Wags: 

In order to ttBHlst F. C. S.. who asks 
for the origin of the expretialon, "The 
life of Kellly," may I say the expression 
Is "Living the life of Rellly," mid prob- 
ably originated In an old song with 
which you are undoubtedly familiar: 
"Is tliat Mr. Itellly. can anyone tell? 
Is that Mr. Rellly that owns the hotel? 
Well If that's Mr. Rellly they spake of 

so highly — 
'Pon me sowl, Rellly, but you're looking 

Later on I believe that another song 
was written upon the theme, "Living 
the life of Rellly," but I can't recall It. 
However, the expression "Living the 
life of Rellly" has been In vogue ever 
since the middle eighties, when the 
populace sang about the soft existence 
of Mr. Rellly, the hotel keeper. It still 
has a wide usage, although I doubt 
that there are many who are familiar 
with the origin. C. W. R. 


(The Bostoo Courier, April 14. 1S20^ 
No agf© of the world, of which we 
have ever read, has been so noted for 
the occurrence of auguries, and omens, 
and miracles, and interesting spectacles 
as the present. An account of all the 
prodigies that have happened during 
the present year alone would fill sev- 
eral volumes. The last occurrence of 
the kind which has com© to our knowl- 
edge is related by a writer in the In- 
telligencer of Monday last, who states 
that "a curious and interesting spec- 
tacle was on Friday witnesed by sev- 
eral gentlemen from the top of the 
Capitol, during the ceremony of the in- 
auguration of President Adams. No less 
than four large eagles were seen pois- 
ing themselves directly over the Capi- 
tol for about 10 minutes, when one of 
them, apparently larger than the rest, 
began to descend, and after making a 
number of circles around the centre 
dome, arose in graceful spirals, and 
they all wheeled off to the west." 


(From the London Sunday Times.) 
' " 'I spent Good Friday in bed taking 
iced drinks and all sorts of other things. 
I am glad tomorrow is Sunday,' added 
Mr. Barrj-more, in a voice that sounded 
tired and was still husky." 


(After reading again "The Four Million.") 
. He looked upon the City's face 
1 And caught her dreams, and then 
He wove them on his magic loom 
To show the hearts of men; ^ 
! And then he went Beyond the Town — 
Ho will not pass again. 

I And Mirth wears yet a nobler crown 
AVhen Youth's on holiday: 
And Pity's hands are quick to mend 

The broken toys of day; 
And verities are simpler things 
Because he passed this way. 



I'LV MOUTH THE.\TRE— First per- 
formance in Boston of "Badges," a 
comedy-drama In three acts by Max 
Marclu and Edward Hammond. Pro- 
duced by Jules Hurtig. 

M.irio Ciirson rmillnc Arraliage I 

; Miriam Holt :...MndKO Kennedy! 

rr.Tnklvii Green ; . . .Gregor.v Kelly | 

K<1. railpsple ; CorllBS Giles ' 

nmrlps Moran P'lii' Han-ey i 

Kpccnn John Sli.irkey I 

Or i;vans ..Howard Sidney | 

riiief postal .Inspector M. Tollo Webb \ 

Officer Dugatf. Louis E. Miller; 

Smith Percy Howard | 

This play is really a farclal melo- 
drama, but we regret to say that the 
audience did not take to the melodrama 
seriously. There was loud laughter, 
wliat might be called "noisy squeals of 
Joy " when the good crook, shot by the 
bad iTOok. tumbled on the floor; still 
louder laughter when he v/as helped to 
an adjacent room in the hotel. This 
laijsrhler was the more annoying be- 
oau.^c the two crooks were the only im- 
portant mem.bers of the company who 
always spoke their lines Intelligi'bly. In 
the first scene between Miss Armltage 
and Miss Kennedy, the former in a loud 
voice ran her words together; the latter 
in a weak voice was often inaudible. As 
for Mr. Kelly, many of his lines often 
missed Are, from no fault of the drama- 
tists; he spoke a,s if he were talking to 
himself in the strictest confidence. 

■"^v. for Kennedy ard 

Pitt of thetr mannerisms 
maniK^i-lsins undoubtedly 
li.-u- adinlrors — were, the one 
shrewd, an cnKaslng: girl, the j 
uisinp ill his familiar way. j 
The Boy PctrH-tlve" Young; Green 
!< lessons In Iho detecttve's art hyl 
rorrcspondenoe with a sohool In Brook- 
Ivn and wore a gradu;ite's hadRe. He 
was imtr.sted in Miss Holt, scraped 
ani-e with her. told her Bhe was 
llowed by detectives and swore 
I,. I., i.,r faithful knight. This MIsb 
I Holt, we Uarncii. was tho daughter of 
a man wlio turned crook so that he 
I could send her to a fashionbale hoard- 
' Ins school. He with two pals robbed a 
' poslofrioe of a vast quantity of govern- 
' inent bonds. One of them "the Puke" 
killed lilm. This "Duke," a desperate 
villain, thought ho could gain informa- 
(lon from MirUini about the place where 
the bonds had been hid. He had half 
I ot the paper of directions; Moran. the 
other half. And so the "DuUe " calling 
' himself G. Despie, posed as a postofL'lce 
Inspector. He told her Sloran had mur- 
' dered her father. Did she not wish to 
1 revenge him? She was put In an apart- 
i mcnt at a hotel, given line clothes, 
j -Moran was introduced to her by Marie 
' I'arson. and Miriam was to worm the 
; desired Inforniallon out of him. Moran 
! in her company grew mushy, told her 
the truth, and expressed a distinct idea 
to lead a better life. 

Plots and counter-plots. Crossing and 
double crossing. And the Boy Detec- 
tive jumps out of closets, hides behind 
window ciirtains and Is continually 

It would spoil the pleasure of the 
audiences to come if they were to be 
told of the last act, laid in a lonely 
house at night In a western town, with 
exciting scenes in the dark and by 
candle light; bonds now in the discov- 
ered bov and now o\it of it: plenty of 
gun -play outside. There is a happy end- 
ing: The Duke and Atarie led oft to 
prison. We wish that Miriam had mar- 
ried Moran instead of the Boy Detec- 
tive, for Moran was a line fellow in his 
way, and there was no difficulty in 
hearing what he had to say, 
Mr. Giles as Gillespie was a villain of 

the good old school. Mr. Sharkey "wa.» 
for the lllth time a gruff detective. The 
most noteworthy acting was done In 
the second a^t by Mr. Harvey telling the 
story of his life to Jliriam and confess- 
ing his love for her. 
The audience enjoyed the play hugely. 

Zestful Music Is Also f eaiure 
of "Baby Blue" 

a musical comedy in two acts pre- 
; sented by Charles J. Mulligan and Paul 
IM. Trebitsch. Book by Roland Oliver 
iand Charles Dickson. Lyrics and 
[music by Harold Christy. The cast: 

I judson Colin Campbell 

Yvonne CaVsidy . . Mildred Wayne 

Algernon Totten ^^^^ 

Augu3 Ferguson J^S''^^ ^iriii^hran^ 

Ernest Brett Fred Hlllebrand 

Aunt Kate Alice HeReman 

I Kittle Wynne Gibson 

Millie Davis Irene Dunne 

'.Officer McClutchy Walter Lawrence 

I Mr. Davis Thomas Gunn 

j Although It came here without ad- 
jvance heraldings, without the indelible 
(Stamp of Broadway approval, a show 
jin transit, "Baby Blue," despite the 
1 ineptitude of its title has that rarest 
' of things in musical comedy, a good 
I book, and a zestful and appealing 
I musical score. But, with the excep- 
I tion of Fred Hlllebrand, the comedian, 
I who plays a stalking novelist, thin of 
body and of purse, who sells himself , 
I unwittingly into impersonating a mil- i 
I lionaire on the eve of being iriiprisoned j 
for overspeeding, the Ingenuity of the : 
lines, and the melodiousness of the 
tunes are often lost to the performers. 

Last evening, from the first opening - 
curtain, the performance moved with | 
alacrity and spontaneity that redeemed [ 
it in part for the dearth of good sing- 
ers, and the mediocre principals. The 
c horus is pretty and unjaded, although 
: s yet Its members lack precision in 
-'leir ensemble numbers. 

Again the book deals witb the an- 
ic'it tale of the mllllonal.e, his un- 
< spectlng and amorous "man" who 
, iivltes a troupe of chorus gir'.s to his 
1 i home, trusting In his master's absence; 
' the arrival of the winner of a country 
beauty contest, lured to the big city 
by the letters of the "man" and the en- 
closed photograph of the master; the 
inveighing and scheming visitants from 
r;i attleboro: the aunt and her dancing 
daughter; the plain clothes man wh.o 
has no objection to prohibition, be'- 
cause at "least there is something to 
drink"; the consequent unravelling, and 

There are amusing lines, and the 
book is smoothly put together, lightly 
ridiculing. In Fred Hlllebrand, a 
. omedlan adept In pantomime and the 
sharp > a v' . r burlesque, there is an 

oxcollent vonu'diiin wno Hits tna piece 
easily, especially In his singing of 
"Spanish JuanitJi." an Ingenious farra- 
go of current and recent tunes. In tho 
second act, with the strange inconsls- 
! tency of this genre, there is Inlerpo- 
I lated an amazing dance by a coiitor- 
' tlonlst, Helen Wehrle, who Is not only 
supple, but a sinuous dancer as well. 

Otherwise the company Is rough 
hewn, yet there is enough life in the 
piece itself to carry it, and there Is 
little of the too obvious gagging of 
most musical comedies. The audience 
was large and etithusiastlc. 

B. G. 

Zelgler presents "Peace Harbor." a com- 
edy drama In three acts, by William H. 
Macart and Ethlynne Bradford. Staged 
by A. Seymour Brown. First perform- 
ance in Boston. Tlie cast : 

Marth.i FTarrimaTi C,r»co Tloala 

! fieorite Van Buren.. Jrtnn .\iithon.v 

Marv Thomas BllMhet'.i licllalrs 

O-nis Peavoy Cliarl.-s AUhc 

.lethro I>arklni Mark Sullivan 

Ocii .\r.irtln Harold Hartsell 

Bmer AVlU-oi : Frank Fisher 

Mrs. Sophie Benson ls;<hi>l O'Madliiaii 

(iracp riopklns Fi'.drie Gilmore 

rx>u KHhy WllUnm Willinms 

Sh->rltr nipglns Htnirj- W. PemtxTton 

Petpr Ilarrlman Willl.ini H. jr.i^-an 

Paul nervals Thoinas A. Masranr 

■VVillle Timothy liowcs 

Mr. Macart has travelled an old road. 
No doubt in preaching his sermon he 
had one eye on Joshua M'hitcomb and 
the other on Lightnin' Bill Jones. Cyrus 
and Jethro, the belligerent old cronies, 
are none other than the colleagues of 
the aforesaid Joshua, lingering charac- 
terizations of "The Old Homestead." 
The quasl-vaudeville "turn" of Frank 
Fisher and Eldrle Gllmore in the last 
act, while neatly turned into the de- 
velopment of the story, is none the less 
.patch upon pattern. Comedy drama 
I the program would have it, farce it 
was by the farcical sheriff, melodrama 
It became at the peak of denouement. 
Mr. Macart has written vvell and much 
of the dialogue is uproariously funny. 

Many of the characterizations were 
finely lined. Mr. Macarfs above them 
all, then the wife, the two old cocks 
and the sinister Dan Martin. The set- 
tings were adequate, pleasing to the 
eye, and there was the Fall River 
boat, in pleasing perspective, a feature 
! of the last act. 

' Mr. Macart as Peter brought out all 
j the attributes of the kindly old soul 
^ given to his cups convincingly. Grace 
; Reals as Martha Harriman gave a finely 
[ drawn characterization. The Dan Jiar- 
tin of Harold Ilartsell was very good. 

Then there were the excellent Charles 
Abbe and the equally fortunate Mark 
Sullivan as the old cronies. Let us not 
forget the skilled playing of Isabel [ 
O'Madigan as Sophie. T. A. R. 

i-u.-o tin y IV, , r ciniicli.i.-i. bin now tli. ' 
seem to grow a lltilo too ob\ louslv. 

It's all .c-ood fun, lliough. Ihc t', \ 
forces doing their best by il. Asslnl- 
Ing Mr. Compton in his hoi-t ioultural 
expedition we have Mr. Tonge, who 
nonchalantly carries the diamond in 
his pockot and is effectively woe-bo- 
gono when it is torn from him Mis.s 
.Standing, as tho Lady of the Camolias. 
Is bravo, never falters (her amazingly 
good looking i-lothcs lielp her there). 
.•i!i(l :\Ir. lluL^e rinislu's things V,-,- winil- 

Ito^birt" n^M^ ^""^ ""'""K his mastw 

to bed Better go and see "Grumpy" 
o.H^ "ko the character, is getting 

j old and it s almost now or nevt^ 


I Ti-emont~"Scandals," George 
White's annual revue, with 
Winnie Lightner, Tom Patri- 
cola, Lester Allen, Richard 
Bold, Helen Hudson and others. 
Last weelc. 
Shubert— "Rose Marie," Arthur 
Hanunerstein's musical comedy 
with Desiree Ellinger and Guy 
Colonial— "Music Box Revue," 
Irving Berlin's annual produc- 
tion, with Pliil Baker, Florence 
Moore, John Steel. Joseph Sant- 
ley, Ivy Sa-ivyer, Johnny Burke, 
Solly Ward and others. 

ST. JAMES— "Little Miss Bluebeara, 
a play in three acts by Avery Hopwood. 
Produced by the Bo.^ton Stock Company 
with the following cast: 

Elsie Hit?: 

Olive Blakeney 
Marie I.alloz 

i'"^c,) .,, division of honors. With his I 
.company of 10 persons, he put on an 
I act entirely new to Boston 
I Stella Mayhew, tried and true vau- 
I aevllle comedienne, gave a program 
of e^xcluslve songs that left the audience 
In doubt as to which act on the bill 
I derserved the most applause. Her bit' 
1 also V a.s the typo that, combined with 

I her own per.-onality, always pleases 
I Harry Kahne. the mental wizard 
amazed the spectators with his feats 

i of mental agility. He had many new 
tricks. ' 

The black face comedians, Fenton 
and Fields, earned numerous laughs 
Another act that gained recognition 
was that of Berke and Terry in "Mirth 
and Melody." Hannon and Sands, two 
clever girls; the Wilson Aubrey trio 
and the Rose Kress Four contributed, 
handsomely to the progi-am. 

The opening animated cartoon and 
the closing news reels were up to the' 
usual high standard. 


Grumpy, a 

comedy in four acts by j 
Horace" Hodges and Wy^ney Percival 
First performed in Boston with 


Maude in the name part. Now in re- 
vival at the Copley. Cast: 

.Knllierine Standini; 

.IClspclh Dudgeon 
'.'.Franklyn l''raucis 
..JOBsamiiie Newc-ombr 

Miss Vircinia BuUivnnt 
Mrs. Maclaren 

p"^„ •'™'r;ie.y EloMer 

Mr" S^ies t H eroiu .V:::.'.. Phi li P Tonge 

Mr. Andrew Bullivant (Gtunn>y\ 

. . .F. Compton 1 
llH-hiird Wliort 

:■ ■::::::::.c:-4^Z^'^\ 

I ?lr laaac Wolf.. . VU-tor Tandy 1 

An amiable comedy, among the first j 
of the polite mysteries. "Grumpy j 
shows the effect of the years between | 
la'it night and the evening now long j 
since when first Mr. Maude played the 
caustic, querulous, elderly lawyer, ^et 
il is a sturdy piece, and there is still 
a thrill in the diamond theft, an at- 
mosphere of excited expectation as wc 
watch Grumpy run the thief to ground. 

It is entirely a one-part play, so the 
evening was almost entirely given over 
to Mr. Compton, the rest of the com- 
standing by to help when they 



could. , . .. 

On the whole his characterization 
was effective and true, particularly this 
in makeup. .Somj struggle occurred oc- 
casionallv when the lines proved al- 
most too rusty, but these hurdles were 
cleared successfully as the play rattled 
away to its happy ending. 

A country house, an aged and eccen- 
tric lawyer, a lovely daughter, a dash- |i 
ing adventurer, and a hero, of course, i 
who loses the priceless diamond. Start- 
ing off with a scuffle iii the dark and 
tho theft, the only evidence is a ca - 
melia, lost from the hero's buttonhole. 
On this slender evidence Grumpy miule 
his investigation, succeeding triumpli 
antly. It was not. perhaps, a very con- 
vincing investigation and perhaps 
good deal was taken for granted, bnt 
one must play fair, or there would 
no mystery at all. 

1 "Grumpy" was once a "well 'made 
play" and scattered through it are all 

I sorts of good old I'iner.j plaiit.s whi. li 
used to make an audience breathlcssr 
with delicious terror. You knew they 
were going to be bandy later qn and 

Bob Talmndce 


Gloria Talmadse.. 

pS niiidW.. ::'''.V.'.".".Hect(.r CUomere 
AVhen such a rollicking comedy-song 
play as Avery Hopwood's "Little Miss 
Bluebeard" can boast of a New York 
run of 2»0 nights. Us coming to Boston 
be assured of a hearty welcome. 
Such a welcome was extended at the 
St James Theatre last evening by an 
audience that filled the building. 

The story of the adventures of 
Colette, adapted by the playwright from 
the Hungarian of Gabriel Dregely, has 
to do with a charming and vivacious 
r'rench girl who becomes embroiled 
marriage with two men and yet is not 
married to either. Larry Charters, an 
irresponsible English composer, is one 
of the "unfortunate" husbands who 
finally attains the genuine status. How- 
this climax evolves forms a plot that 
develops plenty of exciting action and 
uproariously funny situations. 

Much of the humor of the pUy is 
divided between "Smlthers," the Eng- 
lish butler, and "The Honorable Bertie 
Bird," the latter a friend of Larry's i 
who always appears at the wrong time j 
and Interprets things to suit himself, ] 
much to the discomfort- of others. All; 
is happily straightened out, however, j 
and love finds the way. j 
Elsie Hitz, in the BordonI role of ; 
Colette, characterized the poor little : 
Parisiennc to perfection, this role glv- j 
Ing her ample opportunity to demon- | 
strate her ability as a singer. In her ] 
spoken lines, in her exquisite wardrobe 
and in her attractive voice, she was 
equal to the exacting test and delighted 
her audience. 

Bernard Nedell as the bachelor com- 
poser made a hit from the time he was i 
presented to his "wife only in name," ( 
until the curtain fell on his conquest 
of the heart of Colette. John Collier, 
as "Bob Talmage," the married man 
who marries Colette under Charters' s 
name, also played his part with ex- 
ceptional merit. Houston Richards as 
the "Hon. Bertie Bird" once again 
showed his adaptibility for comedy 
roles. Others in the cast worthy 
of mention were Ralph Remley, as 
"Smlthers"; Roberta Leo Clark, Olive 
Blakeney, Louis Leon Hall, Marie Lal- 
loz, and Hector Chonierc. 



Tlie Sjmpliony concert lasc 
brought Die Monday series to a brilliant | 
close. It began with a Vi.valdi concerto ! 
in D minor, for orcliestra with organ, ; 
in an edition by .\. Silcti. Then Micczy- . 
slaw Muenz played Franck's Variations | 
for piano .md orchestra. And finally i 
came Tchaikovsky's E-minor symphony. | 
It was a program skilfully planned. , 
Since Mr. Koussevitzky finds it best to j 
place the symphony at the end, he , 
showed consideration in making what i 
came before it s^lTont and by no means 
exacting to listen to. By way of con- 
• rast, 'loo. to the old Italian concerto 
with its stately stride at the start, the 
!ove;y flowing song ot the largo move- 
ment. Us brilliant close, pomposity it- 
self, what could have answered better 
■than the charming variations of Cesar 

They may not stand on the plane 
of the best of the "Beautitudes" and the 
quintet, or yet tho sympliony. But how 
exquisitely the theme falls on the ear, 
when first the piano intones it! It be- 
comes presently beautiful song for the 
piano alone. What high spirits it sug- 
gests when the rhythm changes! And 
the touch of jazz toward the end! Who 
would have thought it of Cesar Franck? 
And. mind you, he hit on tliat skittish 
rhythm some 40 years ago, baiore it 
was the fashion. It has always been 
thrown in his face that he had his 
moments of oommonness. A pity he 
did not live till today, when he could 
have lengthened them without blame. 

