davidaulloa/AmericanStories huggingface dataset:
Wichita eagle., 1889-08-11


The position, opposition and carriage Of the
arms are, perhaps, the three most difficult
things In dancing. 1t Is a law Of nature that
when putting one foot forward or back the
arm on the opposite Of the body moves cor
respondingly with it. Observing this coun-
terpoising of the body as it deviates from the
central line Of gravity gives the dancer q
graceful appearance
There are two movements for moving the
wrists-upwa-d and downward When the
move Is to be made down, the wrist must be
bent inward, the hand moving in half cir
Gle and returning TO the first position, with
care not to bend the wrist too violently, as
it would then appear broken The elbows
move in the same direction, with the differ
ence that when the elbows bend the wrists
should also be bent, importing 70 the move
much grace. Learn 70 hold the arms ss best
accords with the physical construction. IL
short in stature le. them be higher than the
general rule prescribes, and II tail let them
be lower. A good dancer should omit moth
ing that may tend to remedy or conceal her
personal detecta
Let the point Of junction Of the shoulder
bone With the lower bone Of the arm be level
with the palm Of the hand, the shoulders low
and always motionless, elbows round and wei
supported, and the fingers gracefully grouped
together. Tie position and carriage Of the
arms must Be soft and easy. Let them make
no extravagant movement, nor permit the
least stiffness 20 creep into their motions
Beware lest they b terked By the acton and
reaction Of the legs; this Is great fault and
sufficient 70 spou dancer, what perfection
soever she may possess IN the exercise Of her
legs
The head should never be he'd exactly per
peudicular. hgt shc1N incline LITTLE 70 tha
Wichita eagle., 1889-08-11

material upon Carlo Blasis' Code Of Terp-
sichore," that was given to the world in ISIS,
when Blasts was principal dancer at the
Kings theatre. Mr.. Headlam puts his OBJ
ject in appearing as an author according TO
The st. Louis Globe-Democrat, as the wish
''to enable the public to understand better
than they do at present how difficult the art
of dancing is, SO they may more fully appre-
ciate dancers and their performances"
Under the head of general instructions to
pupils, the author gets down to the opening
of the business of his book. Practice is the
essential for perfection, and no other art de-
mands closer attention. Temperance in all
things must be strictly observed, and no other
exercise must be intermingled. Particular
attention must be paid the carriage Of the
body and arms, with their motions easy and
graceful, and always in accordance with those
of the legs. Equal regard musS be given both
legs in every lesson and exercise, so one may
not excel the other. Care must be taken to
acquire perpendicularity and an exact equi-
ibrium, with the performance correct and
precise, the steps brilliant and light, every
attitude natural and elegant. A sort of
abandon must be thrown into the positions,
the countenance must be animated and ex-
pressive. The dancer must be vigorous but
not stiff, rapid of movement, careful to bring
ali details into harmony, in exact concert
with the music, easy in execution and salts
fed with the style of dancing the figure and
physical powers are best suited to.
One of the chief things is to acquire facil-
ity of turning the legs out completely. To
this end relax the muscles about the hips that
the upper part of the legs may move freely
and the knees turn out. Practice Will bring
some wonderful results in such direction. The
bending Of the knee must be easy, precise and
elegant If the body is long raise the legs
higher than the general rules direct, and if
short let them be kept a little lower. Many
persons are what are called close legged, ard
as many others bow legged. Pains must be
taken as far as possible to remedy these de-
fects. The first is better adapted for the Sc
rious dance, and should preserve a gentle
fiexibility in her execution, never extending
the knees except at the examinations of open
ings, steps and attitudes. The bow legged is
better at character and humorous dancing,
and should endeavor to keep the legs well to-
gether.
The body should be, as a rule, erect and
upright on the legs. The chest should be
thrown out and waist held in with a gentle
bend and much firmness about the loins con-
tinually preserved during the dance. There
must be no affectation, however, as this mars
everything. The head, shoulders and bust
should be supported and encircled by the
arms in every movement, so that they may
present all together a graceful picture, the
legs participating in the harmony. In the
steps the body must be quiet, firm and I'M
shaken vet easy and plant,
Wichita eagle., 1889-08-11

