The daily Cairo bulletin. (Cairo, Ill.) 1878-1???, 1882-09-01

dances are equally peculiar, and he has n
particular sort OF whoop for each par
ticuar occasion, The scalp dance, the
war dance, the bear dance, the dance
Of skulls. each has its appropriate hal
loo, and so has the feast of the moon,
the harvest feast and so forth. But no
verbal description, gentlemen, can give
you IN idea of these vigorous cries.
They must be heard to be appreciated
and to him who has never heard them
they are startling as the revelations of
lifetime. In illustration of what |
have said gentleman, ! will now pro-
coed to give YOU an imitation of the yell
of the noble savage as. tomahawk in
hand, he springs eXutant from his am
bush upon the astounded foe.
Thereupon Browne executed a start
ling and tremendous war-whoop, which
made people turn for blocks around and
drew upon him the attention of thou
sands.
Il will now give you,n said Artemus,
after rcgainng his breath, "a faint imi-
tation of the warriors cry rs he returns
to his wigwam, the scalp of his slain
enemy dangling in CORY ghastliness at
his belt
Another war-whoop; and thus the
scamp kept up his game for mile or
SO, until his friends got him at last to
his hotel
1t was in 1868 that "The Duke Mot
to- was first played in New York. 1t
had been imported--the English trans
lation by an Irish actor. Mcdonnell,
who intended playing "Lagardere.
VIM Wheatley however, who brought
it out, took the part of "Lagardere'
himself, casting Mcdonnell as "Carrick
fergus" While the piece was being
played the draft riots broke out, and
business fell off. to almost nothing.
Wheatley wanted to close the house,
but his contract forbade it, so he fell
sick conveniently, and McDonnell's am
btion was satisfied, he played "Lagar-
deren and Doyle, another of the COM
pany, acting "Carrickfergusn They
played, however, to less than would
pay for gas-bills, and at last Wheatley
locked the house up in absolute disgust.
Old man Salisbury, quaint musician
and Briton, was in the orchestra at the
time Some one said to him. why,
Salisbury, | see your house is closed
what's the matter? well, YOU see," he
replied slowly, "McDonnell, he under
took to play 'Lagardere,' and Doyle he
undertook to play Carrickfergus, and
the two undertakers have buried the
piece.
Indeed, almost all actors, who are
really welded to their profession, un-
consciously learn to think their life up
on the boards the real one and all else
only counterfeit and tnscl. This makes
them miscalculate the actual proper
ton of things, but helps them to be-
come delightful companions. Joseph
Jefferson, charming gentleman and the
most natural and unaffected of all ac-
tors is vet nearly as much an actor off
the stage as on--in both places, howev-
er, perfectly aware of the force of the
maxim "art est celare artem.N Some
actors, indeed, carry their art with
them to the very brink of the dark river.
Eph Horn, the famous Jester and min
strel, when he was dying was under the
generous care of big-hearted Tony Pas
tor. He suffered much, and Tony was
afraid his nervous system would break
down, Now, old man." said he, Il
know you'll do the best you can. All
of us have to face this sort of music one
day or another. There's no help for it,
You always were plucky chap, and |
know you amt going to funk now; are
you, EphP' "Well, Tony, no; | reckon
not There isn't any use in kicking
against the prcks; BESIDES" whispered
the old minstrel, with feeble attempt
at smile, "You know | always was
good 'eHd man And with that he
turned over and died. Baltimore Day.