Mr. Muenz played the variations with 
something less of brilliancy and warmth 
than the music could have stood, hul 
with infinite delicacy and grace. His 
tone blended with that of the orchestra 
quite as perfectly as that of Miss Jlyra 
Hess. Higher praise there can scarcely ' 
be. t 
Mr. Tfoussevitzky, as everybody ; 
knows, does not necessarily play the j 

same music twice «!ike. The Tchaikov- 
sky symphony he did not feel so racking 
last nlgTiC as he found it a month ago. 
If it lost some of its anguished appeal, 
it gained much in musical beauty, beau- 
ty of sound end of song. The Monday 
series ended indeed in a blaze of or- 
chestral and musical glory. 

This was pleasant reading In the pro- 
gram book: The Monday concerts will 
be continued another year. K. R. G. 



1 Paul Specht and his f amovis barrer 
Iwere the major attraction m an ar- 
tistic, amusing and well balanced bill 
at Keith's Theatre last night. Popu- 
lar music by such a band never fails 
to please a Keith audience, and last 
night was no exception. Lncores 
were demanded and only the short- 
age of time brought this feature to 
a close. Novelty numbers were par- 
Iticularly well received. 
I ^'johnny t)ooley of the fanV " 
Ifamllv. was another head! 

Crowded House Witnesses Opera in 

Roman Theatre 

ROME, April 27 — Musical critics com- I 
ment cordially on the performance of I 
Madeleine Keltie of Boston, who made ' 
'ler debut in Rome last niffht, singing 

the title role in "Tosca" at the Con- 
stanzi Opera House. 
A crowded house, Including many 
''notables, .witnessed the performance. 
Among those present were the Prln- ^ 
cesses Giovanna and Mafalda and Ameri- 
can Asbassador Fletcher. 

Miss Madeleine Keltie is the daughter 
of Mr. and Mrs. John R. Keltie of Rox- 
hurv. For the past year she attracted the 
•vttention of the music-loving world by 
l,cr voice. In NMce, France, recently, 
she was called before the curtain 1. 
times. after the second act ot 
"Madam- Butterfly." In June she at- 
tained distinction in London and was 
commented on favprabily bj" the critics i 
I in the English captlal. Previously she 
had made a sensation in Italian cities,^ 
where the press of Milan and Naples : 
I predicted great things for her. ' 
I - '- 

tage l^il^ 

Wilkes n<.' 

i ho HeraJd of Use fcjrul.iy conialneJ 
an rntertalnlnr edltorlaJ rovlewlnir Mr. 
Ir. F. Dibble's IUb of John L. SulUvwi. 
published by L4ttle, Brown A Co.: nev- 
ertheless. It n»«y be permisalble to Bay » 
few words aboot the book In this col- 

Is It not true that a teacher of b«x- 

Ing at Har\-ard Invited a few gentle- 
men who were enjoying the ad\'»nt«es 
of a collegiate education to go with mm 
to a backj-ard In Hanover street, where 
a young fellow named Sullivan was to 
spar? Our Informant, who was one of 
the students, assures us that John I* 
was then unknown to nearly all the 
professonal "pugs" and trainers. 

We looked In Mr. Dibble's book for 
one of the stories concerning John L.'s 
meeting the Prince of "Wales, and did 
not find It. When John U came back 
lo this country he was asked how ho 
fiired with the prince. "Well, he was 
rather shy at first, but I soon put him 
at his ease." 

A reviewer In New York flnd^ fault 
with Mr. Dibble for not going more In- 
timately Into technical matters; he com- 
plains of Jlr. Dibble's fondness for an- 
ecdote, for repeating what Cardinal 
Gibbons said to John L. ; for telling 
story after story of the hero's bragging. 
Did John L. brag any more than 
Homer's men of fists and swords? Mr. 
Xunnally Johnson, in the Brooklyn 
Daily Eagle, begins a savage article 
about SuUlvan, not about his' biographer, 
by saying that here Is "the life story of 
the most notable fat-head that ever 
lived in America." According to Mr. 
Johnson, John L.. ■«'as a grand stand 
player and a show-off, a truculent citi- 
zen, with a conceit past standing, "and 
Ithe courage and audacity of a moron so 
|low ic intelligence as not to feel any- 
thing but superiority." In his old age 
he was a "space grabber, garrulous and 
tedious, obstinate and malicious, a 
fearful old wreck of a booze-hound." 

But Mr. Dibble treats his subject with 
delightful Irony, and his ironic shafts 
make their winged way into the breasts 
of John L.'s worshippers. Mr. Dibble 
is not the first to treat a heroic figure 
ironically; witness Dr. William Maglnn's j 
"Luctus on the Death of Sir Daniel i 
Donnelly," whose straightforward blow : 
would almost fell an ox. Dr. Shelton 
Mackenzie's long note on Maginn's 
"Luctus" Is equally ironical. 

"We have heard It said, and are In- 
clined to think the theory true, that Sir 
Daniel's style of boxing showed, per- 
haps too strikingly, that he had ex- 

i celled at the miscellaneous fighting of 
Donnybrook Fair. His education cer- 
tainly had not been neglected, but It 
had been Irregular. There were not 
only Iricisms In his style, but even pro- 
vincialisms which were corrected in the 
Loiiflon ring, not without danger to the 
success of his first prize essay. But tho 
native vigor of the man prevailed over 
tho imperfect inslitution.s of his coun- 
ir?-. .and with all the disadvantages of 
.in Irregular, Imperfect, and unfinished 

Iediication. Sir Daniel Donnelly not only { 
triumphed over all his compatriots, but i 
siisluined the honor of Ireland in a i 
country, perhaps, too much disposed to j 
disparage her; and in his last battle 
with the renowned Oliver, the shamrock 
fpra'igf up beneath his feet, rejoicing in 
tho blood that dyed its threefold beauty, 
inrro proudly than it ever rejoiced, 
wiv n sprinkled with the dews of morn- 
ine, it waved its verdant locks to the 
Ijreezes that swept the level expanse of 
the Bog of Alien, or the rugged mag- 
nificence of Macgillicuddy's reeks." 

letters of ii) ron with copious iinnota- 
tlofis. Tho first volume appeared, and 
then Murray, the publisher, i '< 
the continuance. Thin wa!< a 
to literature as well as to .■•ii.u 
the life and manners of Byron's Hmo. 

In this volume are appreciative, yes. 
eloquent notes about liyron'.s friend, 
John Jackson, belter known ua Gentle- 
man Jackson, "Sole Prop and Ornament 
of Pugilism," for over 30 years "tho 
most picturesque and commanding fig- 
ure in the sporting world ... a man 
of character and Integrity, polite, agree- 
able, reputable, a capital talker, a per- i 
son of tact and energy and charm." I 
Byron walking with him at Cambridge 
told an excited remonstrant: "Jack- 
son's manners are infinitely superior to I 
those of the fellows of my college whom j 
I meet at the high table." j 

Sullivan had his diamond belt; Jack- 
son in 1820 was presented with "a ser- 
vice of plate of the most magnificent 
description to which all ranks con- 
tributed from the prince to the prize 
fighter." ; 


Henley wrote a long note with equal | 
gusto about Robert Gregson, who stood • 
six feet one and sat for Lawrence, the ' 
painter, "lover of tunes and verses, and 
no bad hand at a 'chaunt'; withal, a 
person of manners and sentiment." In 
his fight with Gully he had his man 
' "beaten to a standstill, so that it was 
feared that Gully would die"; in his 
fight with Cribb, Cribb fell down and 
did not recover for some minutes. 

Would that some one had written with 
the fervor shown by Henley, Mr. Dibble, 
Mr. Corbstt telling th« rtory of Ms 

career, about Jem Mac* find Jolm C. 
Heenan, great men In i-.str way. Was 
Jem Mace a gypsy? Heenan was one of 
.\dah Isaacs Menken's husbands. Would 
tliat there were an unprejudiced account 
of their domestic life. 

Charles Reade in "The Coming Man," 
1. e., the "either handed" man, a man 
"rescued in time from parroted mothers, 
cuckoo nurses and starlinsr maids, Tsitth 
their Paffan nursery rk7— is, and tr.^tr 
Pagan prejudices against the left hand," 
gives some thumb nail sketches of pugi- 
lists. There was Jem Ward, who held 
the champion's belt from 1826 to 1831. 
"Mr. Ward was the best fighter in his 
day, except when wicked people con- 
veyed a hundred-pound note into his 
manly palm." * 

Reade argues that the right hand Is 
for defense, but tlie left is the leading 
hand, "and the greater the science, the 
greater its superiority. But when La- 
•: vengi-o knocked the Flaming Tinman 
senseless, the blow was a right-handed 
one, and the superb Isopel Berbers 
standing by exclaimed: "Hurrah for 
Long Meltord! There is nothing likt 
\ l.,Dng MeUord (or sbortuess all the world 


'Doris Emerson, Soprano, and Frank 
H. Luker, Pianist, the Soloists 

In Jordan hall last evening the Apollo 
I Club, Mr. Mollenhauer, conductor, g.-ive j 
[the third and last concert of this season. , 
1 The .soloists were Doris Emerson, ao- 
I prano, and Frank H. Luker, pianist. 
I Members of the club who were assistant 
j .soloists were Charles E. Boyd, Jr., E. 
; Lindsey Cummings and Louis A. Hans- 
I coin. 

Miss Emerson has a pretty voice when 
she sings with restraint and a decorous 

Mr. Luker, the club .pianist, played 
the Chopin Ballade in G minor as well 
as Debussy's "Cathedrale Engloutie." 
Ht has an agreeable touch. 

boriabin, "I'ronielhouM ' , Hfbuxny, two 
nocturnes: Borondln, dances, with 
chorus from "Prince Igor." 

Alas, Sir Daniel could not throw John 
Barleycorn. "In February, 1820, having 
drank an almost Incredible number of 
tumblers of punch at one sitting (out 
of mere bravado) and swallowed half a 
bucket of cold water, while in a state of 
profuse perspiration, after the afore- 
said tumblers, he burst a blood vessel 
and departed this life in the 44th year 
of his age." ' 

When he returned from fighting in 
England with only 40 shillings in his 
pocket, 20,000 or more persons as- 
sembled to greet him. They escorted 
him as he was mounted on a white 
horse ,to his house in Dublin, where he 
made them a speech and "drank to 
their health In a noggin of the native." 

The 44th season of the Boston Sym- 
phony orchestra will end tomorrow 
night, for the customary Saturday 
evening concert will take place on the 
night before in order that Mr. Kousse- 
vltzky may leave in time to fulfil his 
engagements with the London Sym- 
phony orchestra. The program is made 
up of familiar pieces, including repeti- 
tions of compositions heard earlier in 
the season. There is one exception: 
Mr. Siloti's arrangement for strings of 
the Adagio in Bach's Toccata, C major, 
for the organ. It is thought that Bach 
wrote this Toccata for his trip to 
Cassel in 1714 to exhibit a newly re- 
stored organ; for at the concert he 
played a long pedal solo wltii such skill 
that the Crown Prince of Hesse, mar- 
veling, pulled off a costly ring from his 
finger and gave it to him. But other 
organ pieces by Bach have thunderous 
pedal solos, so the identification in this 
instance Is not sure. 

The program in full is as follows: 
Bach, Brandenburg Concerto, No. 3, G 
malor: Adaclo. arranged by Siioti; 

This evening John McCormaek will 
sing In Sjmphony hall. "Request pro- 

Tho anniversary concert of the On- 
drlcek school of violin art will take 
place tonight In Jordan hall. Bach, 
Concerto, D minor, for two violins and 
piano, played by eight viollnlBts: pieces 
for three violins, Bendl, "Memories"; 
Dvorak, Gavotte; Hcndl, Mllllary 
March, arranged by V,. t)n<lrlcek and 
played by IS violinists; Lauber, Kan- 
tasle for violin^ orchestra with violin 
BOlo (Marjorle Posselt.) tlrst time In this 
country; pieces for four violins and 
plnno; Minuet, "In the Olden Days," 
from the orchestral suite, "Past, Pres- 
ent, Future," by E. Ondricek, first time 
In Boston; Schuberl-Wilhclmj, Ave 
Maria, Nachez Gypsy Dance (Miss Pos- 
selt); Hlller, Caprlccio e fugato, first 
time In Boston. 

Roland Hayes, tho negro tenor, sang 
by royal command before the Queen 
Mother of Spain at her palace on 
Thursday, April 23. The summons came 
as an immediate result of his public 
debut in Madrid on Tuesday, April 21. 
Then, and on April 24, he sang with 
the Madrid Philharmonic Society. Mr. 
Hayes, after a needed rest, will make 
a tour of the German cities at the end 
of the summer and sing {or the first 
time in Stockholm. He will return 
next November for his third tour in 
this country, to fulfil about 60 engage- 

Paul Whiteman, with his band, will 
be at Symphony hall on Saturday eve- 
ning. Chaliapin will give there his last 
concert on Sunday evening. 

Wagner's "Parsifal" was broadcast at 
the Berlin Opera House on April 10. Did 
Wagner turn in his grave? 

Elizabeth Eddy Parker will interpret 
"Songs of the Peoples" with dancing 
and costumes at the Copley- Plaza next 
Saturday afternoon. The French, Ital- 
ian, Greek and Swiss will be repre- 

The concert by Louetta Chatman and 
Willis Bradley, announced for April 17 
in Steinert hall, will take place there on 
Wednesday evening. May 6. 


Notes and Lines: 

The present generation of thrcatre- 
gbers know William Horace Lingard 
and his beautiful w.ife, Alice Dunning, 
as a tradition only, they having been 
"among those present" as far back as i 
the late sixties and early seventies, I 
while those whose years and memories 
reach back to the late seventies— '7D 
to be exact — may still recall with pleas- | 
ure charming, petite Dickie Lingard, i 
whose name, by the way, was never i 
Lingard, neither was It ever Dickie. 
Her real name was Harriet Dunning, i 
a sister of Alice, and the name of Lin- j 
gard was adopted as a nom de theatre. 

She became the wife of David Dalziel, 
who, late in ISTO, exploited her in a 
more or less clever, especially less, mu- 
sical review, it might be called today, 
written by himself and called "Pyjam- 
as" (my memory tells me he spelled it 
with a "y"), which he presented at the 
Dudley Street Opera House in Roxbury 
— yes, there was such a place, and is 
still existent, concealed beneath the j 
dust of ages, if I am not mistaken, like 
Ur and Pompeii, awaiting the arrival of I 
a new discoverer. 

Harry Josephs, a brother, or half- 
brother, of John Selywn, was numbered 
among tlie immortals of that organiza- 
tion, and so was Billy Lytell. and John 
Matthews and Ed Milliken et al., includ- 
ing myself, and I was ro inconsiderable 
portion of the "Review," constituting in 
my person the entire Roman army. I 
recall being the sole survivor of this 
aggregation in the last act, when stand- 
ing up stage centre, and gazing about at 
the supposedly dead bodies ot the "all- 
star" csst that strewed the stage, like 
the famous leaves of Valambrosa, I com- 
mitted suicide eight times a week, for a 
miserably small salary, by bracing the 
"butt of my spear against the body of 
the most accessible dead actor, male or 
female, and falling against it, as the cur- 
tain also fell, amidst the roars of laugh- 
ter and thunders of applause from the 
20 or 30 people, Including the orchestra 
of three, out front. Thus the entire 
Roman army miserably perished. S. P. 
Q. R. Senatus populus que Romani. or 
as we u.sed to translate It, Salaries Paid 
Quite Regularly. Needless to add that 
this was our joke. 

We later played in Washington, where 
poor innocent John Matthews was scared 
blue by the fear of apprehension, even 
then, for connection with the Lincoln 
assassination, he hav'ng been originally 
under suspicion, because of his close 

■^nllv In 1' 

over .1 I i)|iy nt ' 
forget which, at 
I noticed a portrm 

look, when looking ln-neuih 11 1 n.i« 
ihn namo nf Hlr Davlfon Dalzlell, Bart, 
which lat^r Investigation proved to be 
that of my old friend of enrller yesrs. 

1 wrntu him soon afl/r, In I<«ndon, 
receiving promptly a reply of the moat 
IntereBllng iiml cordial nature, convey. 
Ing the InforniHllon that the earlier 
lovely and cluirmlng "UkUlo Lingard" 
Is still gracing tho earth with her pres- 
ence. Other Inquiry has dcmonatrated 
that he wtis knighted some 10 or more 
years ago. and made a baronet; that he 
Is a Chevalier of the I,eglon of Honor, | 
and the chairman of the Pullman Com- ^ 
pany of Kneland. | 

Furthermore, he has the distinction 
of having been the first to Introduce 
taxloabs into London. Wllllum Iloracs 
Lingard also still lives. 

Memories of early days — how delight- 
ful. "Capt. Jinks of the Horse .Marines,"' 
"On the Beach at l»ng Branch," "Bit- 
ter Beer," "Walking Down Broadway." 
"The past Is ours, secure from chance 
and change. 

Buoyant and brave as now, go on, re- 

Naught that is gone, naught fearing, 
naught forgetting. 
For, spite of all that life or death may 


I shall go on with you— remembering." 

I Slow curtain. ; 



Testerday afternoon, al the Copley 
Plaza, the Boston Chamber Music trio, 
of which Barbara Werner Is tho violin- 
ist, Marlon Moorhouse the 'cellist, and 
Persia Cox the pianist, gave a brief re- 
ctal of trios, ana various pieces for the 
plaao played by Miss Cox. The program 
was as follows: Mozart, trio G Major 
^Kochel 564); Whithome. "Chimes of 
St. Patrick's"; Griftes, "The Lake at 
Evening"; Gluck-Brahms, "Gavotte"; 
Hellman, intermezzo, op. 6, No. 1; 
Hopeklrk, "Robin Goodfcllow"; Schu- 
bert, Moment Musical, op. 94, No. 6; De- 
bussy. "Jardlns Sous la Pluie"; played 
by Miss Cox; John Ireland, Phantasle- 
trlo A minor. 

Although at times there was 
monotony In their playing, and their 
ensemble was occasionally ragged, the 
trio gave an amiable little concert yes- 
iterday, commencing with the Mozart 
trio that he WTote originally for the 
pianoforte, and closing with John Ire- 
land's Phantasie-Trlo In A minor, pre- 
^jsumably unplayed before, although It 
lis already ageing. 

And It proved to be rather perfunc- 
tory music, although there were inter- 
ludes of a wistful imaginativeness. 
Perhaps some of the dullness was due 
to the colorless playing of the ensemble. 
In the Jlozart trio they played with a 
gentle and lucid grace, a felicitous 

To offset and Intersperse the trios, 
j Miss Cox played various short pieces 
for the piano with facility, and at times 
a richness of tone. She was at her best 
' In the eloquent gravity of tlie Gluck- 
Brahms gavotte, and In the ponderous 
and resonant chiming of Emerson 
■milthorne, suggesting the earlier "Ca- 
thedrale Engloutie" of Debusy. She 
has a sense of rhythms, and there was 
warmth in her Schubert, although She 
played too measuredly for such slender 
romancing. E. G. 

Mr. John D. Kinnure, who was asso- 
ciated with The Boston Herald for 40 
years, died this week. He was a fre- 
quent and valued contributor to this 
column, writing entertainingly In a 
humorous vein about various events of 
the sixties and sAyenties, old-time actors 
and actresses, Irish wakes, superstitions, 

He was a proofreader of the old smd 

accomplished school, zealous for ac- 
ciu-acy. Finding an error in the Stand- 
ard Dictionary, he was given a copy of 
that work by the appreciative editor. 