cOurag III IL Oh
success, with but small incentive to pursue
theory to the end and make of the theory
living and palpable fact. Wagner's whole
life was devoted to the establishing Of his
theory. 1t was life Of protest. He was one
of the most berated men Of his time.
Not until the great wave of approval which
swept over Europe in the early part of the
'70s did the critics do him justice. 1t was
a great reaction. Wagner societies were
organized in every large city of Ger
many. Men who from sheer pertinacity,
mingled with a fanatically conservative dis
inclination to accept anything that was new
and swerved from established criterions, be-
came the most ardent enthusiasts over what
was then known as the music OF the future"
but what is now more aptly termed the music
of all time. Wagner never composed any
thing for the mob. When he first went to
Paris friendless and absolutely without any
tangible future before him, he was well quail
flied to compose any number OF fOrid, tin
selfish operas that would have captured the
town and put money in his purse. But the
idea was revolving TO him. He preferred to
live in garret and perform for pittance
such musical drudgery as the adapting OF
comic opera scores for the cornet piston
Nearly all Of the music that he wrote while
in Paris was rejected as being too tantasticaL
When Wagner had composed "The Flying
Dutchman" Ito which he was inspired by
an intense appreciation of the wonders of the
sea-, an opera which, although morbidly
gloomy, contains some Of his most noble
music, the public was SO bewildered by the
composers daring departure from all estab-
ished rules that it was undecided to
whether the innovation should be strangled
or applauded. So it remained passive. But
when Wagner offered to it the splendid har-
monies allied TO the sonorous and significant
Wichita eagle., 1889-08-11
WAGNER'S VILLA

poetry Of ''Tannhauser;" when 1t had listened
to the marvellous 'Lohengrin," (" teeming with
haunting strains of mystical meaning, and
when he composed Tristan and Isolde, a
profound work which deals with conditions
of human life that have passed away many
centuries since, and the music Of which Is an
absolute defiance of all rules and traditions
when these great operas were fairly thrust
upon the notice Of public whose palate was
becoming jaded with the mechanicalness OF
the existing opera, they inspired an apprecia-
ton and an enthusiasm not paralleled IN the
annals Of music.
Wagner's theory of the true mission Of
opera was the development of a vague idea
which he conceived when but a boy. The
vast influence which the works Of Byron ex-
ercised upon continental Europe during the
first half Of this century had the effect OF
creating an interest In English literature,
and Shakespeare particularly was carefully
studied When Wagner was still In his twelfth
year he was an enthusiastic adulirer Of the
Bard Of Avon His two heroes were Beethoven
and Shakespeare He resolved TO compose
an opera, the music of which should be as
great as Beethoven's, and the poetry as great
as Shakespeare's he set TO work and pro-
a
ton Of "King Lear" and Hamlet" There
were over forty deaths in this remarkable
tragedy, and in order 20 have enough char
acters to finish the story Wagner says he was
obliged TO bring back upon the scenes tbs
ghosts Of the Gead characte-sl But this IL
cideu. represents tie Hrst crude formation q
his lheory, which, briefly stated, IS that
there must be perfect union Of the music
with the acton CT the drama
The drama must not be mere auxiliary Of
tie music-simply q thread upon which TO
hang certain number os sriAs and duets for
soIoistx Any nDs who reads the Ebresto OK
one Of Wagnsr's opera VII recognize the
raas.ertul touches OF poet And tie music
Is IN exact accord with every variation of
tie story. Every Passage, almost every
noee, has, when taken In connsctson with tos
development Of tie drama, . roeaEtng OF ~
own When tie curtain falls On the frsi
scene Of ''Tannhauser. for instance. tie mn
&c, instead OF ceAxsng Until the beginning OF
the next scene. Is continued vithoc. any In
termis.oo, and when the curtain rises On tie
splendid wartbzrg scene the music kaz paved
the way for toe progression Of tbe story By
forming kind ot karraonicl fo-eETo0nd
Bayreuth. where W aSnsr bzfis his great
festival theatre, and where he Eaperv.sed tas
production os tie works of BIS mature gezsiEs,
Is quaint. rustic little towE = BAsaTiA, "a
the is<s bAak O. the Fed Main Iesfs are
three palaces tn tie town Tho Hermitage
palace "a o fAncis1l building. vbere Frs1<rick
toe GrsAt and his Es:er. ths kA-grAvins of
Bavregfe, resided An eIoe.ssn. hroES1 s-a-
tie q Jean Paul Richter. he paalo-ooSes.
Wichita eagle., 1889-08-11

comedian, Junkornann, who was on this sids
Of the water last year and entertained nu-
merous German audiences Wen. 1t seems
that In Chicago there are great many ad.
mirers of the German peoples poet. and they
have got together and raised "A subscription
and propose 70 put up the monument whether
or no.
The people who are opposed q It argus
that il would bo Just as sensible for lot oi
Americans over in Berlin. for instance. &c
put up n monument 20 the memory of james
Whitcornb Riley. But there is ono thing
that perhaps they haven't thought u, and
that Is that there are a good many NOR. Ger.
mans In Chicago than there arc Americans In
Berlin and, in fact, Chicago is IN large part
German city. At any rate IL seems likely
that the Germans will carry tho day. and
that by and by people who walk through
Lincoln park VIII, after they have taken .
good look at the statue q Schiller which
stands there now, pas on % that ~ Reuter-,
and wonder ''who ia the mischief that fel
low is 4"
Wichita eagle., 1889-08-11

SCORES BY THE CRANKS.
prehensive score by taking in base hits and
bases on balls. No. 3 is specimen of his
memorandum. He always has a sharply
pointed lead pencil, and he can, by neat and
small marks, have clean and useful score
The strictly private or very exclusive score
card is unsatisfactory often to the maker and
always to the overlooker You can see an
example of 1t in No. 4. For the time being
it may be sufficient to prevent a repetition of
the frequent inquiry, LET me see your score
card, pleaser by the careless scorer after
visits to the bar, but by a few observations
its key may be obtained What earthly rea-
son the scorer had for using A. NJ. and 81. in
scoring the outs of ORourke, Ewing and
Ward in that particular inning is known only
by the maker Of the score and the maker of the
scorer. Almost any other score card on the
stand would give the key to the characters,
but the underlying principles that actuated
the use of them are mysterious The excit-
able scorer often gets mixed, especially If he
tries to record more than runs and outs See
what hieroglyphics there are on No. 5. His
card is always dirty and crumpled, and his
errors outnumber those on the field. The
comprehensive score is readily understood by
the average spectator, and was explained
with pleasure by the maker. No. is an IL
lustration of it. Beginning with the first
man at the bat in the inning referred to the
score gives O'Rourke 0, with a small num-
eral close by to indicate the first out. Then
Whitney is credited with base hit by a dot
in the upper left hand corner of the square or
first base. II it had been a two base hit it
would have been indicated by a dot in the
upper right hand corner or second base; if
three base hit, by a dot in the lower left
hand corner, and if home run by dot or
small II in the lower right hand corner.
If be had stolen the second before Crane
advanced him by base hit, the feat would
have been indicated by S in the right hand
corner, or second base, but the advances by
Crane and Gore, who made base hit, are not
indicated except by leaving blank the other
corners of the square. The runs are indicated
by Il, the larger the better, unless the team
is in batting streak, and player goes to bat
more than once in an inning. Tiernan took
first base on balls, and the fact is indicated by
a small B in the upper left hand corner or
first base. Ewing was the second out, and
Connor took his base on balls Ward tried to
bring in the men on the bases, but he popped
up e fly that was easily caught The various
plays are easily distinguished in this score,
and the method is not toe complicated for
general use It Is wiser TO not attempt to be
extremely comprehensive by recording the
errors, wild pitches, assists and other plays
Wichita eagle., 1889-08-11