Mr. Frank J. Kinnure -ivrites: "Am- 
bassador Penfleld, our ambassador to 
Austria during the world war, worked 
on the Hartford Courant with John. 
'Penny' was quite a 'cut-up.' The edi- 
tor often warned J. D. K. not to Imitate 
j 'Penny,' who would 'never amount to 
1 anything.' John was president of the 
i Hartford Typographical Union 42 j-ears 

.i^kUsted by every print 
. because he vea.s a union 
. ot th« men went to New 
John subbed on The Boston 
. ; a ball-playing printer and 
the next 40 years working nights 
M t he Herald. ■ 

We asked hxst Sunday what had be- 
come ot certain members of the Boston 
opera company. Mr. N. Giaccone of 
."^omerviUc. brother of the late E. Giac- 
i one and of Wr. K. Giaccone, now the 
prompter of the Chicago Civic Opera 
Assoolatioii, writes that Pulcini died at 
iJenoa sevt n years ago; that Tavecchia, 
ihe oxki-'.lrnt buffo, is now living in 

The ^ianc■llesl.eI GuardiaJi began Us j 
• review of B. E. Lawrence's "Notes on 
1 the Authorship of the Shaliespeare 
; Plays and Poems" (London: Gay &! 
Hancock): "Except for the admirable 
good temper of It, this most recent 
Baconian book is like its predecessors. 
It is stuffed with rash conjecture, per- 
verse subtlety, and the 'fond reasoning' 
which Shakespeare noted as character- 
istic in his cruder clowns. Mr. Law- 
I ronce holds that Bacon is the real 
iithor ot Shakespeare, but that he was 
, Ntensively assisted by men like Dekker 
"d Shaksper of Stratford. Tn up- 
1 olding his theme he demonstrates once 
Diore that ignorance of the special cir- 
cumstances of the Elizabethan literary 
world and a fundamental misconception 
of the nature of poetry are the main 
; Hiialiflcatlons of the Baconians." 

.,1,1 *I.A>, 

roads begrudge you tholr ' 


the black 
gutter'? _ 

The indignities we suffer are often 
physical. We are the butta ot practical 
Jokes. The commoner ones are splash- 
ing lis with mud; and forcing us to 
Jump up the banking to avoid being 
annihilated. It must be really qinte 
humorous, because the back window 
lalwavs frames a group of happy faoos 
>s the automobile speeds away from lt^< 
■ own smell. . , „ 

' But what hurts most of aU Is being 
put on exhibition. "Look!" shouts a 
•lord ot the black road, waving a fat 
,ariii in our direction, as if we were I ho 
Old North bridge, or an antique shop. 
I And it is not unknown for a lord to 
stop his automobile and allow us to 
squeeze between his mudguard and the 
gutter, so that his family may range 
along the side and get a good look at 
two queer specimens. 

Come, ye lords of the black roads. 
We let you profane our little dirt roads 
when your roads are closed for repairs. 


As the World Wags: 

We see so much about advertisements 
for etiquette books that the following 
seems to me appropriate: 


When and when not to eat the lettuce 
served in a salad? 

Which tines of the fork to use in eat- 
ing peas? . r 

Which corner of the roll to eat firs._ 

How much of your napkin to unfold? 

What part of pie should bo eaten? 

How much food to leave on your 

IF YOU DO. you are entitled to de- 
gree of S. S. (Simple Simon). 

IF YOU DON'T, you aj-e entitled to 
degree of A. M. (A Man). 

helmi; Gypsy Dance, Nachez, .Mi.s.s 
Marjorie Posselt, Miss- Gladys Posselt, 
accompanist; Capriccio e Fugato (for 
four violins), Hiller, played by orchestra 
of nine violins. 

Mr. Ondrio^lv has apparently a docile 
and well-di.s-ciplined student body, and 
although their playing was somewhat 
perfunctory, there was a warmth of 
tone, a fine .sensitiveness to his dictates 
and a marked precision tn theli- orches- 
tral ensemble. From the concerto of 

— »4 , <v,>(,,; v« jv„ 11, c jiuxice lor eignt 
violinists, they ranged with undimin- 
ished zest through the mild Bohemian 
music of Bendl and Dvorak to a verbose 
and little-known fantasie for violin or- 
chestra and a solo violin of Joseph 
Lauber, as well as music by Mr. On- 

dricek himself. 

Miss Marjorie Posselt, as the soloist 
of tlio Lauber fantasie, played with a 
firm, warm tone and musical ardor. Mr. 
Ondricek was a conductor of decision 
and authority. The audience was warm 
in its applause. 


As the World Wags: 

Some time ago I noted the reference 
to unusual Christian names of persons, 
names beginning with "Z." I enclose 
the following taken from gravestone 
inscriptions at Claremont, N. H. 

The Thomas family was among the 
earliest of the town. There are tliese 
names among others: Zina Thomas, 
/ara II. Thomas; Zara and Orlando 
I'liom.HS, killed by lightning July S, 1S05, 
Zara in his 18th year and Orlando ' 
his 7th. Mamrc was the wife ot Zina. 




l'.-\3 the World Wags; 
■ In full knowledge that I am a relic 
lof a past order, I rise to plead my piti- 
(ful case. It is not for that I seek sym- 
lathy. Through recognition of my 
! junderlng on a long-deserted shore has 

come the philosophical calm that a rue 
man finds In contemplatmg his true 
state, whatever it may be. I Pft'tlon 
not the condolence, but merely the tol- 
erance, of the world which has whizzed 
by me. Is it too much to ask? 

Strangelv beautiful— and wondrous, 
tco— are the hills and valleys of our | 
countryside out beyond the suburbs , 
sectors ot unviolated charm, between i 
the converging spokes of hard, blacK j 
roads. Get you up early of a Might 
Sunday: take a bus out beyond the 
squalid fringes of the city; give your- 
self a treat. Mind you alight where a 
rutty dirt road meanders away from 
the highway; the ruttier the better. 
And 'tis well to have a map along 
(Geological Sur^•ey, 1886), on which you 
have marked the evil, black roads m 
red lest you come upon one unawares 
and perforce run the gauntlet of road- 
side purveyors to the wellbeing ot man 
and motor. , , 

Up the rutty, winding road is where 
all the birds are, who were frightened 
away from the trees along the black 
road; friendly fellows,, who like to have 
you stop and make their acquaintance. 
Nobody comes here to pick the flowers, 
and leave greasy papers instead. The 
brook talks all the louder for Iiaving 
been Interrupted in its impromptu 
verses by the spluttering automobiles 
on the road it passed under a mile 
above: not indignantly, mind you, but 
in sheer exuberance at having its own 
undisputed say again. " 

Boopls says all the nicest old houses 
are back here (she likes to roam the 
back roads, too) and I think she's 
right. At any rate, all the nicest peo- 
ple live in them; people who like to 
ha+e you take a drink at their pump, 
and who always say "Mornin' " when 
they meet you on the road. 

On the black roads all people know 
how to say is "How many?" 

And there Is where the trouble lies. 
Hard as you try, sometimes you can't 
avoid following for half a mile one of 
I these oily concessions to impatience. 
! You mean no harm. Y'^ou know you are 
i an ir.trudsr, but you ara hurryine out 
(of the way as fast as you can. You 
i don't spread tracks on the road, or dig 

John McCormack, tenor, ~a:rrangea a 
"request" program for his concert last 
night. (Crowds went out to hear their 
favorite songs; Symphony hall was 
filled. They heard good 'cello playinp 
as well, from Lauri Kennedy, an artist 
of skill who -knows how to produce 
a strong sweet tone which neither 
whines nor growls. He contrived to 
play even Dvorak's "Songs My Mother 
Taught Me" without a trace of Senti- 
mentality, and he has a nice appre- 
ciation of the vitality that lies in old 
Italian music. The audience liked him 

Now for Mr. McCormack's program. 
The people wanted good songs. There 
were two Handel airs, "O Sleep." and 
"Wliere e'er You AValk." They felt no 
call to the German ; for the second group 
they chose instead Donoudy's "Luoghi 
sereni e cari," Merikanto's "A Fairy 
Story by the Fire," "Rachmanixiov's "To 
the Children." and Franck's "Panis An- 
gelicus," with accompaniment of 'cello, 
piano (Edwin Schneider) and organ 
(John P. Marshall). 

The popular vote drew forth two of the 
best Irish songs, "Would God I Were 
the Tender Apple Blossom" and "The 
Snowy-Breasted Pearl"; also one of the 
most amusng, "Open the Door Softly." 
For the last group there were "The Old 
Refrain" by Kreisler, "Your Eyes" by 
Schneider, and Dickson's "Thanks Be 
to God." Handel apart, the ballot 
shows no overwhelming desire for mas- 
terpieces, but surely it shows a strong 
taste for good songs of their kind. Of 
course, there were many extra songs. 
I Why wouldn't there be? 
! It is hard to imagine anybody listcn- 
' ing to a song from Mr. McCormack aiul , 
not longing to hear another and tlicn 
as many more as he can be persuaded 
to sing. Only one class of persons 
might possibly be vexed by his singing, 
those people interested above all else 
in vocal technique. For they find 
themselves so fully absorbed by the 
expression Mr. McCormack puts into 
all his songs, by their Interest in tHe 
stories he tells, by the sheer loveliness 
of his phrases, that they discover, when 
it is too late, that they have failed to 
note his technique. JJo wonder the 
lost opportunity tries them; not every 
day can they study a technique that is 
perfect. R. R- 


Last evening in Jofdan hall pupils oi 
the Ondricek school of violin art, under 
the conductorship of Mr. Ondricek. 
with Miss Marjorie Posselt as assisting 
artist, gave the following program o. 
music: ... 

Concerto in D minor for two violins 
and piano. Bach (played by eight 
violinists; Memories, Bendi; Gavotte, 
Dvorak; March Miniature, Bendl; Fan- 
tasie for violin orchestra with violm 
solo obligato, Joseph Lauber, ffirst time 
in Boston), Marjorie Posselt, soloist; 
pieces for four violins (with piano ac- 
companiment); Minuet, "In the Olden 
Days " E. Ondricek, (from the Or- 
chestral Suite "Past, Present, Future"), 
first time here, played by orchestra of 
20 violins; Ave Maria, Schubert-Wil- 

The 24th and last concerts of the 
Boston Symphony orchestra took 
place yesterday afternoon and even- 
ing Mr. Koussevitzky conducted. 
The program was as follows: Bach, 
Brandenburg Concerto No. o, 
major, for string orchestra; Bach, 
Adagio from the Organ Toccata, O 
major, arranged for string orchestra 
by Alexander Siloti; Scriabm, 
"Prometheus"; Debussy, Nocturnes 
.(Clouds and Festivals); Borodm, 
dances with chorus from "Prmce 
leor" As earlier in the season, 
Alexander L. Steinert played the 
piano part in Scribin's tone poem; 
the Cecilian Society as before sang 
the vocal parts in the tone poem and 
in the Dances. Our remarks are 
with reference to the afternoon con- 

*^^-rhe pieces with the exception of 
Bach's Adagio had already been per 
formed this season. As the Adagio 
stands as written for the o^S^"' . J''^^ 
been likened by some commentators to 
the slow movements for violin m Bach s 
sonata. Mr. Siloti's transcription 
seemed natural, one might jnevi- 
table. Played in Boston for the first 
tim.= it was at once welcomed by the 
great audience, which was enthusiastic 
throughout the concert, from the mo- 
ment that Mr. Koussevitzy ^.^me mi°n 
the platform to be greeted with hearty 
In-l unusually long-protracted applause^ 
.Some wondered why Mr. Koussevitzky 
put "Prometheus" on the program, for 
t was performed here at the end of 
MTrc-h "Sir," arf Dr. Johnson re- 
marked, "you may wonder." Scriabin 
■was an intimate friend of Mr. Kousse 
vitzky; he was often his companion, 
and pianist, on his concert tours. He 
■ plaved the piano part when Prome- 
:lheu.s" was produced by Mr.^ Kousse- 
vitzky at Moscow in 1911. " i^^"^,^,^""? 
that Mr Koussevitzky should hold thi 
tone-poem in high regard and affection. 
He wishes others to be similarly d.s- 
. ;posed towards it. It is a good idea to 
Irepeat in a season an unfamiliar woi* 
of large proportions and assumed im- 
portance, "even if some of us think the 
"importance" is to be found only m the 
last dozen thunderous measure; if we 
find that the corni^osition as a whole is j 
va,-ue and too long spun out, abounding 
m trilling and inconsequential measures, 
like rickety sign posts pointing to dis- 
appointing villages, with pages that in 
spite of all their bombastic pretensions 
are uninteresting, yes, dull. 

No pains were spared in the perform- 
ance which was technically brilliant on 
the part of all concerned. Mr. Kousse- 
vitzky conducted with a religious fervor 
Mr Magfr, the first trumpeter, seated 
on high, to whom the composer assigns 
an extremely dilTicult task, was as one 
clad in glory. Orchestra, pianist and 
chorus all contributed their full -share 
to the wished for memorial homage to 
the composer; but, however significant I 
or symbolical the work Itself may be o 
contirmed or amateur 
music of their late brother >n belief is 
seldom beautiful, seldom noble, often 
vcKiug by its rambling desultory chat- 
ter seldom emotional, impressive only 
Bl the end and then by tremendous dy- 
namic impact, a work not even con- 
spicuous by niiisteiiy workmanship. 
\s we heard the beautiful and haunt- 
usic of Debussy, we thought of 

alnu ions criiiic ni' ha ving lived for :;S 
years In a "decadent" and "infidel " 
France. While Scriabin In the Russia that 
was "seeking the transcendal by means 
of every man" who had a vision" grew 
into ".spiritual freedom." She applauds 
Scriabin, who "always has wings" for 
not presenting in his music "the human- 
emotional element," and for spreading 
in "Prometl^eus" "those great wings 
on which he hoped to bear humanity 
upward and out over the borders of this 
fettered earth life." | 

If. endeavoring to accomplish this no 
doubt praisewortliy feat, Scriabin had 
onl.v written a litle music! 
[ The answer to Miss Heyman s 
I ecstatic adoration of Scriabift — and her 
adoration Is voiced in many pages — 
was unwittingly made by Mr. Koussr- 
vitzky jesterday: he put Debussy's 
"Not'turnes". after the "Prometheus. " 
Listening to Debussy's poetic music, i 
exquisitely performed, one forgot alii 
about Scriabin and his high purpose ' 
and was not conscious of the fact that 
he had broad wings. 

A brilliant performance of Borodin's 
ever welcome suavely sensuous' and 
wierdly barbaric dances brought the 

The Herald tomorrow will publis. 
some comments on the season and or 
Mr. Koussevitzky's characteristics as i 

-. ,. —ai-ii — ji~ im.i -—13— 

Reading that Mr. Harry Payne Bing. 
iham, "a wealthy New Yorker' '-he prob-, 
ably belongs to "exclusive" clubs-had 
on his "long, rakish, black" vessel-one 
would think the story was about Capt.| 
Kidd-sought the lair of the "P°"f«^- 
0U3 rhynodontyplcus, mystery f 
the sea" In the vicinity °fSwan island, 
the great fish known t° ^l^® 
Uves" on th« Island as "SaPOdlUa. Tom , 
-how can they take liberties with the, 
marine terror?-read ng all we 
rushed to our old and "teemed friend 
the Great Oxford Dictionary. A^«' ""^^ 
friend failed us. There wa^ P\^^^,'."^.„" 
formation about the rhyncholite a fos- 
silized beak of a tetrabranchiate cep- 
halopod": the rhynchocoele turbellarian. 
that engaging beetle the •".hy^^hophore 
the edentulous reptile having Prol°"Sed 
premaxlllaries known as the Rryncho- 
saurus, not to mention the rhyncotous 

' '"irthere, after all a rhynodontyplcus, 
or is he to be classed with the whim- 
bamber, the great gyascutus, the cni 
maera, the mantichor, that /earsorne 
beast having a treble row of teeth be- . 
neath and above, -Whose sreatnesse, 
ropghnesse and feete are like a l>-on8, 
his face and eares like unto a man s 
(even to the carefully , '"°"V 

tachlos), his eles gray color, of color red. 
his tail like a scorpion of the eartn, 
armed with a sting, casting forth sharp 
pointed qulls, his voice like the voice ot 
a small trumpet or pipe, being In course 
as swift as a hart"? or Is he rather to 
be classed '^'Ith the snark? 

It may sound unlikely, but the follow- 
ing Is a true story. At a well known 
political club a few days ago a respected 
member celebrated his 100th birthday. 
A fellow member who met him on tne 
day and congratulated him asked whj 
lit was he so rarely met him nowadays^ 
The centenarian said, "Ah, I "^'«'L^° 
I to the upper smoking room now. Tou 


my son can t stand the stairs. 


Miss K.itli 
tUii:ite . . 

T!iitli Heyman's uiifor- 

, i,,.t-..vr.u the, T'l-eneh 

master ami t^enabin in her littl'? but j 
carefully written book, "The Relation j, 
of Ultramodern to Archaic Music." Slio 
even /charges peer Jiebussv with the] 

Manchester Guardian 


(From the Woburo Dally Ttmesl 
Plans for the reception of the Middle- 
..pv Voiture. Les Societie I'orty 
.Hommes°et Eight Chevaux will be made 
by the Woburn members ot the Dox 
car organization. 


%Vs-^lJl:n"wrat^a"ff in the 
wTnthrop "^Sun to a P'^i^f « le- 

posing it. It " little town, 

prospectus for this pretty "^^jjpy. 

we remember CoT .Albert G. Browne 
referring to Salem, his native town a. 
"the city of the unburied dead. 


J The Herald this sub- 
J. L. S. sends to The weia 

for their intellect: 

Be up with my First and away . 

j A bealTttful flowe r wUl emerge. 


Hospital.) J 

..patient wa. --^.-..fS ser^ 
was reported gassed b> tne .oc 


•VN admirable: <-RiCHTON 
7,tox. r 

Graduate iti thr«« leading ^thoolb o( 

r '■•:ifluiite Of one school In Eni- 

' Fnibalmer in Illinois, 
ilmer In Wisconsin 

l.i . imer in Michigan. 

t;;.„; niinallng Engineer. 

Jlciniji 1 i'l iho Exterminating Enghieers 
of AnierlCH. 

Member of The National Association of 
Muslo Merchants. 

Assistant Commissioner of Health of Uie 
City of Zlon. 

Managrer of Z. I. & I. Muslo Depart- 

. Manager of Z. 1 & I. Mortuary De- 
I paxtment. 
Manager of Z. I & I Monument De- 


" This bell Is out of order; please ring 
on the lady landlords Insidea." 


As the TVorld "U'ags: 

Old-timers tell me that Tom Early's 
saloon In Lagrange street was called 
"Tom Early's Sporting Parlour." Dur- 
ing the years preceding 1919 a man by 
the name of O'Nell ran the place. They 
served a cocktail there known as a 
"stinger." 1 believe It had a rum base 
and I know it tasted like a "Tom 
Jloore special," a drink whose recipe 
is a secret held by the proprietor of a 
charming llttlo inn located In Ber- 
muda. WM. L. ROBINSON. 


As the World Wags: 

"Say," she murmured to her friend In 
the street car, "ain't the dresses this 
spring jes turrlble, 'n' such a norful 
price and no sleeves a tawl! My Isabel 
is that slim she c'n make em with a 
night gown all right and they look 
splendid. She likes them Vogey patrons 
do you? Some likes Butterltt's better. 
The price they ask fer stockins is fierce. 
Youkan get real good lookers she says 
in (he five 'n ten but of course they're 
seccuns." M. F. K. 


' (From the X. T. World) 

The new "DiaJ" has been parodying 
Itself so extravagantly In every Issue 
■hat "Tlie Han-ard Advocate" may 
oiave committed a work of supereroga- 
ion In devotins a whole issue to its ab- 
mrdlUes. But why in the name of 
^^ense must the postal authorities of [ 
.'Boston halt its passage through the • 

According to the dispatches, it is cer- 
tain of the drawings that particularly 
offended the local postmaster. But ther 
are all far milder than dozens of the 
"Dial" originals, which passed through 
the mails, and quite as good art in 
most cases. Nor do we see anything 
in them offensive to good ta.ste. If a 
solemn scareiJrow of literature like 
"The Dial" Is to be published and 
mailed It is the lieight of absurdity to 
halt legitimate and effective satire 
touching it. 