There are no proscenium boxes, no visible
footlights or orchestra, no prompter's hood.
Those who are accustomed only 10 the dis
tracing architectural accessories OF an ordi-
nary theatre can hardly conceive, perhaps,
how greatly the effect OF any scene is en-
hapced by It's thus being, SO to speak, the
only thing in sight. And In a house 80 built
no one can possibly do aught but look and
listen to what is on the boards. II is not
show place for the audience, but darkened
hall whittier the audience comes for the sake
of the opera alone. The musicians sit in a
kind of ''moat," which runs across the the
atre between the stage and the audience, and
they are entirely hidden from view. This
concealment OF the orchestra is an equally
fortunate arrangement The power of the
music is increased by its thus seeming the
work of invisible agents, instead OF piping,
putting gentlemen in non-dramatic garb.
And the whole volume of sound comes TO
the ear with far more unity and precision Of
effect
The stage is 100 feet wide by 103 feet in
height and So feet in depth. Back OF this is
another stage of 50 feet in depth that is only
used on extraordinary occasions. The scenic
arrangements, as is necessary IN the produc-
tion of Wagner's operas, are probably the
finest in the world Many novel effects are
introduced For instance, in ''ParsifaI, the
old knight and the boy Parsifal appear TO be
walking through deep forest to the castle
of Montslavat But In reality it is the scenery
that is moving past them. sometimes entirely
hiding them from view, and they are finally
seen 10 emerge from the wood and enter the
grand hall of the castle, although they have
not once left the stage. The shifting is mar
velously we'll done, and the illusion Is com
plete-
Lovers Of music from all over the world
assemble at Bayreuth during the summer 70
hear Wagner's operas The price OF seats Is
twenty marks, or s. each, regardless Of loca-
tion. 50 those who apply first get the best
seats. There are usually fourteen or sixteen
performances, spreading over a period Of
four or five weeks The performance begins
at half past in the afternoon, and continues
until half past 10, with two intermissions Of
an hour each, during which the audience
leaves the house and walks around the spa
cious gardens, or dimes at the nearby restau-
rant When the tetraIogy Is given the per
formance lasts for four days, one opera each
night Leaving aside certain pa<ages in
Tristan" and Die Meisters.ngsr," which
Wagner never surpassed, the tetralogy is
considered his most complete and in many
respects his greatest work.
Wichita eagle., 1889-08-11
FRITZ REUTERS STATUE.
Germans in Chicago Propose to Put IL Up
iu Lincoln Park.

Germans in Chicago Propose To Put IL Up
in Lincoln Park.
The name OF Fritz Reuter- is at present oc-
cupying the attention OF the German popn-
lation of Chicago They propose 10 put up a
monument 70 his memory IN Lincoln park,
but il seems there is sorle opposition 20 the
plan. The monument, however, a cut of
which is given with this article, Is in the
process Of manufacture, and it seeEls prob
able that the Germans viii have their way
The great question Of Who Is Fritz Reuter-
that there should be a monument erected 10
his memory in Lincoln park has been asked
many times by the American population of
Chicago Well Fritz Reuter- was German
poet. He was born In Mecklenberg in Isio
and died in Saxony in ls7A and his specially
was the Plattdeuttsche dialect. BE stands In
Germany in about the same rank that Wul
Carleton, James Whitcomb Reilly, Bret
Harte and John Hay do In this country. He
Is the poet Of the common people, and some
Of bis characters are acted bT the German
Wichita eagle., 1889-08-11


q disagreeable effect in the latter, who must
shine and delight by bright steps and grace
full motions, and by a modest voluptuousness
and abandon in ali their attitudes.
NEIL BURGESS.
The American theatre going public has
been spoken of as being demonstTative, but
not affectionate. There are, in truth, not
very many actors and actresses on the stage
in this country who have really inspired
their audiences with that kind of personal
regard that is said to be SO common in Eng
land. Among the few, however, it is safe to
say that Neil Burgess is numbered. The first
news that the accident by which he was sc
frightfully burned at his home in New Jer-
sey not long ago would prove fatal probably
caused many person momentary pang Of
sorrow who had never seen him of the stage,
who only knew him with the glare of the
footlights in his face Later, when the doc
tors said he might possibly live, his many adj
mirers fetched a sigh of relief, which was
intensified still later when the news that he
was on the high road to recovery was sent
out. This last pleasure was tempered how
ever, by the statement that Burgess would
never be able to go on the stage again; that
"Josiah Aliens Wife" would henceforward
be obliged to send her homely wit to cheer
mankind through the lips of some other and
probably less genial actor, and that the
"Widow Bedott' must in the future, for a
time at least, be presented by a stranger
Burgess was born in Boston forty-three
years ago When he was still youth he
Wichita eagle., 1889-08-11