The postal authorities in Boston seem 
to be suffering from an attack of Aunt 
Prudence Hecklebury's spring shud- 
ders. Isn't there somebody in Wash- 
ington who can bring them back to nor- 


(Dally Chronicle) 
Modem housing problems seem to be 
having an effect on the cln-isteniug of 
residences. Just outside London two 
recently-built breeze-block houses have 
just been named respectivelj-, "So 
Soon" and "At Last." The ' latter 
ound3 like a sigh of relief; but there 
.1 surely a touch of irony about "So 
■j)on." A little farther afield "Satis" 
«d ".NU Desperandum" echo the sieh 


At the Copley-Plaza yesterday after- 
noon, Elizabeth Eddy Parker gave a 
costume recital of folk songs which In- 
1 eluded the following, some of them 
from the repertoire of Yvette Guilbert, 
of whom she was a pupil, and others of 
her own finding: Compagnons de la 
Marjolaine, 18th century popuUr round; 
La Vague, Oliver Metra; Stabat Mater 
(Dolorosa, Medieval Chant; A Garden for 
my Love, Capri Folk song; Addio a Na- 
poli, T. Cottrau: Voice of the Tambour- 
ine, interpretative dance; Evangeline of 
the Mountains, folk song; Marionette, 
^alcioze; Guet de nuit, song of the* 

I " iii.cUiuito, th. ■ 

Infinitely nmuslngr anil 
the costume recital, a r i i 

that has neither the stigma of Uio staire 
J nor the dulneso of the concert. And 
ever since tho advent of Tvetto Guilbert, 
the concert halls and the lesser salona 
have been incontinently Invaded by In- 
cipient chiinteuses and palely imitative 
f>'!k reel ta list .<). 

.Mthounh Parker has studied 
with Madame Guilbert and has adopted 
the interpretative gesture.^, the Intrinsic 
furbelows of this school, she lacks the 
Intense and dramatic Imaglnutlon that 
alone makes these ontertalnments elo- 
quent. She has a pretty manner, a 
graceful carriage, and a gentle and 
1 childish voice of slight carrying quality. 

But what she lacks Is that essential 
lof every form of entertainment from 
ithe burleariuo stage to the tragedies of 
ISophocles, tlie ability of the player to 
(Suggest a mcwd, to conjure up an alien 
temperament. If she would continue 
with the folk recital, she must acquire 
more abandon, with a sense of style that 
goes deeper than mere costuming, and 
aclileve more suppleness both of voice 
and body. As yet she Is still In the in- 
itiative stage of the child who likes to 
wear strange costumes and '^pretend." 


Od JAZZ concert! 

Again, for the third time in Symphony ] 
hall, last evening, Paul Whiteman and 
his baud gave a ccnccrt of early and 
late jazz, from tlie incipient and still , 
naked tune of some 12 years ^o with 
vliicli tlie concert opened, to GershwiTi'.s 
"Rhapsody In Blue," as yet its greatest 
acliievefiient. an-d Leo Sowerby's more 
recent and studied "Synconata." 

.And of ilie stream of those who would i 
make of "Jazz a good woman," tliere is j 
none with the idiomatic fi-eshness, the [ 
.-spontaneity and imaginativeness of 
i;eorgc Gershwin, who so recently has 
turned to a serious study of composition, 
juid at the bequest of the Metropolitan, 
til writing an opera for performance 
there next season. 

Gershwin, writing In the Theatre 
:\r3gazine for this month, sees Jazz not 
as a peculiar and isolated idioin. but a 
transitional harmonic stage through 
which modern music is passing and 
u liicU in time will be as respectable and 
inevitable as tlie .seventh and llio ninth. 
And in Ills rhapsody, uniiisc Mr. Hill, 
whose jazz concerto In its ultra sophis- 
tication and sul.tleties of orchestration, 
savored of tlie study more than it did 
. of the soil, Gershwin has not denied the ; 
essential vulgarity of jazz. His rhapsody i 
has its ferocity and starkness, yet there j 
is thematic invention and fantasy In it, ] 
and lie has touched its persuasive 
rliythms with a faint wit and a subtle 
lestlessjiess, changes of tempo, of 

As did the play "Processional," it 
; gives full expression to the inchoateness 
I of our American life. 

Although Leo Sowerby's "Synconata" 
I lias vitality and skilful orchestr.ation, yet ' 
)! it lacks the fantasy of Gershwin's rhap- 
'! Kody. The first American to receive a 
j fellowship at the academy at Rome. 
.Sowerby wrote liis "Sjnconata" at the 
: uK?estion of Mr. Wliiteman for native 
music scored for a jazz orchestra; and 

ithis is tile tirst of these compositions. 
The audience was very large, even to 
standing room, and applausive. E. G, 

Apparently there is to be an Edgar 
?altus revival. There are announcements 
in New York of reprints— novels that 
once excited attention, and in some 
quarters reprobation, though in this en- 
lightened age they seem almost as In- 
nocuous as a story by T. S. Arthur or 
E. P. Rose. 

- Xow comes forward Mr. Pascal Covici 
jof Chicago, who has published in cus- | 
Itomary handsome form, "Purple and ; 
Fine Women," with a preface by W. L. i 
George, and states that Saltus's "Up- j 
Ilands of Dreams," "Victor Hugo-Gol- 
igotha," and a life of Saltus by his wife 
riftirle are in preparation. 

We knew Edgar Saltus when he en- 
tered Yale In 1872 as a freshman. Our 
class, 1876, contained many able men. 
Ex-Pr-sident Hadley, Walker Blaine, 
Chester Dawes, Otto Bennard, Elmer 
P. Howe, "Bob" Cook were among 
them; New York wa.s represented by 
Henry de Forrest, Crelgliton Webb, Lis- 
penard Stewart; James Brooks Dili, who 
won a great reputation as a corporation 
lawyer, wa.^ a member. And so one 
might go through the list. 

.Saltus was handsome and brilliant, 
I though his sojourn in New Haven was 
not a long- one, owin? to an unfortunate 

Till- .Miii f>, ,11, of titi- Dosnir. Syinphiiuy "i 
lookcil forward lo 'his .scstsfoi wUh fciir 
, i.vl .VIr. Kousi;evU2ky turn his bac's on the ffooil oi . . .. : .md introdn 
■'Wilrt-eyed compojcrs of tcduy \,ith breath .smcllinjr of vodka and ahsinllu '. 
And it had been ■•^aid of him that ho was a acnHatioiial conductor, u per- 
former on the trapeze and Oyinij-rings of niuxic, a conductor whose one 
aim w;aa tu make the smug- Bu.ituniun sit up and take notice. 

■Mt. Kousaevitaky disappointetl the hurmiscr.s ant! the propheta. He 
not only respected the ancients; he showed that lie waa fond of them and 
wished tlieni to apptar at tiicir best. Let u» call the roll of the old 
■■A-orthies. Emmanuel Bach and J. S. Bach, Four of Beethoven's .lymphoiiica 
and two of hi.s overtures were performed, A symphony by Bocchcriiii 
[■H-as played hew for the first time, poa.sibly for the first lime in this coun- 
ny. Our old friend Johannes Brahma was repvescijlcd by two Hymphonies 
uad The Haydn varialiond. and the performances of the symphonies were 
Rmong the leading fealuico of the season. There were three of Haudel's 
works performed. Lei us go on. Corelli, 1; Liszt, 1; Mendelssohn, 1; 
Mozart, 3; Rigel, 1 (first time in America); Schubert, 2; Schumann. 1; 
Strauss, 4; Tchaikovsky, ,*?; Vivaldi, 1; Wagner, 0 (there were two per- 
formances of Siegfried's Funeral music); Weber, 2. We mention only 
instrumenUl works. And Gabriel Faure, 2; Glinka, 1; Berlioz, 1; d'Indy, 
1; Liadov, 3; Borodin, 2; Moussorgsky, 2; Rabaud, 2; Rachmaninov, 2; 
Rlmfeky-Korsakbv, 3, are names familiar to the audience. 

'-"^v.feuf. how about the radical wing, the extreme left? They were repre- 
sented hy Bliss— Bax cannot be justly de-dcribcd as. a radical— Copland, 
Eichheilh, de Falla, Honeggcr, Manuel, ProkoiiefT, Schmitt, Scriabin, 
•Jitra'vinsky, Taillefcrre. Of the pieces by these composcr.i, Copland's 
symphony provoked the bitterest hostility. It is a pity that it was not 
performed a second time, that there was not another opportunity of judg- 
ing its merits and its faults. Scriabin's "Prometheus" was played twice— 
but Mr. Koussevitsky is devoted to the memory of his dead companion 

land, friend and thus outvies Mrs. Micawbcr's devotion to her husband. 

t BOss's concerto was curious and made little impression. Eichheirn made 
another trip to the Oi-ient and heard strange and pleasing music. Manuel 
V-as welcomed, and so was ProkofietT. Stravinsky's piano concerto, the at- 

1 tempt to write as Bach might write today, aroused the ire of the con- 

1 tieVvatives, and many of the "more advanced" found it dull— the -worst of 
faultsn Honeggcr's "Pacific" is a powerful machine. Mile. Taillefcrre'8 
concerto is amiable, unpretentious tinkling. 

German-Austrian Bohemians were represented by the two Bachs, 
Beethoven, Brahms, Handel (really to be classed among the English), 
Haydn, Liszt, Mendelssolin, Mozart, Schubert, Schumann, Smetann, 
fStrauiis, Wagner, Weber. Fifteen in all. 

■ The French by Berlioz, Borchard (why?), Boulanger, Caplet, Debussy, 
!t)Xika4. G. Faure, Honogger, d'Indy, Manuel, Rabaud, Ravel, Rigel, Rou.s- 
Bfilj, Schmitt, Taillefcrre; sixteen. 

The Russian.^ by Borodin, Glasounov, Glinka, Liadov, Moussorgsky, 
PtOkofieff, Rachmaninov, Rimsky-Korsakov, Scriabin, Stravinsky, Tchai- 
IcQVSlty, eleven. 

! The Italians by Boccherini, Corelli, Respighi, Vivakli; four. 

The Americans by Copland, Eichheirn, Foote, Hadley, Hill, LoeflFler; 


The English by Bax, Bliss, Elgar (transcription); three. 
, . ,X\}e Spaniards by de Falla. 

' The number of Works performed were 110. The composers whose 
names were on the Symphony programs for the first time were Borchard, 
Foulanger, Caplet, Copland, Corelli, Manuel, Rigel, Tailleferre. 

. The pieces by Bliss. Borchard, Eichhciin (revised version of "A Chi- 
nese Legend"), Hill were played for the first time anywhere. 
. --.'Works by,,. Borchard, Caplet, Manuel, Moussorgsky (Ravel), Proko- 
fieff, Rigel, Roiissel,' Stravinsky ,and possibly Boccherini, were played for 
the first time in America. 

Besidp the works thus performed 21 were heard for the time in 
Boston. 1 

. "There \-were not many soloists: A soprano, Mme. .Matzenauer; two 
vioKnists. Messrs. Burgin aiid .Spalding; one violoncellist, Mr. Bedetti (tv;o 
liei'fcij^iianqes) ; §ix .pianists, Messrs. Bouovsky (first time here). Cortot, 
MaipF'.andj Pattison (mu.sic for two pianos), Rachmaninov, Stravinsky 
(first time here), and IMIle. Boulanger, organist. 

'•Mr. Borovsky gave a tame performance of Tchaikovsky's Concerto 
No. 1; Mile. Boulanger, hampered perhaps by the condition of the organ, 
lacked decisive rhythm. Mr. Stravinsky had the courage to play his own 
/concerto and he played it as if he really liked it. 

The season was on the whole unusually interesting and brilliant. 
Thfefc^ are orchestral performances that stand boldly out, as those of the 
' SVinph'onies and the Variations by Brahms, Tchaikovsky's Fifth, the 
Dances (with chorus) from "Prince Igor," Debussy's "Nocturnes." Scria- 
bin's "Poem of Ecstasy," Honegger s "Pacific," the music by Respighi. 
Schumann's Concerto, Berlioz's "Roman Carnival," Strauss's "Till Eulen- 
spiegel," Ravel's "The Waltz," Prokofieff's "Scythian" suite and violin 
concerto, Respighi's "Gregorian" concerto, the music by the two Bachs, 
Bax, Boccherini, de Falla, Foote, Handel, Haydn, Loeffler, Liszt, Mozart, 
Rabaud, Vivaldi and certain pieces by Wagner. 

jQn the other hand, the interpretation of Weber's overture to "Oberon," 
Schubert's "unfinished" symphony, a symphony or two of Beethoven's, 
-tlie. introduction to the third act of "The. Mastersingcrs," not to mention 
a few. other performances, excited adverse crticism and not without a 
show, of justice. 

Mr. Koussevitsky is first of all romantic and at times is inclined to 
fall into sentimentalism when he conies to purely lyric passages. When 
he does not give way to his sentimental nature he is truly and irresLftibly 
poetic. He is mastered by moods. Yet he does not lose control of the 
orchestra by sudden and spontaneous changes, when he is on the platform,' 
of previously rehearsed interpretations, for his personality is so pro- 
nounced that he masters the players a.s well as the aud-ience. He can be 
passionate without being blatant. As a rule he prepares a climax that, 
When'it comes, is irresi.^tible. In wildly romantic music he is not to be 
excelled, yet no one treats the music of the 18th century with more lov- 
ing devotion, with a finer sense of values, with a clearer appreciation of 

iiiul ,-.i>u-rt oi Uic period. He is not too fussy about details; 
oseiiuiou? towuiils the great composers. 

Anatole 1-Vancc ^nid of tlic critic might be paraphrased with 
to Mr Kousaevitzky: This conductor relates to his hearers the 
_.tures of his soul in the land of music. He tells them what he hears 
feels, without consideration of others, who, having heard and felt in 
.« different manner, insist that what they heard and felt should be the 
only interpretation. He is not bound by tradition. His taste is catholic 
i.He nationality of a composer is not questioned. His programs are a 
proof of thus. And, prai.<o be to Allah, he knows that mu ic is not a fixed 
.Hud established art m form and expression; that young composers of the 
920 8 cannot f.H^l and express themselves as if they had been born in 
Se ir"! """^ "^^"f'- ^'''^ "'^""'^ '^'^y He knows ha 

crdf rtterJl'V"^'' ''"'^ 'Tf ^''"^ Claudio Monte- 

h ■ M the dovecotes of the conservatives; that the beautiful and 

the noble may with the centuries, yes. with the decades, Ussume new forms 
m the expression of all sentiments and emotions. P; H. 

"Musical Mosaics 

Historical Scenes in the Course of Music's 

These "Musical Mosaics" ought to prove a valuable feature c' 
Boston's "Music Week" — they are wide in their appeal. Folk who like 
to listen to music will hear a deal of it at this unusual entertainnieat, 
of infinite variety too. from Palestrina onwards to Richard Strauss, 
all performed by" musicians of distinction. Short dramatic scenes will 
be played, the actors coached by Mr. E. E. Clive. There will be not a 
little (lancing. People no longer sure of their musical history will find 
their memories refreshed. All these activities, furthermore, will be 
set forth in a series of stage pictures which promise to be very beautiful; 
for this feature Mr. Harold F. Lindergreen is responsible. 

The plan is this: To show at one and the same time the develop- 
ment of music and certain historical events along the course of this 
development. The historian begins with Palestrina. The stage Is 
transformed into a likeness of the room, or chapel, in the Vatican 
where the requiem first was sung. Cardinals are there to hear it, and 
other churchly dignitaries. Palestrina himself conducts his work, with 
a choir of 28 — the number of the original choir, authority states; the 
committee have been particular in the matter of liistorical accuracy. 
To impersonate Palestrina. Mr. T. Francis Burke, director of the choir 
at Boston College, will be on hand. 

I\Ir. Richard Piatt Vvill play the role of Bach. After giving a pupil a 
lesson, he sets 10 of his children to singing a chorale.. These 10, by thp 
way, will be impersonated at one performance by children of the South 
end music school, at another by the West Newton school, and at the third 
by the Boston Music School Settlement. 

Then comes Mozart, in a brilliant scene in the Vienna Hofburg. Be- 
fore the emperor and empress, with all the court in attend-aace splendidly 
dressed out, the young Mozart plays a minuet to which a youthful arch- 
duchess and an archduke dance. 

The picture of Beethoven offers a vivid contrast. H* i% sitting alone in 
his cold, untidy workroom, the fire burnt out,, disorder every~\vherc, dis- 
comfort. He is waiting for his friends to play fo3 him his new quartet, 
just finished. He bewails his fate, his deafness, tive world's lack of under- 
standing. Deep in thought at last he sits, nerer hearing the knocks on 
his door. 

His friends make bold to enter. Presently they, sit down to play the 
new quartet — till the humor of it, as they conceive it, sets them all to 
laughing. They compose themselves mighty quickly when they recognize 
from Beethoven's anger that it was no musical joke he had in mind. In all 
seriousness then they play the first movement of the quartet. "'WTiat do 
\ou think of it?" asks Beethoven. "It is beyond my understanding," say.s 
one of the company. The others say as much. Beethoven ends the scene 
with a fervid confession of faith in his quartets, music for the future. 

Schubert brings contrast once more, for the stage is brilliantly ucl 
in the way of Louis XV. In the course of the scene three singers per- 
form the "Erl King"; for a trio, the committee state, this song was orig- 
inally composed. 

There is a Chopin scene, with Mr. San Roma to play both Chopin the 
man and some of his piano music. From motives of delicacy there will 
be no incident shown in the life of Richard Strauss — not, indeed, that 
Strauss himself would be likely to take offense, if one may judge by his 
latest work. Miss Bcrthe Braggiotti will dance Salome's "Dance of the 
Seven Veils." 

All unusual entertainment. If anybody thinks it not in itself enough, 
that rent must be paid, janitors, cleaners, bills for light and heat. A school 
settlements in Boston, and settlements where music is taught, have need. 
, in varying degrees, of money. The cause itself needs no advocacy at thiJ 
I ' our; it has proved its worth. Surely it is desirable that everybody with 
I i>ical talent should be given an opportunity to study music. This 
'r I 'ortunity the music school settlements provide. 

But do people realize the cgst? They know, if they stop to think. 
1 ^al rent must be paid, janitors, cleaners, bill for light and heat. A school 
r,v.:.-t also have its office force, wliioh means bills to pay for telephone 
calls stationery, .stamps, typing machines. To keep in tunc and repair 
the old piano.^ people give means a large expense. The pianos, indeed, 
ou-ht to be new, if the purchase >\;ere possible, or at least in good con- 
'1 ions. The pupils at different schools, furthermore, can seldom buy 
The cost of music for chorus and orchestra is no small 

>d violins. 
, matter. 

The schocl.s in short, need money. Let people help them to it- and 

iitcrtain thenK-^'-hrs a:- well. 

R^- G. 

lin'idcnt in liis social lift, wltli whk-li 
the faculty was not concerned. He was I 
brilliant in recitation ami In conversa- 
jtion. Evon then he had the air of t\\ 
[ man-of-the-world. a cosmopolite. Uc 
I could be unsparlngrly sarcastic, but as a 
rule he was amiable, suave, polished. 
His brother Francis, it may be remem- 
bered, wrote several vohinies of poetry, 
sonnets to nuislcal composers and art- 
ists, sonnets to all sorts of drinks, etc. 
He also wrote a life of Donizetti which 
was never published. Edgar once said 
to us: "father promised Francis $5000 
if he would stop writing \-erses, but he's 
a fool and won't stop." Edgar came to 
Yale from St. Paul's. 

When we heard of him later he was 
wandering in Europe, studying meta- 
physics. In Munich he finally succeeded 
in presenting the mad King of Bavaria 
with an autographed copy of his "Anat- 
omy of Negation," a serious work in 
which he took great pride. He was 
better known in this country by his 
novel,«! and short storle.s and by his de- 
light in the purple phrase. 

Reading the stories in "Purple and 
Fine Women" one is often reminded of 
Ouida's characters, the ones portrayed 
in her more iRmboyant manner. 'Who 
will ever forget Ouida's Berties, wring- 
ing the sparkling Moselle from their 
amber mustaches; pursued by high-born 
and infatuated women, rare and radiant 
of beauty? 

Saltus's men are at home in palaces 
and gambling hells. They lounge in 
clubs— all of them "exclusive" clubs— in 
the boudoirs of princesses, in the private 
offices of Prime Ministers. They know 
!all languages, are epicures, quote at 
pleasure from the ancient and modern 
writers. They smoke "large" cigars, 
capel s valet as his master was in a 
railway carriage served hini with quails 
m aspic, and Mandarin liqueur, pro- 
duced in a flask of gold with two little 
golden cups of Deocan workmanship. 
Cape! talked of millennia, aeons, kaipas 
uf time and of space. Don Ruis Ixvi's 
dinner included a strawberry soup, the 
like of which Saltus had never eaten 
out of Russia's capital, and rarely there: 
a royal cj'gnet, neck arched, the feathers 
, replaced, an orc)iid in its beautiful 
beak, and zambalione of which the con- 
Istituents are plovers' eggs beaten with 
champagne into an ethereal foam. Don 
jRuis's teeth, after a curious South 
, .Ainer.ciM. lashiin. werp filled v. ith 
[ diamonds— "with little diamonds, of 
course." He wore a big diamond on the 
thumb of his right hand. (Is there not 
•a man in Auerbach's •'Villa on the 
Rhine" that wears an iron ring on one 
of his thumbs?) As for the ladv at this 
feast: "Her eyes were pools of purple, 
her hau- was a garland of flame her 
mouth a scarlet thread." -What a pity 
that she turned out to be like Olympia 
m "Les Contes d'Hoffmann! For Saltus 
had undoubtedly read Hoffmann, prob- 
ably ^illiers de I'Isle Adam C'The Mod- 
.ern Eve' ) as he had read Balzac from 
page to page, Balzac to whom he de- 
, voted a careful study, another of his 
more serious worics. 

Our Saltus see-sawed: now the pur- 
ple phrase was high in air: now the 
thumb-nail sketch. The man that 
wrote: "The sky after hesitating be- 
tween deaa rose and apple-green chose 
a lapis lazuli, wiiich it changed to in- 
digo, and with that for ballroom the 
stars came out and danced," also de- 
scribed Commodore V*relst in three 
short sentences: "As a lad he tracked 
muskrats in the Michigan marshes. As 
a uiau he constructed and commanded 
a lleet of lake steamers. As a corpse 
he left millions." In the air of Monte 
Carlo is "a smell of vitriol and violets, 
of \ice. patented. prodig;al and per- 
fumed. There is not an old-fashioned 
virtue In the place." 

"At no properly conducted London 
theatre is It permissible for a lady 
- whose salary does not exceed 30 shill- 
ings to drive to the stage door in her 

"Love is ^ fever. Marriage i.s a 

And listen to this description of 
Jlarle: "Her purple eyes were sultry, 
her scarlet mouth was moist, the red 
tangles of her hair made a burnoiis of 
name, her fingers glowed and her 
wrists were such as those on which in 
days gone by falcons alighted and 
kisses fell." U is to say that 
she perfumed her bath. 

The mysterious, the occult fascinated 
Saltus. If he delights in heroes that 
are a compound of .\IcibladoK, Don 
Juan and the Admirable Crlchton; if 
his women are often splendiferous high- 
steppers, he does not distain to go into, .aid In .■iwu.siiy U-Ad.^ aim to 
listen with appreciative ears to the vic- 
tims of illusions and insane fancies" 
Describing "A Drama in a Drawing 
Room," he does not forget that the 
chief dish at a dinner at Narragansett 
Pier— the verandas there were "vibrant 
with osculations"— was a filet of rein- 
deer; that when the Marquis of Para- 
boln drew an envelope from his pocket, 
there emanated an odor of orris. Hi--' 
neighbor, a little red-headed Brazilian 
woman, whoti she smiled, a;.scloscd a 
front tooth filled with a diamond. 

Then there is the Lady Angelica a 
charming daughter of a duchess, who 
had the habit of uttering "meow's" eo 
that strangers in the room looked about 
for the cat. 

— ••— * 

A curious book of stories by a strange 
man, who had read everything, talked 
and wrote about everything, and had 
ransacked the dictionaries. Mr. George 
is right when in his preface lie says: 
"It ia not easy to sum ap .Saiius, nor t3 
It necessary. Hp may in 500 years fig- 
ure in the cyclopedias of literature or 
again he may not." Did Saltus de- 
scribe himself when he wrote in one of 
these tales: "I had rot a care on my I 
mind, a regret on my conscience. »' 
speck on my shocs."T 

*Vt,«^ V / ? 2 >- 

We were delighted when we read that 
Mrs. Glen Levin Swiggett was general j 
: chairman of 20 committees in Wash- j 
ington, D. C. Surely there was a typo- | 
graphical error: "Glen Levin" for Glen- I 
llvet. I 


Thai was a handsome tribute paid 
by Mr. Koussevitzy, the orchestra and 
the audience to Mr. Longy at the Sym- 
' phony concerts last Friday. His art 
as first oboist of the orchestra since 
October, 1898, his energy as founder of 
the Longy Club, and as conductor of 
various orchestras constantly introduc- 
ing unfamiliar works, richly deserved 
this public recognition. And last Sat- 
urday at the anniversary concert of the 
Longy School there was again publicly 
expressed appreciation of his services 
in the art that he adorns. 


(.Noted by H. G. C. In the Billboard) 
"Sir: I am the actress who suffered 
a broken neck and fractured skull more 
than three years ago. As a result I 
was temporarily crippled." 


Andre Caplet, composer and conduc- 
tor, died in Paris on April 24. He 
played an important part in the musi- 
cal life of Boston, for he was conductor 
of the Boston Opera Company from 
November, 1910, till the company was 
disbanded in the spring of 1914. Some 
of his chamber music was known here 
before Kls arrival. 

He was a better musician than con- 
ductor. Born at Havre In 1878, he 
studied at the Peris Conservatory, and 
was awarded the Grand Prix de Rome 
In 1901, Before Mr. Russell brought him 
to Boston, he was busy in Paris as an 
accompanist, and he occasionally con- 
ducted theatre orchestras. It was in 
Boston that he really began to learn the 
art of conducting, as Mr. Henschel be- 
gan to leatn when he was appointed the 
conductor of the Boston Symphony or- 
chestra. As the story goes, ho was 
recommended to Mrs. Henry Russcli in 
Paris as a copyist of music. She became 
interested in hlni and urged Mr. Rus- 
sell to give him fuller opportunity for 
his talent and a certain and lucrative 
position. It is also said that after mili- 
tary service in the world war, he turned 
his attention to the spiritual life, and 
was devout in practice, also in the 
character of his musical compositions, 
writing "Prayers." and other religious 
works. His "Epiphany" was performed 
here by Mr. Bedetti and the Symphony 
orchestra last March." During his last 
years In Paris he fwe ooncerts. oon- 
ducted orchestras, brought out some of 
his own works and those of others. A 
staunch admirer of Debussy he, it is 
said, was closely associated with him 
In the orchestration of some of that 
master's later composlttotM. 


As the World Wags: 

"\\Tiat has become of the trade of the 
sandwich-man who, with advertising 
boards on back and front, used to 
parade the sidewalks of Boston? A 
new trick of the trade seems to have 
been evolved by a local, sensational willing to vary the duties of 
his profession by becoming sandwich- 
man for a restauraml ; on successive 
Sundays he has announced to his great 
congregations (and by radio to a much 
wider circle) that tie will welcome all 
comers, every one standing "Dutch 
treat," at a certain advertising restau- 
rant. The latter iLhus gets publicity of 

nl> peculiar and Intlmnts a kind 
tha: It couM well afrord to jlve the 
oler^yman at least fret fe«da for an 

li.dcnnitp period, even It it should And 
(as her i xperlenca was sumn>arlied by 
a boarding-house keeper In Portland who 
had conlra<:ted to board a small section 
of the Baptist Conference:) "Them pious 
eats awful !" 

Hie comparison between Uie adver- 
tising hoards of a sandwich-man and 
the clerical "robes" of a clergyman can 
be further paralleled by the tabard of 
a herald. The latter was, in feudal 
times and lajter, even more sacred than 
a clerg>-nian and any reader, taking: 
down his "Qucntli-i Durward" will thank 
me for bringing back to mind Scott's 
graphic chapter XXUI: "The Herald." 
t herein In set out Inimitably how an im- 
poster, feloniously woartns the tabard, 
was by It so Impeded !n running away 
from the great hounds loosed upon him 
on detection that the novel chase ex- 
cited enough merriment among two 
monarchs, then practically at swords 
points, that they ended by making com- 
mon cause against a third party. Inlml- 
cable to tliem both. Now would not our 
clerg>Tnan, Insiead of tactlessly using 
his. Influence as above mentioned, be 
better employed In getting his great sect, 
wasting much strength in opposing an, 
even greater sect, to make a common 
cause agaJnKC their common enemy? 
Thus only will the Devil get his due 
quietus. CHARL,Ha-En>\rAKD AAB. 


Ing .....1..: 111. 

"The Miller," 
At 9:S0 P. 

in, graiu- 
,ril arlghi. 
by iJ.UK'J Mi.salisky. 
M., Mr. rhalepln had 

ended his group, added songs and all. 
After an Intermission of 10 minutes Mr. 
Riiblnovitch was set down to play n 
group of three eolos. Mr. Sophln had 
a ragnnint concerto to play. Mr. Chal- 
Iiipln could not be looked for .igain very 
icoon. From the sire of last night's 
laudlence, not impressively large, ono 
n:ay gather thajt not everybody likes 
Mr. Challapln's method of arranging a 
iconcert. More tinging and less playing 
would please most people better. 

Mr. Ch.illapin sang as he had .seldom 
|sung in Boston In recent years. He 
respected Schubert's music, to its great 
gain, and, ono may guess who does not 
know, Borodino's. Beautifully he shaped 
!hio phrases, firmly he controlled his 
'noble tone; he regarded rhythm. Hav- 
ine sung fine music finely. It mattered 
{not If he liked to sentimentalize Mal- 
ipahkln's pretty romance. 
' Of course he Impersonated the dnink- 
jen miller adroitly, and the second toper 
|as well. Not always does Mr. Chal- 
lapln sing so beautifully and musically 
as he sang Schubert last night, and 
Ihls comp.atrlot's music, too R. R. G. 


"Paris decrees that Nightshirts Re- 

There's much to be said in favor of 
the old-fashioned nightshirt, though wa 
do not approve the turned-down collars 
and cuffs In colors recommended by the 
Parisian arbiters of fashion. On the 
other hand, no man looks heroic in a, 
nightshirt. Mr. George Moore careful- 
ly considered this question In a FVench 
provincial town and decided for py- 
jamas, pyjamas with a "y". See his 
astonishing story in "memories of my 
Dead Life." 

— — 
As the "World Wags: 

Let it not be supposed that the de- 
cision of a Judge of one of the courts, 
as The Herald announced a couple of 
days ago, to waive trials by Jury in cer- 
tain Instances Is a thing never before 
practised. As an instance: A Dutch 
Judge In Pennsylvania (and the Dutch 
were quite numerous and popular In 
that state years ago), Is said to have 
had a villain brought before his court 
following his Indictment for murder; 
and the Judge remarked: "To cave 
time and expense of de county I Shall 
do wldout de Jury In dls case und try 
de case py de bench." After all the tes- 
timony had been snjbmltted and the 
counsel had flnlshed their arguments, 
Uie Tu4«e solemnly said: "X h«f tM- 
tened to all de evidence und I've heard 
vot de counsel had to say, und it Is Riy 
mind dat dere is some doubt in de mat- 
ter, und I give de prisoner de benefit of 
dat doubt, und ve vlll hang hJm axiv 
vay." Perhaps, If the Boston cwtirts 
follow this practice with the numerous 
criminals ' that are multiplying there 
win be no need of organizing vigilance 
committees to lessen crime, as was done 
In California In the gold fever days. 

H. E. R. 

International Music Festival In Sym- 
piiony Hall 

Yesterday afternoon, in Symphony 
hall, gay with bunting and folk cos- 
tumes, with ampler and more choruses 
than last season, the second of the In- 
ternational music festivals was staged, 
j with Dr. Davison, Mr. Surette and Mr. 
1 Converse as the Judges and Judge Fred- 
erick P. Cabot as the presiding officer. 

And of the eight competing choruses, 
divided into three male groups, and five 
I mixed bands, the first prizes for the 
best singing went to the Dutch and the 
Germans, the second to the Swedish 
and the French, and the third to the 
Danish and the Armenian. Of the 
leaders of these, only one was a woman, 
Mme. Marie Flore Pruneau of the 
French delegation. 

As they did last year, each chorus 
sang a song of their own choosing as 
well as of the committee's; for the male 
chorus the latter chose Mendelssohn's 
"The Hunter's Farewell," and for the 
mixed bands, "The Bedouin Song" of 
Arthur Foote. And interspersing the 

I choral singing, there were 'cello solos by 
Mr. Bedettl, accompanied by Mr. de 
Voto, replacing Richard Burgin, who scheduled to play. 

A'side from the competing choruses, 
which Included, as well as those already 
mentioned, a Spanish and Polish group, 
there was singing by a Chinese chorus, 
led by Miss Grace Wong, and there 
were Chinese folk songs sung by Theo- 
dore B. Tu, who prefaced them with 
a plea for sympathetic listening, and 
explanations of their meaning. 
I Then the second of these festivals, a 
marked Improvement on the first, both 
in point of Interest and in actual per- 
! formance, closed with community slng- 
ine, led by Augustus D. Danzig. The 
, audience was of good size and loud In 
Its partisanship and applause. 

"Nothing but the Truths 

As the World Wags: 

Poor W. Rox and his questions about 
how and what to eat In your Friday ' 
column. The Inference is that Mrs. i 
Ttox has been giving W. merryhell 
about his table manners. The degree 
•she undoubtedly thinks Rox is- entitled 
to is A. B. (A Bum). E. T. S. 

Too raw for your column? Well, 
you know, you can't be nice ail the time, 
sun, I do not believa the Boston poUc« 
would Interfere. 


" Feodor Chaliapin sang last night 
in symphony hall, at the fifth of the 
Steinert series of concerts. He had 
to assist him Max Rabinovitch, as 
accompanist, and the violinist, Abra- 
ham L. Sopkin. 

The concert began, 10 minutes late 
with four pieces from Mr. Sopkin. Ther< 
was a "Swiss Echo" by Rlbauplerre, J 
pretty "Valse Caprice" by Scott— Cyril 
no doubt— a "Pizzicato" by Glazunov 
and Moszkowskl's brilliant "Guitar." 
Mr. Bopkin played aU these pieces 
well, not to forget an additional piece. 
Mr. Chaliapin, after acknowledging 
hearty applause, finally began to sing. 

He sang two Schubert songs, "My 
Dwelling Place" and "The Double"; a 
long aria from Borodine's opera, 
"Prince Igor"; "O, Could I but Express 
In Song," by Malashkln— if the number 
he called outj was correctly understood: 


COPLEY THEATRE— "Nothing but 
the Truth," a farcical comedy In three 
acts by James Montgomery. 

K. 11. Rulston O. ■Wordley HnlM 

Clarence Van Duten Alan Mowbray 

BlBhop Doran Brands Compton ; 

Dick Donnelly Philip i;oi;«9 , 

Robert Bennett E- B. Cllre , 

Mrs Ealeton Jessamine Ncwcombe 

nthel fiark Ruth Holmes 

(Jwcndolvn Ralston Katherine Standing 

Mahle .Inrkson May EdlRS 

Sable Jackson LnO' ^^r^\ 

James Richard Whorf 

Mr. Cllve pleased an audience that 
completely filled the theatre last night 
by his revival of Mr. Montgomery's 
farce— It Is a farce rather than a 
comedy— and by his taking the part of 
Robert Bennett in which William Collier 
I shone eight or ten years ago. 

The farce wears well, for absurd as 
may seem the consequences that follow 
Bennett's' resolution to tell the truth 
without reservation, they show what a 
miserable world this would be If noth- 
ing but the truth were spoken; house- 
holds would be disrupted, friendships 
would be broken, church and state 
would suffer, there would be no busi- 
ness transactions. Oscar Wilde was not 
merely paradoxical when he mourned 
the decay in lying. 

[ The play also shows the criminal 
Ifolly of asking certain questions unless 
the questioner has confidence in the 
amiability and easy conscience of the 
one questioned. Many morals In fact 
could be drawn from this droll play, 
itiorals that are at times emphasized by 
satirical touches, as the allusions to the 

■ -Mlipds and i>i !< hniker.M. 

Mr. Montgonv 1 .. ■•. . !• ■ nieaiis the 
first to choose reckless truth-telling a* 
subject of a play. There is Gilbert's 
"I'lilai-e of Truth," not to mention other 
.- inidlfs by English and Continental 
'li .iniatl.sts. 

.\nd hero was a company composed 
rhiofly of Englishman and English- 
women playing an American play, with Ediss even talking like a Cocknoy, 
with others talking about "pounds" and 
slipping ocCMlonally Into "dollars"; but 
the action might take place In any coun- 
try. The audience. It was a constantly 
laughing audience, at times uproarious, 
recked not and easily forgot the few 
slips, also the occasional hesitation or • 
forgetfulness pardonable on the first 
night at a theatre where the bill is 
changed nearly every week. 

Mr. Clive. fortunately did not attempt 
to Imitate Mr. Collier; ho had his own 
conception of the part. Where Mr. 
Collier was deliclously dry, Mr. Cllvo 
was unctuous. Ills was a bolder char- 
acterization, more frank relying more 
on facial and bodily expression, on evi- 
dent mental struggles. There were 
capital bits of "business." as his rela- 
tions with the clock. Mr. (3ollfer relied 
more on expressive diction, on the de- 
lightful manner in which he spoke the 
trmh. It would be hard to say which of 
the two portrayals was the more pleas- 

Mr. Tongo played in a more subdued 
manner than usual and was the more 
effective. Mr. Compton's Blsnop waf 
well defined — it should be remembcrec 
that this bishop is a farcical charactei 
that admits of being acted broadly 
Miss Ediss's story of how she fell — " 
once was an innocent girl" — was wel 
worth hearing as she told It. 

"Waffles, the American form of pan- 
cake, are now obtainable li^ London. 
The chief difference is in the use of 
maple . eyrup In placft of sugar and 

We knew- a New England family that 

served waffles with cinnamon and 
sugar and cream. But are waffles the 
same as the English pancake? Morris 
Blrkbeck, traveling In the United States, 
wrote in 1817 that waffles were "a soft 
hot cake of German extraction, covered 
with butter." German? The word 
comes from the Dutch, "wafel." We 
doubt If the English pancake looks or 
tastes like the waffle, and what is a 
prosaic pan to a heroic waffle-iron? 
jOld Taylor, the water poet, spoke of 
j pancakes that had in them spices and 
"tragical magical enchantments." Why 
'Uragical"? Did the eating bring fatal 



We are glad to sea that MaJ. Jolly 
has been appointed superintendent of 
the royal naval school of muslo at 
Portsmouth, There should be special at- 
tention paid to Jazz. During the world 
war, Vice-Admiral Anstruther's secre- 
taries were Mr. Jolly and Mr. Merry. 

M. Painleve suggests "bread raising." 
As M. Caillaux's name Is often spelt 
Cailloux, which means "pebbles," 
French humorists say: "We asked for 
bread and you gave us stones." 

Apropos of the revival , of Bernard 
Snaw's play in New York, we spoke of 
Cleopatra's hair, wondei-ing whether the 
actress was represented as swarthy. At 
tne revival in London a fortnight ago, 
M iss Gwen Fprangcon-Davies wore a red 
wig, acting on the advice of the Egyptol- 
ogy department of the British Museum, 
for Cleopatra was a Macedonian Greek, 
not an Egyptian. 


As the World Wags : 

WJll Mr. Herkimer Johnson kindly an- 
swer these qiiestlona? 

1. Why the Ultimate Fly? I call it 
"Ultimate" because if a dozen are In 
the room and yoti swat a dozen, quite to 
death, you will always find one left. Try 
it and see. 

2. Wlien you call for number 9 
(nine) on the telephone, why does the 
operator always repeat "Nain"? Does 
it sound like "nain" when we say it? 

3. What authority is there for the 
present-day use of progrum for pro- 
gram? Or telegrum? 

4. Why do actors in present-day 
plays speak so that only those in the 
first few rows can hear Uiein, except at 
the Copley Theatre w'here they know 
how (o speak the Eng-lish language; so 
does Rabbi Ijevi of Temple Israel. 

5. Why can't radio announcers learn 
how to pronounce names of musical com- 
positions and their composers which are 
foreign, to say nothing of murdering the 
Engli.>!h language? Here is a sample. 
"Lazydoo." It proved to be "Lres 
Adieux." Maydeese — (guess?) Medici. 

A W. I 

A.' I ho World Wagh. 