cess. His work was artistic, not mere bur-
lesque. Mrs. Barnaby Bibbs in "a Quiet
Family" took so well that he had play
written which allowed him to guide his mirth
In his own way. 1t was "Josiah Aliens
Wife" D. R. Locke (''Petroleum V. Nasby'1
then dramatized for him his own 'Widow
Bedott," which was first produced according
to The Clipper Annual at Providence, r. L.,
March %, 1879, and was seen in New York
at Haverlys March Is, 1880 He brought
out vim; or, Josiah Puffy's Wife," bis
former Josiah Aliens Wife, rechristened,
at the Bijou Opera house, in New York,
March &C. 1883. By a curious arrangement
IA kind Of treedmill in Vim" he appeared
20 ride horse at full speed In 1880 Neil
Burgess married Miss Mary Stoddart, q
niece Of j. q Stoddart, Of the Madison
Square theatre.
Wichita eagle., 1889-08-11
Cement for Broken Iron.

BIZ a new method OF cementing iron the
parts cenented are 50 efectually joined as &c
resist the blows even of a sledge hammer.
The cement is composed Of equal parts of sui
phur and white lead, with a proportion o,
about one-si1th of borax- When the compo
sition is to be applied it is wet with strong
sulphuric acid, and a thin layer OF it Is placed
between the two pieces of iron, which are at
once pressed together. In FIVE days it viii be
perfectly dry, all traces OF the cement hav-
ing vanished and the work having every ap-
pearance of welding.-Nev York Telegram.
Wichita eagle., 1889-08-11
SCENE mrARsrrAr.r

coming in the Instruction they receive and
the pleasure in which they share, and in the
universal fame which can in no way be %
quickly and completely gained as by Bay
reuth triumpts
three Of Wsgner's greatest operas Tristan
and Isolde" Die Meistersinger" and 'ParSi-
faln-win be sung, and preparations on
grand scale have been rnads. A larger crowd
than ever before is expected to be in Bay
reuth during the season, and the list Of sing
ers who have volunteered their services 10
scarcely less than q list Of ths pre-eminent
vocal artists of the world
Wichita eagle., 1889-08-11


older organizations, and at the close Of the
year there was quite demand for his SER
vices, but the Detroit club managed to get
him. He played In number of exhibition
games in the fall of 1856 with the Detroit
team, and did exceedingly well 1t was then
predicted that he would certainly make a
very brilliant player He played in twenty
championship games during 1887 with the
Detroit club, nineteen Of them at third base
and one in the out field
In the spring Of 1888 Manager Barnie, Of
the Baltimore club, purchased Shindles re-
lease from the Detroit club and placed him
on third base, where he played remarkably
well, and did even better than his most san
guine friends dared to hope for. He led all
the third basemen of the American assoG;a-
tion for 1888, with fielding average Of .919.
In 135 championship games he accepted COG
chances. Shindles batting record for 1888
in the 135 championship games, was ZIG He
is playing in brilliant form this season, both
in the field and at the bat. He covers con-
siderable ground, and tries for every ball hit
within his reach, and is also very swift and
accurate thrower. That he is one Of the best
professional third basemen is shown by the
high rank he has held each season in the official
fielding averages. He is also q clever base
runner, being very feet footed
SCORES AND SCORES OF SCORES.
Perhaps no two persons ever keep base
ball score alike, and it is interesting to note
some of the different cards kept at a game.
The same general system applies to all, but
the variations are infinite. There Is given
herewith six examples of scoring at game
between New York and Pittsburg The
fourth inning was particularly lively, says
The New York Sun, three base hits, two
bases on balls and two runs being the feat
ures. The difference between the methods
of individuals could not be more striking
No. shows the runs by cross marks and ths
outs by numerals. 1t is very simple, and al
lows the scorer to see at a glance how the
score stands, but the information conveyed
is limited.
The very simplest, as shown in No 2, has
only a single mark for each run and small
circles for the outs. Women take great sat-
isfaction in being able to make this score. The
boyiSh enthusiast tries to keep more COM