1 ocoanlon a coupit of days 
to go from Brookllne lo the army b 
•t South Boston. When I had driven 
my car along Columbia road toward (?lty 
Point, not knowing thi n>o»t dirui;t 
roiiln, I held up a drlvu- of a milk df- 
livery truck and asked the Information. 
Apparently ho was a I>.indoner who nt- 
plralod words beginning with a vowel, 
hut seer^ed well-Informed na to locali- 
ties in .South Boston. In .a polite man- 
ner he said: "Follow alonn the boule- 
vard the way you've come until you set 
to U and In a little whlh- you'll bo 
there." I thanked him. but was pUBtled 
as to why ho directed me to go to "Ij." 
However, I found the way to the baao 
.^nd Informed my brother offlcers that 
it was a good way to come. 

H. K. R. 

— — 

(From tbe Obserrcr, London) 
We do not often see a worse pi ■ 
than the present farce at Wyndham's; 
the reason being, ono Iringlnes, that 
the finite humm brain finds as much 
difficulty about produoinif the com- 
pletely and inexpressibly bad as It does 
in achieving the completely and Inex- 
pressibly good. However, In "Little 
M!os Bluebeard" what can bo dona In 
that way has been done. 

Roger Askem wishes to know If Gil- 
bert and Sullivan's "Princess Ida" was 
ono c? their early or late works. 

'Trlncess Ida" (1S84) came between 
"lolanthe" (1882) and "The Mikado" 
(1S>S5). It met wilh little favor. 


As the World Wags : 

I have Just visited the exhibition of 
water colors at the Boston Art Club 
and while thc/e found myself repeating: 
I never saw a purple cow, and never 
hope to see one, changing cow to boat, 
to mountain and to the names of 
the other violently purple things there 
represented. With some trepidation X 
asked myself if I were color blind and 
if such things were visible to artists 
and not to me. Of if there be in paint- 
ng an heroic: tint corresponding to the 
leroic size in sculpture. 

I do not question the honesty of the 
irtists; neither sliould I question that 
3f a man with delirium tremens, but 
[ cannot help doubting the accuracy of 
their perceptive facult}' — ^or of my own. 
Which, I grant j'ou, may be a moot 
question. A. KNUTT. 


As the World Wags: 

"It has been definitely established 
that man originated from anthropoid 
apes, according to tbe opinion expressed 
here today by Dr. Ales Hardlicka of 
Washington, D. C, who has headed ex- 
peditions of the United States National 
Museum of Anthropology to many parts 
of the world." 

How can Mr. Bryan neglect the glori- 
ous opportunity of killing two of his 
favorite birds with one stone by retort- 
ing with Proverbs XX-1; "Wine is a 
mocker, strong drink Is raging; and 
whosoever Is deceived thereby Is not 
wise." H. F. M. 


As the World Wags: 

A week ago Sunday I saw a large 
touring car going through Arlington 
with a large number on the front be- 
tween the headlights. I do not believe 
] It was a fire department machine. Can 
you tell me what the figures mean? The 
number referred to is "52." 

B. P. D. 


(An American state«man ha.' been accused of 
"objurgatory demonstratlTeness.") 
A man of high repute and great 
In Uncle Sam's affairs of State 

Is challenged by a section of the Press 
With launching shafts of rhetoric 
Forged in the fires of Nether Nick; 
He shows, they urge, through thin and 

' 'Obj urgatory demonstrati veness. ' ' 

To make it clear to me and you, 
A cross-word fan appends a clue 

For information plus elucidation; 
The senator described above. 
More like the leopard than the dova, 
Is said, In English plain, to love 

"Ebullient anathematisation." 

Tf M'.ATRE — "Noi, No, 
inuslcal conifdy In three 
Louise Groody. Book by 
Mandel «nd Otto Harbach, UtIi-s | 
tto HRibach Bnd Irvlngr Caesar, 
lusle by Vlnoent Toiimans. Panoes | 
and ensembles by Sammy Lee. Produo- I 
tlon under the supervision of Jlr. Kra- | 
see. The past: | 

....Georcla O'RdmfT 

^ Rlrinor I>ft«n 

T\>Ulngtfn r'rosff 

Josephino Wlilttcl! 

» Loi'fte Groody 

,>r .lack Barker 

;th .....Chtrlea Winnlnger i 

M Boston Jl.TIPleu Grooil.v I 

If Waahinztoa >lar.v I.nwlor 

■ I'riti'o Eiliin WhlKtler I 

\' Ptnrer Porotliy Waterman 

\t ist, en route from Chicago to 
Bri'aJway, "No, N'o, Kanette" long pre- 
ceded by Us euave ajid IrresK^tlble 
tunes, Its title piece. Its ' I Want to he 
Happy" and "Tea for Two," has ar- 
rived at the Tremont, and to Judge 
by the voclferousnesa of last night's 
audience that demanded each of its 
songs and dancea again and again. It 
win be rather l|>ng en route. 

For "S'o, No, Nanette," even aside 
from the music of Vincent Toumans, 
has a matchless company that, from 
Miss Groody and Charles Wlnnlnger 
down, sings and dances relentlessly, 
with a strange and intoxicating zest 
and esprit de corps. JIuslcal comedy 
so well assembled and timed is a rare 
and enviable thing, and from the first 
sharp prancing of the chorus to the 
final curtain, there Is not a dull or un- 
spoken moment. 

Yet there is little that Is original In 
the book, with the exception of some 
extremely pointed lines; it is to the 
performers that the credit for the 
briskness of "No, No, Nanette" is due. 
Miss Louise Groody Is a deft and pi- 
quant little comedienne and dancer, who 
not only dances with animation but 
sings smothly and agreeably as well. 
There is the incorrigible Charles Wln- 
nlnger, a shrewd and bumptious come- 
dian, wise in the ways of burlesque, 
whose Inimitable mimicry and acrobatic 
£wept the audience into mad bursts of 
applause. And there Is Georgia 
O'Ramey, a subtle and provocative 
comedienne revelling in the role of the 
cook about to leave, until persuaded to 
the seashore and a dubious house party. 

In brief, a musical comedy that de- 
lights both ear and eye, with a chorus 
that is pretty and attractively cos- 
tumed; comedians that are alert and 
spontaneous; dancers that are joyous; 
a musical score that has already per- 
suaded, in advance. And if there is 
nothing new or alarming in the situa- 
tion of a good man suddenly invaded 
by three demanding women for whom 
he has carelessly provided in his desire j 
to be happy, these performers make i 
it immensely entertaining, and lift it 
with Improvisations. And there are 
few current entertainments so blithely , 
thoughtless, or so madly danced to. ! 

E. G. 

People," a comedy by David Gray and| 
Avery Hopwood. Seen earlier in the 
season at the New Park with Florence 
Johns,' Frances Howard, James Rennie,! 
Charles Richmond and others in princi- 
pal roles. The cast: 

_ _ T onni Anna Layng 

Mrs. J-*""* XOTls Leon Hall 

Bronaon Lenox j-j^j^ gjtj, 

Marion Lenoi •. Harry Lowell 

Bullock .. . . . 1- • • • Bernard N cdell 

Harry Mangon .Marie Laltoi' 

George Grafton .•• ^^^^ CoUler, 

Lord Kockmere "Houston Blciharda; 

Bertie Lenox Samuel Godfrey, 

Olive Blakeney 

Aucl'6•^-Vli:::::::"^v.■.:■.■.:Boberta Lee curt 

i \ large and enthusiastic audience at 
■ the St. James theatre last evening saw 
Uhe Boston Stock Company In "The 
' Best People." Charles Hector and his, 
orchestra offered a well chosen pro-, 

gram. , 

"The Best People" tells the amusing] 
nory of the everyday adventures of 
the Lenoxes, one of the "best families" 
in town. A headstrong daughter lav- 
"hea her affections on the faml y 
ohaiTffeur Bertie Lenox, the collegiate 
voum of the family, becomes Interested 
in a g°rl of the chorus. Complications 
larlse thick and fast as the folks In one 
set battle with those in the other. 

The dlalogTi* is crisp, slangy and d^- 
llghtfully characteristic throughout the. 

•"oUve^B^eney as MilUe. one of the 
chorus girls, does some of her best work 
this season. Her lines are .^U of 

the "wise-crack" variety, so that a, 
"laugh a line" is her fortunate lot in 
i this play. Bernard Nedell Is excellent as 
nin^, the chauffeur, and contributes, 
one of the high spots of the play. Elsie 
Hitr makes a pert, fresh little flapper 
I and gets a great deal out of her role. 
1 Houston Richards gave a finished per- 

forinanco ' i-" Lenox and did ^ 

tine pleoo oi 1. in the scene whei-.> 
ho was intoxicated. Roberta Lee Clark 
was a sweet and shy girl of the chorus. 
Others who contributed to the general 
excellence of the performance wore 
Anna l^yng, Louis Leon Itall, Ralph 
Reniley, John Collier, Marie Lalloz, 
Harry Lowell and Samuel Godfrey. ^ 
SELWTN THEATRE— "The Privateer, 
or the Birth of Yankee Doodle." A 
comic opera In three acts. Score and 
book by Shafter Howard. First time in 
13opton. The cast: j 
Dederlc* Tan Senna.laer. 
Andy Tan Renna'-laer. Ma 

Copt. Qntnce, a pirate Herhei t ^^«!f ™'-' 

Jnkle Arendell. a sailor Hansford W llaon | 

KlohoU. Dlnck. . I>utrh^^^M;rgher.^j^^, 
C.Pt. of th. Klug s^for«s.^^^^ 

Snooite. page to the Patroon. •■n»rils"'; l^*^. 1 
Nan. daughter of Nl-iholas Dln. k.. .Rita KobI | 

K^trlnka. h-r alpter Wa Somhathy i 

Mme. Twlttera, keeper of the Inn.Jayne Herbert 
Mistress Sehwyler. niei-« of the Patroon. 

Mlsa FrancMca Bragglottl in special dances 
Tt was like a bit of old times to see 
and hear a real comic opera- once more, 
composed, written and acted In the 
good old fashioned way, sans Jazz, sans 
slang, sans a dozen other things we 
have come to associate with stage 

"The Privateer," to be sure, has 
something more than a suggestion of 
Gilbert & Sullivan about It, but even 
at that the suggestion could scarcely 
I be improved on. Mr. Howard has 
woven a lot of the "Pirates of Pen- 
zance" Into his book with some bright, 
original stuff to give It pith and body. 

There isn't space tp tell the whole 
story, which Is laid In pre-revolutionary 
times in and about Albany, with a 
colonial Dutch atmosphere. The old 
Patroon is on the point of getting the 
lovely Ann, the burgher's daughter, in 
recompense for a debt, when, in the 
guise of a captured pirate, the Pa- 
troon's long missing son, after sundry 
adventures, takes control of the situ 
ation and the lady. 

Really, that part of the performance, 
which sticks In the memory is the] 
pirate band which Infests the Hudson 
and captures Burgher Dinck's ship, 
gallantly defended, though it was by 
broadsides of Edam cheeses. A fero- 
cious but tuneful gang. Capt. Quince, 
magnificent in velveteen breeches, crim- 
son sash and huge moustachios, was 
"far too tender-hearted to be a pirate" 
and was. moreover, embarrassed by the 
Book of Rules. Mr. Watrous, a Boston 
favorite, sang this role well and missed 
none of the clever lines. i 
The land detachment was headed by 
Mr. Clark, who capitalized his extraor- 
dinary thinness of limb and made a 
notable characterization of the amorous 
and lively Patroon. He was Henry Clay 
Earnabee returned to earth, with a dash 
of Joseph Jefferson as Bob Acres and 
a physiognomical hint of President Cool- 
in the bargain. 

"Snooze," his diminutive and evident- 
ly "new" attendant, was a "scream.", 
Nothing else but—. ' 

Mr Hainey was . a handsome and; 
deboinair hero, whether in his origmall 
rags, his female disguise, his sa ilor sn ^ 
orliiTelegant "costume" in the finale. , 
He sang sweetly and well. J 
Miss KobI, as Nan, ^leroine was, 
as nretly as an old-fashioned Picture 
a^^d'^her voice, though "^^t -as ade 
auate to the not very e'^^ctlng music 
assigned her. Miss Oliver had an ef- 
fective part, and Miss Herbert as tn. 
bouncing keeper of the "King's Arms 

"'The choruf was- pretty and vivacious 
.nd the costuming effective. 'Phe scen- 
ery was conventional but not too much 

SUubert— "Rose Marie,"' mu-si- 
cal comedy ■v\'ith Desirce El- 
linger, Guy Robertson and 
others. Fourth 'week. 
Wilbur— "Baby Blue," musical 
comedy with B'red Hillcbrand. 
Second -^vock. 
Majestic— "Peace Harbor," play 
of modern village life. Sec- 
ond week. 
Gayety— "Follies of the Day," 
Bozo Snyder, star entertain- 
er, in elaborate burlesque 
revue. Second week. 
Waldron's — J immio Cooper's 
Big Black and White Show 
begins third week of engage- 
ment, with Cooper as star 

I comedian and leader of fun. 

I I Keilh'&— Whole Bill Good 

F. Keith bill. Henry Sf.nlrey jni 
orchestra's music Is good, and S*" 
trey adds to It with his clever nian'P"- 
latlon of his baton. Harry and Ann 
Seymour have a fast working song 
dan", and comedy n-'f -'"^i^^ ,!^°e7e 
heavily last night, "f^f"*' "t" f 
master pianist, back after a three-year 
«f «Vin world Is the same cie\er 
Int rtaine'r^rofo'ld. His P'aylnS alone 
is enough; but with his comedy added 
he "anthers through to h'fvy applaiise^ 
Nash and O'Donnell, a^^'^^ed by Ella 
Houghton, have a radio sketch called 
"<?tnt(c " having to do with a set 
broughi home for the little girl wh^ 
hardly gets a look at the machine. 

The rfst of the show ln<=l"d«i,J,«i,^"^ 
Al Blackmer. musicians of originality, 
-fnd Lorlmer and Hudson °"f, °' 
smartest bicycle acts in T.'l^ 
animated fables, news reel and topics 
complete a satisfying performance. 



The musical numbers of T,*** JTttv 
vateer" have been "borrowed' pretty 
freely from various and sundry sources 
There is little in It to 
,,,, with surprise and exclaim "Ah-h-h! 
Thai's the stuff." The book is con- 
Ilderably better. The company, as a 

VhSle; works wit ha con^^^^^^^^^^^ 
that carries the P'*'=®„,^' ,,. ° grformance, 

Francesca Bragg'ot audience 

with great "^"f f-undly 
both Interested and frienaiy. 


Colonial-"Music Box Revue," i 
Irving Berlin's annual revue 
■with Florence Moore, Phil 
Baker, John Steel,* Joseph 
Santley, Ivy Sawyer, Johnny 
Burke, Solly Ward, Florence 
O'Dennishawn and many oth- 
ers. Last week. 

Plymouth— "Badges," comedy 
mystery drama with Madge 
Kennedy and Gregory Kelly. 
Second week. 

Harry Houdlnl, master magiclari 
and mystifter, from the sUge at B. P. 
Keith's Theatre yesterday charged that 
J Malcolm Bird, author of the recent 
book "Jlargery," had helped the medium 
in producing manifestations "^^hile un- 
der investigation by the Scientific| 
American committee. | 
Houdlni reproduced some of the 
tricks with which he says he caught 
"Margerv." wife of Dr. Le Roi G. Cran- 
don. at "the se^mces of the Scientific 
American committee. In the course 
of his talk about the seances in thej 
Crandon home at 10 Lime street Hou- 
1 dinl renewed his offer to forfeit $10,000 
'if he could not detect and expose the 
m.antfestatlons claimed oy the Crandons 
to be authentic. 

In describing how Mrs. Crandon wa. 
helped by Bird during the seances, Hou- 

•"'"OnrnlglH at one of the seances J 
Dr Crandon accidentally turned up the 
red light and Bird, who was supposed to 
be controlling had both his l^a"ds free_ 
The most wonderful things happened 
when he was at the seances and the 
same thing can be said when Carrlng- 
ton was present. 

"Bird states that he resigned from the 
committee. I would like 
that when I discovered that he was 
giving information to the Crandons, I 
refused to allow him to come into the 
seance room and out of courtesy he was 
permitted to resign. He was also per- 
mitted to resign from the Scientific 
American and he Is no longer In any 
way connected with it. as T ^aye a 
letter from O. T>. Munn. publisher of the 
Scientific American, to that effect. 

"After the seances in July, when i 
wanted to expose her, Mr. Munn begged 
me not to do so until we reached ^ew 
York. He stopped the presses and 
'threw out the articles written by Bird 
for the September issue. He states 
that It was not throwtr otrt on his tfc- 
count and intimates there wasn't very 
much to the suppressed pages and if any- 
one is Interested enough, to want to see 
them, I have them in my dressing room 
where they can be read at any time. 

"Just Imagine; they ask you to be- 
lieve a spirit brings In three flowers 
and throws them promiscuously around 
the room. I was in Berlin, Germany in 
1900 when Frau Rothe was given four 
months in Jail for practically the same 
thing. I know a team in New Y'ork 
who produce six dozen roses in the 
same way and under the same condi- 
tions, and admit It Is performed by 
natural means. 

"I have heard that for my activities, 
the spirits through Margery have de- 
creed that I must die by I>ec 21, 102 5. 
AVell, that may come to pass. 1 may be 
dead before that date. No one present 
is positive he will be alive by that time, 
but please don't ever belleie that any- 
one has the right or powei} to wish or 
doom vou to die. My life aiid death are 
In the" hands of the Almighty, and not 
in the hands of someone who pretends 
he can communicate with the dead." 

Houdinl then showed the audience 
the test box in which "Margery" was 
locked wTien beng subjected for tests in 
psychic phenomena. After explaining 
the niechanism,vhe said, alluding to Mrs. 
Crandon: ' 

"She accused my assistant Collins of 
secreting a two foot rule and then 
eventually she put the onus on mo. I 
wouldn't dr^am of doing such a thing 

••You know from the shape of the box 
that it is impossible for the medium to 
move. I wa3 asked by the committee 
Dr Comstock, O. V. Munn and Dr 
Walter Franklin Prince to construct a 
restraining de^ice which ^"U^i vr^^'^^J^ 
her from using her feet, neck, shoulders 
and hands, and this Is it. 

••Dr Prince held the medium s right 
hand and I held her ^^^^^^'^J^^'n'To 
able to do anything and If ^^^^Z, 'u- 
any physical --^^^f Urdctct 
Ing to wager $10,OOU tnai 
and expose her." 

The 40th season of "Pop" <=°"'^^'^^\^'" 

gHn." There were fle^ratue 
and fanfares as ^l^' "uh not an 
was packed to °°"(^J'to be seen, 

empty seat in the ^al^n'^^ ^° ^ ^^^^al 
nor a table vacant oj ^he floor 
spirit was in the a r. in v „(,e 
plauded :Mr. Jacchla on m ^^^^^^ 
with enthusiasm. They PP 

heartily nearly ^^^^^ f ^."^^gnt •' 
evening, in ^^ort that 

An excellent program had^n^ playing. 

Cre^^"^h^™am Tell" overtu.-_e. 

There was 

~ - . the stirring rhytnm charac- 

played ^^''^''^^Sa and also at the' 
teristic of Mr. of tone audi- 

end with the ao^ndan^^ot 

's^ressris'-Hispania" suite, 
from Stoessci s There 
chestrated^ ^^y Jacc ^^^^.^ ^p^^ 

also a tantasla from o ^^.^^^ 

n Sved a br mtant piano part^ 
Savu-oma P'aJ^^ a d ^^^^^^y good 

Tiie music ^"'f^^'^i^a a^fl time. 
, Italian opera ot *^J^'"° ^godv, the 12th, 
I A LisztHuugaiian rhapsoa^ Manna - 

began the ^^^""''t ^to \olU . in Mr. 
Zucca's ••Rach^m ^° ^ The audience 
.Tacchia's o'-'^hestra ion- g,,^, 
hiked his ?f '^""^..^''uued Rimsky-Kor- 

•'^Flight of the Bumble Bee, 
sakov's Flignt oi gymphony con- 
brought over from ^ j^^n having 
certs, ''«lU''°J'fLwed enthusiasm too 
it again. They ,»»'°T^„^.'i..^overture. Well 
,or TchalUovsUys 181 ov ^^^^ 

f'^'^'^nirit and us moments of ^nll- 
ing sphit and_ ^^^^^^^ ^.^^y few. 

„irity for once "^""'d the evening, a 
A short group .<rl°^^^,^7. a "Valse 

v,^^^'';".'?^ srellus? anTby Saint Saens 
^Triste b> biDeiiu-, nroBram more 

a military "^arch. A prog ^^^^^ 

"'°^'^'"L^e Vn "Jev'sfd, and of 

scarcely ha\ e been plenty, 

course there were added pl^^^^^^^^^ ^P 

SO began the f°rtietn ,orevcr; 

of "Fops.' May they go ^^^^ 
they clearly fill a neea, an ^ ^ ^ 
remarkably well. , 

It a woman were permitted to choose 
her biographer should you name a man , 
or a woman? Would Sappho have fared 
better with Anactorla than wtlh Al- 
caeu97 What woauu> would have writ- 
ten without a te~n oi «»--te about 
Helen of Troy? Or auppose that Char- 
mlan had lived to write her recoUecUons 
of Cleopatra? ' _u 

Mrs. Gaskell wrote the life of Char- 
lotte Bronte. All that the solemn S. 
Austin AUIbone said about It In his 
•••r..-.tlonary of English Literature' was 
t^is: "ThtaworkwaeaneifedtoaonUln 
several Inaccuracies"; and n°2!' 
George Moore In one of Mb 
tlons^wlth himself t^^^^^'^thv^^Mrs Gts'- 
acterlstlo injustice the ^f'-, ail 

kell as "the most commonplace of 
English writers." Miss Alice Brown has 
eulogized Miss Gulney In an exalted 

''Is "there any more ^pathetlc biogra- 
phy than John Evelyn's life ^f Mrs. 
Godolphln, that fair yo""^ w fe so 
pathetically mourned by him in hisi 
dfary ^She was for wit, beauty good 
nature, fidelity, discretion and all ac- 
complUhments, the inost 
nerson ... But It Is not here that 1 
pretend to give her character, having 
desX^ed to consecrate her ^°/thy H « 
to^terlty." Well did he Perform tWs 
labor of love. Or could any "oble danie 
of France have asked for a more gallant 
biographer than Brantome? 

Two books of a more or Jess bio- 
graphical nature have been pubUslied 
fecenlly by E. P. Dutton & Co. of New 
York: "Art and Man," by C. Anstru- 
ther-Thompson; a collection of essays 
and fragments with a long Introduction 
by Vernon Lee: "Mrs. Meynell and Her 
Literary Generation," Anne Kim- 
ball Tuell. an elaborate study of Mrs. 

M.Miicli s RinniiHK'> b'Jsy Tire 
.lournallst, poet — hor critlcnl opinions 
and her friends. The two volumes arr 
of an unusual nature, written con 
amore. Mlk>s7'^. speaking of her dear 
dead friend, Iftl^X^t times her artistic 
resen'e though six^ rreserves the ex- 
qntslte sense of pro^.ortlon that dlstln- 
(Tulahes her own wrltlnss. 

The close friendship of Mtas T^ee and 
Miss Anstruther-Thompson, which was 
more thnn a common Interest In art. 
was familiar to all dwellers In Florence. 
The introduction, personal and eulo- 
gistic, occupies about one-third of a 
handsome volume of 370 pages. The 
two women had published a book en- 
titled "Beauty and Ugliness." A few 
of the essays In the present volume are 
■\ joint production. Miss Lee'a friend 
had an "unassailable aloofness, a (er- 
aln solitariness and even secrecy." 
Helpful towards others, generously In- 
erested In them, she never alluded to 
ler own plans and affairs. "Out of 30 
>dd years of constant correspondence, 
ind the recollection of dally talks dur' 
Ing months at a time. It would be dlffl- 
rult to pick out, and make up a dozen 
pages concerning solely herself." She 
would have resented any attempt to do 
so. Tet her Indlvldualty was pro- 
nounced, shown by Sargent's portraits 
and sketches, which, with other illus- 
trations, embellish the book, and by her 
Ideas on art expressed with a singular 
force and courage. We learn that she 
was athlptio, an accomplished rider. 
This knowledge of horses aided her In 
her essay on Centaurs In connection 
vith Greek horses and horsemen; yet 
"this woman of the world with so 
many obvious Irons In the Are, was In 
reality th^t which, when we speak of 
s.Tlnts (and she was, after all, a saint 
of the austerlst and most selfless) we 
should call a contemplative." 

The adventures of the two women's 
sculs In picture grallerles, museums and 
churches are told Uva manaer that fas- 
cinates even one that In matters of art 
is a barbarian. They found their per- 
ceptions quickened by humming melo- 
dies "In the silence of the Individual 
consciousness" where "not only music 
has to exist If It Is to exist for us at 
all, but likewise statues and pictures 
and natural scenery, unless they are to 
remain merely so many material ob- 
jects, or rather so many groupings of 
mechanical and chemical forces, with- 
out value or significance save to the 
mind which perceives them." So M. 
Vllley argued two years ago that the 
perception of obstacles by the blind Is 
nearly always "improved by slight 
noise, though Impeded by violent 

Miss Anstruther-Thompson's Idea of 
the power of art was this: It Is "com- 
mensurate with the amount, the In- 
tensity and the emotional tone of the 
activities Implied In Its enjoyment: the 
work of art calls forth an active col- 
laboration on the part of Its beholders: 
and hence Its power to please or dis- 
please, to enchant or to bore us." This 
la what Walt Whitman said of music: 
It Is "what awakes from you when you 
are reminded by the Instruments." 

Considering Grecian art, she believed 
Implicitly that In the fifth century B C 
Greece, or at least Athens, "had " no 
Inhabitants to speak of except diadem- 
bound athletes, poets like the Lateran 
Sophocles, maidens and horsemen from 
the Panatheanlo procession, and, per- 
haps more than all, gods, goddesses and 
Doric columns." 

The essays are "The Connections Be- 
tween Man and Art," "Greek Vases " 
"Deslderlo's Tomb In Santa Croce," 
BSsays on architecture," "Movement of 
Lines and Expression In Greek Sculp- 
ture." 'Real Movement In Antique 
Sculpture," essays on painting (there 
la one entitled "Walker, the Pre- 
Raphaelltes and Sargent"), "Has Fu- 
turist Art a Future?" "Imagination and 
Emotion In Art," in which Miss Lee In 
a footnote likens good antique heads to 
Mozart's music: rifa often Indefinable 
character, to which we can apply only 
the word 'charm' seems to consist in 
extremely rapid alternations of very 
different expression In very different 
separate phrases. His adagios differ In 
this very markedly from those of Bee- 
thoven, which leave no doubt as to 
what they express." 

One of the most striking essays is a 

fantasia In the restoration of the Venus 
de Medlcl. Byron wrote: "So stands 
the statue that enchants the world." 
The essayist urgues that this Aphro- 
dite stands badly: "A beauti- 
ful woman In a very silly atti- 
tude, slightly leaning forward"; not 
"A beautiful woman In a very silly at- 
tltu(3^e, slightly leaning forward"; not 
really walking forward, for she topples 
forward too much for walking; nor Is 
she standing still, for her weight Is not 
rightly arranged for that Her knees 
are close together," which gives her an 

affaaCM UIO snamoiinK 
which Is tirMom<i ".nd i ^ i ft 

silly; and to add tM the uuhcihi eavot 
of 'senMieiisov Hlongntae of b«r ti * 
silly fish standing on his head." This !■ 
the llTBt Impression. But walking round 
the stn'.ue, "for It Is necessary to walk 
round aialues In order to see what they 
Vie t.bout," she Is no longer o riddle, 
but a very completa imd delightful work 
of art, for this 1» * representation of 
Aplii-<vl!te il.'slng up from the sea. To 
j.rove thl.s, there Is long analysis. The 
esrt.iylst Ltiieves that originally thera 
was uii Ktos "pulUc* the dolphin's tall 
■l-.>vn with •il tho might of hlo i;;iy 
winged I.oJy." Thus did Miss Aiis- 
truther-Thompson loosen the reins of 
hor lancy, though In many of the ess iyn 
she rides rociirely will, a curb bit 

Ar.d HO engrosse.l are we by Ih- 
.fisi-ys and Misa Leu r remarkable In 
tiodjctlon that we n:i8t leave Mib» 
fuel ana AUo« M«rn<ll (or » few dftya. 


III Stelnert Hall, last evening, Charles 
Mackey, pianist, gave a concert at 
which he played the following music: 
Moment Musical, Op. 94, No. 6, Schu- 
bert; Impromptu, Op. 90, No. 4. Schu- 
berwt; Sonata, Op. 78, Beethoven; Noc- 
turne in F sharp. Op. 15, N'o. 2, Chopin; 
iValse In Q flat. Op. Poath., Chopin: 
Etude in E. Op. 10, No. 3, CHiopIn; Bal- 
lade in A flat, Op. 47, Chopin; Sonata 
Keltic, Op. 59, MacDowell; Reflets dans 
leau. Debussy; La Catliedrale englou- 
tie, Debussy; La fllle aux cheveux de 
lin, pebussy; Bird Song. Palmgren; 
Concert Etude in D flat, Liszt; Taran- 
telle, Liszt. 

It is so seldom that either the 24th 
Beethoven sonata or JlacDowell's Kel- 
tic reaches the concert stage today, that 
although much of his program Included 
iiuislo dulled by too frequent playing, 
Mr. Mackey is to be commended for his 
Inclusion of these. Tet he played the 
Beethoven rather literally, with an over- 
abundance of stentorian fortes. 

But as the evening wore on he seemed 
to play Immeasurably better, with more 
nuance and imagination, with a lone 
that mellowed so that from lis occasion- 
al brittleness in the earlier group it be- 
came rich and resonant in the Mac- 
Dowell and the Debussy. An intelli- 
gent musician, he Is a pianist of good 
technique, with an ear for the brief and 
eloquent melodic line. Tet at times, ; 
cipeciatly in llie "Undine" ballade, 
which he played with the' virility that so 
fnw accord It, his octave passages were 
clouded by his pedalling:, 
i In the Keltic sonata, which he played 
j brilliantly, often in the fury of his 
Ichordal torrents, he grew too ponderous. 
And yet again, in the Debussy, he 
played these drifting impressions with 
the limpid vagueness and ductility of 
line that they demand, with a sheer 
loveliness of tone and phrasing. 

E. G. 

flo pleased the JudlclouH that the en- 
gagement has been extended, and even 
Chariot's Rovue' Is advertised 'as 
played In New York'; "WTille Cargo,' 
Tarnish,' and so on through the list, 
wore all first produced In America. And > 
Mr. Winthrop Ames, one of our most , 
arllstlc producers. Is here putting on ■' 
(\ licggar on Horseback.' How differ- 
ent from the 'good old days' when al- 
most everything of value or even with- 
out value pertaining to the stage camo 
ver from England, or was u transla- 
tion from the French, or wai adapted 
from the Gorman, Augustin Daly-wlse. 

"Has this any particular significance? 
Are we In our, perhaps, too much boast- 
ed American civilization really leading 
here as certain of our people think we 
are leading, or are soon to lead, the 
world In most of the significant phases 
of life? One should be careful In gen- 
eralizing too much In such matters. It 
Is, however, a matter of congratulation 
for us that now we may give as well 
as take In all things theatrical. So 
far, at least, one may go In becoming 
American modesty. I 

("which pursues tiierii-^ ia:" 
'Hlhtlbly In Iheir flight o^ • 
Yet throudliiK the swift i., 
trenchant measure* of ' 
Uu-io are scenes and persons that n 
hciivlly, Willi obvious Intent unc 
labored c the hired man"" 

whoho rel "■> Malslo Im forced, 

whoso cIku. iilon Ih stilted; tin 

IkiIjo, who nicloiiramatlcally decants to 
itlui fearful runaways from hU stone on 
tlio priiirle. After all, these are minor 
lblolJll^lles In a play of a Klrance and 
pulhliig Hciialtlveness, at llnioK an exotio 
fragrance, a realism that Is neither 
blHlantly sordid, nor Foftf-ned. Mr. 
' Tothoroh has b lyric gift that Is rare In 
tlie dramatist, and at the Hunie time 
hlM play moves with direcliiess, a 
paucity of exposition and h racy and 
vigorous dliiloguo that i» never once 


i George Dwyer, tenor, assisted by 
Florence McGuinness, soprano, and 
Jessie Fleming Vose, accompanist, will 
give a concert In Stelnert hall this 
evening. Arias by Mozart, Pergolesl, 
Donizetti, Verdi, David; songs by Don- 
audy, Josten, Ecarlatte, Rlmsky-Korsa- 
kov, Staub, Jensen, Meyer-Helmund, 
Halle, Brahms, Rubinstein, Moasager. • 
iArnc, Johns, Quilter, Stickles. 

1 "Musical Mosaics" will be given again 
I this afternoon and evening. 

Next Sunday afternoon in Symphony 
hall at 4 o'clock there will be an En- 
semble choir concert (Boston Clvlo 
Music Festival). 

Mr. Russell Metcalf has written to 
The Herald a long and Interesting let- 
j ter from London about theatrical events 
] In that city. We make room today for 
1 a few paragraphs. Others will be pub- 
lished here from time to time. 

" 'No, this Is not London' (to para- 
phrase a Cohanesque title); It's New 
York, Boston, or perhaps Atlantic City 
ioi even Bridgeport, Ct., where plays 
iare first produced. It Is quite within 
the mark to say that over oO per cent, 
of the plays now being presented here 
, are American. And the 'movies' ! It Is 
the same now as last year, there Is a 
general managerial howl at the lack of 
English films. It does Indicate that 
both manager and playgoer know a 
good thing, Irrespective of Its origin. 
'Rose Marie' has really caught the town 
musically; 'Llghtnln' has been running 
ever so long; Barrymore'a Hamlet has 

Bernard Shaw's 'Saint Joan' Is still | 
running here. Having seen the original 
production in New York, and Julia 
Arthur's Saint Joan In Boston, I wanted , 
to see what Sybil Thorndyke made of t 
the much, almost too much, pictured 
and sculptured Maid of Orleans. And 
really I can enjoy this best of all 
Shaw's plays even to the third and 
more production. Now, despite a cer- 
tain much quoted line, comparisons are 
not so odious If kindly and discriminat- 
ingly made; moreover, as a matter of 
fact, we are In one form or another al- 
ways using some standard or other with 
which to base a Judgment or a best 
guess. Unquestionably the production 
here of 'Saint Joan' as a whole Is bet- 
ter than that given In America. I am 
speaking especially of the appeal to the 
eye. The play was far and away bet- 
ter staged and costumed. The minor 
parts were much better done, all by 
seasoned actors. In fact, I noted the 
presence of a lot of 'old-timers' who 
had had their brief day of success In 
modest parts, now looking but not voic- 
ing aught else than the Lords of the 
King's Court or the learned monks of 
the trial scene. On the other hand, 
much Individual work was less satis- 
factory here. The Tent scene was less 
well played, none of the actors seemed 
to voice or visualize the characters In 
the best Shavian sense. But there 
was no such caricature of Charles VII, 
Charlie,' as we saw In New York and 
Boston (a wholly wrong conception of 
the character). The part was played 
straight by Harold Scott. Sybil Thorn- 
dyke's Joan was not convincing to me. 
She wholly lacked the voice and some- 
thing of the authority of Julia Arthur. 
Joan was of the people; of the farm and 
could wear a man's armor. She has 
been Idealized Into something else, but 
not by Shaw. Miss Arthur seemed to 
give us this woman of a man's propor- 
tion, with a man's stout heart, yet with 
the ideal of her woman's vision. I con- 
fess to liking her Saint Joan best of 
the three. Is It, perhaps, I 
know her well?" 


Notes and Lines: 

There are so many plays touched with 
a middle western accent, so often irre- 
mediably dull and literal, that it Is en- 
couraging to come upon one with the 
freshness and the lyricism of Dan 
Totheroh's "Wild Birds," a prize play 
from the University of California, now 
playing at the Cherry Lane Theatre, and 
published by Doubleday, Page & Co. 

For a month this first play, chosen 
by Eugene O'Neill, George Jean Nathan 
and Susan Glaspell for performance in 
the Greek theatre, has been extending 
its audience, so that soon it will move 
further uptown to Broadway. Those 
who have both se^n and read It claim 
that It reads more smoothly than it 
plays; that certain of Its episodes seem 
flat and Inept In aclval performance. 

There Is something of genius In this 
play, a wild and eager loveliness, that 
is rare In these sombre and satirical 
play.s from the middle West. The love 
of .M aisle and Adam, the figurative wild 
birds, foundlings both of them, bound 
to a lame-like farmer of the prairies, 
[ is like a slim and fragmentary theme 
I that grows In intensity as it returns 
I each time, augmented; swept to fruition 
by the fury of a nadman's tora-lom 


Last evening, in the Fine Art.'< I"' i 
tif, a large and variously a«i""iiil>l. il 
company, assisted by Uaffa-'le Martin , 
and his 18th century orchestra, pr"- 
s.nted an amusing and faithful lltt'.-s 
series of "Musical Mosaics." incidents 
in the lives of the composers from 
I'alestrina to Richard Strauss, who in 
lieu of domestic anecdotage or setting 
was represented by Salome's dance of 
Ithe seven veils and Miss Berthe Braf- 

For the benefit of the musical settle- 
ments about Boston, the commllte«" has 
devised these brief and effectively- 
staged episodes, for which Katherlne S. 
Sweet wrote the scenario and Mrs. 
William Arms Fisher chose the music 
to be played and sung. Palestrina waa 
impersonated by T. Francis Burke of 
Boston College, with various students, 
in official robes, to sing, as the papal I 
choir, music of Palestrina, his Panis 
Angelicus. Adoremus Te, Chrlste and 

0 Bone Jesu. 
Bach, played by Richard Piatt, sat 

Kurrounded by his large and devoted 
family wbo Joined him in singing a 
horale before going to bed, and listened 
devoutly to his playing of the harpsi- 
chord, to his chiding of his son I'hilip 
Emmanuel for his lackadaisical playing. 

Mozart, in the person of Florence de 
Napoli, played with his sister at the 
glittering court of Maria Theresa, a 
minuet from his'' "Don Giovanni," a 
Bach choral, and a sonata by Wagen- 
sell. The setting was extremely effec- 
tive and Miss Olga Frothingham and 
iHarry Francis danced a minuet to Mo- 
zart's lightly playing spinet. 

1 For Beethoven there was the episode 
^pf his frleod's mild and astonished re- 
Iceptioii of one of the string quartets: 
and a quartet made up of Emmanuel 
Zung, Henry Filler, Boaz PlUer and ' 
Walter Poole played the allegro from ' 
the quartet, opus 18. i 

The Schubert of Richard Appel played j 
the accompaniments for his cantata ; 
and his "Erlking," which was sung by 
Dorothy Peterson, Joseph Lautner, and 
Morris Brown. For Chopin, instead of 
the salon that one expected, there was 
a Chopin alone in his Parisian apart- 
ment, playing his A flat ballade, by 
candlelight. Jesus Maria San Roma was 
the Chopin. 

The mosaics ended with the dance 
of Berthe Braggiotti. Each of them 
was well staged. and excellently 
grouped. The music chosen was char- 
acteristic, the episodes always interest- 
ing and picturesque. A laudable enter- 
prise and with the supervision of E. E. 
Clive ■ well produced. There will be 
performances both this afternoon and 
evening. ■ . B. G. 

Mrs. Chatman andE. W. Brad- 
ley Present Program | 

M. Louetta Chatman, soprano, and fi. ! 
WiUlB Bradley, tenor, sang an ambitious j 
and In some respects unusual program, 1 
last night In Stelnert hall. Mrs. Chat- i 
man, for Instance, began with two of 
Rubinstein's settings of songs from the 
Persian, two of the loveliest, "I Feel 
Thy Breath" and "My Heart All Beau- 
ty." Some singers In search of novelty ■ 
might go farther and find worse than 
the whole set— If only first he could I 
find a poet who knows Rusplan to make | 
new translations of the texts. 

Mrs. Chatman also sang the air from 
Massenet's "Le Cld": three "Spirituals," 
"By an' By", "My Lord, What a Morn- 
ing", and "Walt Till 1 Put on My | 
Crown"; Pllina'a great air from 
"Mlgnon": "I'd Be a Butterfly", by 
Bayly; and one of the Queen of the 
Night's arias from the "Magic Flute". 
So, at least, the program read. 

Mr. Bradley sang two Handel airs, 
"AVaft Her, Angels," and "^Vhe^e■e^ Tou 
Walk"; two Puccini excerpts, from 
"Toaca" and "La Boheme"; a song by 
Liza Lehmann, "Oh Moon of My De- 
light"; and from Coleridge Taylor's 
"Hiawatha", "On, Away, Beloved". 
Mrs. Chatman and Mr. Bradley also 
sang a duet from "Alda". 

They have good voices, both these 
singers, voices of fine quality, generous 
volume and long range. If they are 
wise they will give thought to the qvies- 

,1 Tonasnry ] 
. . , i. .nty nnd 
r i.i.p. .• !;:-i-.:m regls- 
fow veiy htRh notes whti->h, i 
havp little but their helsrht to j 
'.1 them. I 
. to b* hoped that Mra. Chat- 
^'r. Bradley will five thought | 
Mg a stronsrer feelliiK fori 
a they showed evldencft of ' 
i/>.- . ^ » \ 

Thoir, prograjn was hishly exaotlnK; ' 
in muBto lasa sfcere In Ita demands ', 
toth alnirers no doubt would appear to 1 
Letter advantaKe. R. R. O. 

John l?rtllloi> was twi. 
death by wainlmjs "o' 
What Is to be said of .Mi, 
Did hi> leaving his dingy xwm In I.on- 
don tii.solnated by Lafcadio llcurii;< 
books ami hy a Chinese picture on the 
wall, in which a Celestial was rowlns 
acrtoss a laUo, and rowlnK to fetch Mllll- 
Ban go to China, having seen l>i'"s«I( 
with the (-hlnaman In the picture? Did 
the picture after Mllllgan's Sepulture 
show htm with the Chinaman? Tliero 
was only the Chinaman In the boat af- 
tc^ MUUgan, prosperous, died at I eKin 

Rash l8 the man "that recommends 
novel to a friend, yet If Jones found 
■The Haunted Cesspool" vastly enter- 
taining^. Is he to be blamed for wishing 
RoblnAon to share his enjoyment. 
A\Tiat! Tou haven't read It? ^ou 
orter.' " Robinson buys the book- 
novels are no longer sold at a reasonable 
price-thinks It trash, ^^o"^"^, 
Jones-s taste, and greets him coldly. 
The question. "Have j-ou read ■— — • 
H heard on every hand. It '"'""l-hes a 
subject for conversation, whether the 
answer Is In the affirmative or nega- 
tive Who would be so ruda as to an- 
swer Mrs. GoUghily by saying in a 
contemptuous tone, "Xo. I haven t and 
I don't intend to read H"? The cour- 
teous visitor as he helps himself to a 
second piece of buttered toast smiles 
•No my dear Madam. I have so Uttlr | 
time I hope to read It this summer. 
^iTve you read •Colic and BucoUC? 
They say It's a charming Idyl. 

TTe have no hesitation, although by 
nature our soul is timid, in expressing 
our Joy in welcoming a book hv AlSf^' 
non Blackwood. It .s '^ue that the 
first story In "Tongues of Fire -pub- 
lished by E. P. Dutton and Company- 
the story that gives the title to the 
volume. Is the weakest m the collec- 
tion It is too allegorical, symbolical, 
too obvious, and Mr. Blackwood s fas- 
cination Is m his mysticism. ^d^*"' 
tures m occultism, his ^^nf "'"f„,f I 
seeing strange sights in the fourth 
dimension, his disregards of time and. 
snace The two gosslpers and slan- , 
derers whose tongues make discolored 
patches on their handkerchie s do not \ 
move us to plty or condemnation There 
is a Sunday school moral f^^^^^^l' 
and one does not thmk of Mr. Black 
wood as a preacher, even as one mas J 
Querading for pulpit service It is in 
the other stories that one finds Incom-; 
parable Blackwood. 

There is the extraordinary disappear- 
ance of Mr. Gerald Plkestaffe with the 
little boy. Mr. Plkestaffe. whose meas- 
urements and calculations led him UP to, 
the mirror and through it so lh«^t he 
was last seen by Col. Lyle and Miss 
Speke floating happily in prodigious 
and softly lighted space. 

There are Messrs. Malahlde and 
Forden, who on their outing in the 
country, saw queer signposts, and smelt 
something burning, and returning to 
their lodgings were suffocated by 

^'air^Petershln nursed a private terror; 
that "one day the night express would 
catch him when his foot would be 
jammed between the rails. What hap- 
pened to him and Mr. John Snide, the 
bookselling married man of education 
and authority? I 

We see with the widower Mr. An- 
thony, a gigantic arm seizing the 
moon just off the full and tossing It 
like a tennis ball, out of sight below 
the rim of the sea. We see the moon 
come back, and the dead wife fresh 
from the sea bath smiling, unfrightened, 
saying: "He has missed, dear! But why 
bother?" ^, ^„ ^ 

When the girl at the table d bote 
accidentally sent an olive flying toward 
the Englishman and he picked It up, 
did he and she at night go back cen- 
turies in the grove and then find them- 
selves in Bussana, the earthquake vil- 
lage? , ^. 

O'Malley watched curiously the con- 
tinual performance of nature. McAl- 
lister found in his world dream that 
"It Is all right." Val. picking fir-cones, 
looked on death, or on what he thought 
was death, and his companion saw 
that "death, where love is, meant only 
the transition into this 'other' state 
where separation was not even a possi- 

IMd Miss Trench, the governess, turn 
Into Xehpile the dancing girl. In Sir 
Mark's hall, because they had dug up 
an ancient Roman burial place in the 
park at Carsholt and found Nephile's 
dancing sandals, jewels and a flute? 

There is the story of "S. O. S.," with 
onf of those witnessing a singular oc- 
currence being a dog. There Is the 
artist in love with a woman he never 
iaw. He could not portray her in spite 
of all hl.s endeavors, but went to meet 
\- r-- a:' h'" 'li-fi. "Alone ot men the 

There are u few remarkable sketches, 
as "The Spell of Egypt," extraordlnarj 
for Its simple eloquence, Its fantastlca 

"The spell Is laid upon you once you 
have looked Into the battered visages ofl 
those Momnon terrors, which reveal, yet) antics^ 

icaTe~ Air, Ariur, r . jlmUant mrd 
(from I'earl of Brazil), DavM. 

Mr. Dwyer sang the following: O Del 
Mlo Amato lien, Donaudy: Guarda, Che 
Blanca Luna. Josten; Gla 11 Sole dal 
Qange, Scarlatti; Almant la Rose, Rim-' 
aky-ICorsakow; L'Heure Dellcleuse.v 
Staub: L.ohn' Delne Wang, JensenV' 
Deln Gedenk' Ich, Margaretha, Meyer- 
HelmuiMl; Im Zltternden Mondlicht, 
Halle; Sapphlsche Ode, Brahms; Der 
Asra, Hubensteln; Where Blooms the 
Rose. Clayton Johns; So Sweete Is Shee, 
Old English; Adoration, Josten; Weep 
You No More, Qullter; Expectancy, 

Mr. Uwyer's share In tho concert was 
the principal one. He uses his voice 
well, without strain, except In an oc- 
casional dramatic passage; his tones, 
even in the upper register, are clear 
and restrained. His legato Is firm and 
smooth; he Indulges in no loose tenor 

hide, far better than the Sphinx. They 
have neither eyes nor lips nor nose; 
their features, as their message, in- 
scrutable. Vet they tell this nameless 
thins plainly because they have no 
words. Out of the green fields of mil- 
let they stand like portions of thei 
Theban Mountains that have slid down 
Into the plain, then stopped for a ftw, 
more centuries to stare across the Nile 
and watch the sunrise." 

Miss McGulness has coloratura so- 
prano leanings, a coloratura that Is 
already firm and of agreeable tone. 

It is not Mr. Blackwood's intention, 
like the, Fat Boy's In "Pickwick," to 
make your flesh creep. Tales that are 
dellberatelv tales of terror and the su- 
pernatural, like Bulwer'8 "The^ Haunt- 
ed and the Haunters," are not so dls-| 
turbing as the fancies woven by Mr.l 
31ackwood from visions and psychic 
revelations. And so to some Foe's 
"Shadow" is more unearthly than 
•Llgea," "Berenice" or even "The Pall 
of the House of Usher." Hoffmann and 
Hawthorne were wanderers in the land 
of darkness, where strange beings move 
it will. Fitz-James O'Brien Joined 
them on two occasions, for he lost his 
: oom and never found it; he was one of 
those who watched the invisible but pal- 
oable being, horrible in life and in 
death. There are pages that raise 
?ooseflesh in novels by Sheridan Le 
I'anu. Nor is the dream in "Armadale" 
to be read before going upstairs to bed, 
•nen though an electric light is on the 
night stand. 

The French have tales of terror and 
wonder, written with a fine fancy. Wit- 
ness Maupassant's "Horla"; some of 
the "Contes Fantastiques" of Erck- 
mann-Chartrion; tales by Marcel 
.Schwob in "Coeur Double" and Le Roi 
au Masque d'Or." 

Mr. Blackwood writes from what he 
himself has seen, heard and known. 
Thus, in this peculiar field of literature, 
he stands solitary, unparalleled. 


' Four new faces appeared In the cast 
t-f "Baby Blue" at the Wilbur Theatre 
last night, with a decided Improvement 
in the performance of the revue result- , 
Ing. Eleanor Griffith, who »"ade a. hit 
here last year In "The Last waltz,^ 
took the part of Millie Davis, the 
runaway girl, and the heroine of tne 
piece insofar as there can be said to 
be a heroine at all. Miss Griffith con- 
tributed good looks, an assured style 
and a sweet if not a heavy voice 

Eleanor Gordon, who has hee^-.P/^y 
:ng oppcslte Donald Meek In The 
Potters!^' impersonated Aunt Kate 
"from Brattleboro." and her stock ex 
perience stood her In good stead She 
Appeared in admirable contrast to the 
frivolous persons with whom she was 
called on to work. mssl- 
Sascha Beaumont, ^8 Tvonne Cassl 
dy, "the show girl." added a BPrlghtly 
element to the comedy and sang ac- 
cepTably. She Is pleasantly remembered 
?n Boston for her expert dancing in 
"Moonlight," although her new role 
does nof give her ^lany opportunWes 
to display her skill. J"*^""^^, 
dancer and comedian, appears a^ J"d- 
son, the butler, and as s^'ch gives the 
action a vigorous start at the rise or 

'^^he^'-Baby Blue" company has 
-Shaken dow^ considerably siijce Jts 

noticeable Fred Hlllebrand and > m e 
Gibson succeeded in converting a coW 
,and somnolent audience >"tof " enthus^ 
lastlc and applausive one with their ec 
[centric dancing, singing and^paUer^^ 

George^Dmer, Tenor, and 
Miss Florence McGmness 
the Joint Performers 

^^tntr ^afdXe^^r'McGSs! 

^.;^."Su1nr tanrPofgi lmo£ 
L%ozze dl Figaro) Mozart. Nlna.J^er_ 

S°^e^ssage°r;'The:LassJ.ith the Del 

Mrs. Margaret Deland Is reported to , 
have said at the Bowdoln Institute of 
Modern Literature that -Babbitt" Is 1 
"not a novel at all, and certainly Is not 

This Judgntent depends largely on 
whether you pronounce "literature 
with a final "fewer" or "chure." 

Is It not something to have drawn 
with Flemish detail a character that Is 
now accepted as a tj-pe in this country 
and in England? One d««"'^" ^^f*"^^ 
as "a Babbitt." as one speaks of an 
Idmrrablo Crltchton, a Don Quixote^ 
Yet Mrs. Deland says that if we read 
fhe novel "we have to hold our noses^ 
A truly surprising saying. Fernaps 
others are not so sensitive 

And is Mrs. Wharton s 
the Moon" tiresome "because it Is not 
truer We have known men "W-ho 
eaving a host provided ^hemse ves lib- 
erally with his best cigars, but not at 
his Invitation. 

Bernard Shaw's "St. Joan" has been 
performed at Cologne. The Production j 
it is said, was not an unqualified sue 
cess, ••mainly owing to ^^"'"^^ 
presentation of St. Joan. Instead of ^he 
virile visionary depicted by Sha^^ The 
English camp was represented ith a 
huge Union Jack, although the Union 
I Jack did not come into existence until 
[nearly 200 years later. 

\ One centenary Pa^^ed here unnoticed^ 
so far as we know. Robert ^Hchael 
Ballantyne was born on April 24 1825^ 
Boys in the sixties and seventies -were 
at a loss to choose between the_autho 
of •■Ungava." "The Coral Inland Mar 
tin Rattler " "Black Ivory. Master- 
man R^ad,-'' "The Sandalwood Trader' 
and Mayne Reid's stories. Ar« f allan 
tyne's books read by boys todaj ? It 
is said that in England they are st.l 
among the Juvenile "best sellers. Bal 
lantyne went to Canada as a lad in 
the employ of the Hudson Bay Com- 
pany I Is first book was a collection 
of letters that he had written home to 
his mother. r'^-.t- 
How many who have enjoyed Capt. 
Mayne Reid s novels for men and books 
for boys know that he ^•"•o'* f 
' book on conquest that was published in 
this country? 

The bulletin board of an Hall of Fame 
reports two new candidates. The Oste- 
opathic Magazine contains an article 
"National Foods," by Earl J. Dr'nkal . 
who as Mr. Walter J. Clemson well 
la,^, has missed his obvious vocation 

On the other hand. Mr. Harold Hill 
Blossom is a landscape architect. 

Mr C E. Montague, whose "Dramatic 
Values" has Just heen reprinted says of 
the Irish Players: "Of course the} ac 
cept the intended mood of each play as 
musicians accept a composer s, but like 
good musicians, they still see that mood 
through a mood of their own: tempera- 
ment is at play upon temperament 

Could not this be said of Sir. Kousse- 


I CWalt ■\Vhitman) 

[Barest thou now O soul. 

Walk out with me toward the unknown 

region, . 
•n-here neither ground is for the feet nor 
any path to follow? 

No map there, nor guide. 
Nor voice sounding, nor touch of human 
hand. _ , ,. . , 

Nor face with blooming flesh, nor light 
nor eyes are in. that land. 

I know it not O soul, | 
Nor dost thou, all is a blank before us. j 
All waits undream'd of in that region, 
that inaccessible land. 

Till when the ties loosen, 
All but tho ties eternal, Time and Space. 
Nor darkness, gravitation, sense, nor 
any bounds bounding ua. 

Then we burst forth, we float, 

In Time and Space O soul, prepared for 

them, . , ^ J ,» „, 

Equal, equlpt at last (O joy; O fruit of 

all!) them to fulfil O soul. 


Earl Buxton made a speech at t!: 
annual banquet of the '"'■titute o i 
Patentees In London. He said he Ished 
to work out two inventions he had in 
mind One was a teapot with such a 
spout and such a lid that it would not 
dribble at the one and slop over at the 
other and •'mess about on the table and 
spoil one s napkins." The present um- 
brella has too many points at which the 
water runs off. This is good for the 
holder but a friend accompanying you 
win get wet. An umbrella should have 
only one conduit. Lord Askwlth thought 
It would be a good idea to heat a rod 
with electricity so that the water would 
go up in the air again, while Prof. 
Lowe suggested that the umbrella 
should be turned inside out, with the 
! handle made hollow, so as to allow the 
rain to run down. 

A merrv meeting of aristocrats and 
deep thinkers. It reminds one of 
Artemus Ward s comment on Reuben 
PettingiU's remark, that it was better 
to live in his peaceful hamlet than in 
a noisy Othello. 

"Thus do these simple children of 
nature joke in a first-class manner," 


Dr Leonard Williams, talking in Lon- 
don "Diet and Efficiency." said that we 
stuff because we eat "cooked and de- 
vitalized foods in a vain and stupid en- 
deavor to get vitality out of dead 
things." We should eat the things that 
nature intended us to eat: dairy pro- 
duce, uncooked fruits, salads and other 
foods not deprived of vitality. A 
healthv person needs only six hours 
sleep Cold is our best friend; bed* 
rooms, baths and food, for the most 
part, should be cold. The function of 
a doctor should be to teach the avoid- 
ance of suffering, not to enable society 
to sin without suffering. 

■•Recently women wore tight, high 
collars, but fortunately fashion now 
dictated that their necks should be 
hare, and since that fashion has been 
in vogue women had been much better 
tempered and much better looking than 
they used to be." He said nothing 
about short skirts. 

Suppose we try tliis summer a diet 
of cold, raw turnips, carrots, onions, 
nuts, raisins, with fruits in their sea- 
son; or better yet, let the experiment 
be tried on Mr. Herkimer Johnson, 
whose temperance, except In the matter 
of hot buttered toast and sweet choco- 
late, is proverbial. 

The newspaper published in Bevtr'..v 
.idvertises the sale of •'U R. I. Red 
male hens." We are glad to sec that 
• genteel" writing, speaking and thlnk- 
- ing are not wholly extinct. 


A good son, a true son, 

To ploase a mother's eye. 
To take her gentle morning kiss 

And her mild good-by. 

A kind lad. a dear lad, 

Alwavs home to sleep — 
But who is It that fills her dreams 

Bui the straying sheep? 

The mad lad, the wild lad 
Who never would do right, 

Heedin,!? not her pleading cry 
In the lonely night. 

Good lads and true lades, 
Never can they hold 
Love like that which weeps for him 
Straylus from th« fold. 



Mav 18, Plym"^^^ith^"Oh, Mama," 
adapted from the French of 
Louis Verneuil by Wilton Lack- 
aye, starring Alice Brady with 
Kenneth MacKenna, Edwin Ni- 
cander, John Cromwell and 

May 18, Copley— "Great Cathe- 
rine " and "The Shewing up of 
i Blanco Posnet," by George Ber- 
nard Shaw. 
May 18. St. James— "The Cat and 
liic Canary," mystery drama by 
John Willard. 
Mav 18, Treniont Temple— "Char- 
lie's Aunt," return engagement 
Df photoplay. 

li .lu r mul 111 Ml' .U-un^u.n 1 ...m , ilWs "A 

Wftycr I'lider 1 i s," publis'.ied by 1-lttle. Brofm £ Co., pape nftev 

page about the art ot the uctor, advice to the »mbitious young, elaborate 
oomparisons between' theatrical conditions in different decndos, he will look 
in vain; but he will be constantly entertah»ed by the agreeable reminis- 
cences of Sir Johnston, by a host of anecdotes, stories of his owi adven- 
tures, good sayings of others, complimentary remarks about painters, 
literary men and fellow artists, for Sir Johnston 1- .1 n wi>lo acquaintance 
off the stage as well as on it. 

Sir Johnston does not attempt to analyze the character of Hamlet, 
but he tells of meeting J. P. Morgan in the Morgan Library. "I noticeo 
that he spoke with not the slightest trace of American accent. ... He 
tank int^ a chair before the great log tire, and for the moment he was a 
little remf ed from two or three of our pi<rty, when came from him a 
long hearti ending sigh, unnoticed by the others who were talking. Said I 
to mvself, 'Here are you almost about, to envy this man his possessions 
and power! Would you, if you could, pay the awful price for them that 
gwan proclaims? No." It is many years since I heard that pitiful sigh, 
I have never forgotten tlie haunting ring of it nor the lesson it con- 

Teyed." ' i . i. 

Who would exchange this anecdote for ten pages about Hamlet s char- 
acter? The question that will haunt the reader is this: AVhat in the world 
was Mr. Morgan sighing about? Was it iverely the expression of indi- 

Only once does Sir Johnston his prevailing amiability, though he 
Mys he had by nature a quick temper. William Hohenzollern had been 
cordial towards him when Sir Johnston's company played in Berlin. He 
■poke intelligently about the drama, gave Mrs. Campbell a necklace and 
Eir Johnston a scarf pin. 

"Time proved him to be a poor, degraded wretch, with not a shred of 
honor, steep<4 in lies and infamy, and directly responsible for ten times 
more blcfdshed than any aggressor mankind has ever suffered under 
through all history." 

There are Americans still anxious to know what visiting foreigners 
Bay about "Amurrica." Sir Johnston first came here as Mary Anderson's 
leading man. The sunlight was a "delightful surprise." He was well en- 
tertained. Gen. Sherman invited him to supp