The Worthington advance. [volume] (Worthington, Minn.) 1874-1908, 1891-11-12
PuNcENT PARAoHAJHsI

smile of pretty girlsi when is Is di,
rected towards some one else? Bing--
hamton Republican. -
Deacon smith - what kind Of =
collection did we have to-day?'' Par
son Brone-.'A collection Of. smisers, i
should judge. Lowell Citizen.
Frank {pleadingly)-"1 never kissed
. girl before in my life. . May (coldlyl
Well. Haven't advertised for appren-
tices, have I?"''--N. Y. Herald. & E:g<t.g I
-Repartees-''Yonr generosity takes
my breath away said the sarcastic
beggar. We'll. you can spare II, re-
turned the pedestrian. Y. Truth. =
Mrs Cumso-"Here's m account Of
man who tasted forty days" Cumso
--"He was q merchant who didn't ad.
vertise, suppose. - - Detroit Free
Press. 80 Ss'T ,@.' <4: =. >''E
-Squeers-''Did you enjoy, yourself
at the theater last ni2ht?". Nickleby-
"Well, should say so-they' We changed
the jokes on the programme since last
season."--Boston News. = II =
"A Dog Without Price. -Tomson lex
hibiting dog)-'I wouldn't take a
thousand dollars for that dog John
son-''No, fancy not-except from
drunken man."-Yankee Blade. !:
-"How do you get along with your
French, Litehedd?'' very we'll; I've
got SO far that can think in French
now" ''Gracious! You must find it
superior to English. IN. Y: Press.
A Liberal Fee.-"You have forgot
ten something, sir" said the waiter, as
the diner was leaving. Keep it.. for
your honesty" replied tho generous
MANN. Y. Sun. >,, & -
~ like fun as we'll as anybody" he
said, pleasantly, ''bnt I always take
care to know just how far to GO"
YES" she answered, with q yawn,
"but not how early.'-Washingto
Star
'-''Now, Mr.. Higgins" said the host
ess, II want you to behave just as you
do when you are at home" "Waal. eff
he does put in Mrs. Higgins, Il wont
stay here minute. I've come away
for rest."-Harper's Bazaar.
1T is too bad that the bristles in
handsom hair brush like this do not
last as long as the back" said the Wis:
itor to Johnny's mother. ''They WILL"
put in Johnny, ruefully. INA uses the
back O. that brush good DEAL
| -Jinks-''Why do you offer such a
large reward for the return of that
contemplate pug dog?" Winks-"To
please my wife" Jinks-'But such a
reward will be sure to bring him back. ~
Winks-''No, it:won't. He's dead" e.
Miss Summerby ION the beach)-
''See how dreamy Mr.. Veycashun is!
O, Mr.: Veycashun, do talk! Are you
listening to the pillows as they surge?"
Mr.: Veycashun with rt)-"Serge,
serge? No, madam, we're all out of
serge; but-O, beg your pardon! Yes,
er, delightful, Observation-Disclosures
News
Antique Young Lady-"You see,
my dear count, l often sit under this
spreading oak ON warm weather even
ings and compose my brightest songs to
the rustling of the leaves. 1t is my IA
vorite spot in the whole park" Count
All! / understand; probably made
moiselle planted the oak herself:'-
Feuille D. Avis
Man Was Ever Thus.-Bumpus-
cts no use! can't sleep with that dog
of Van Smiths barking all night" Mrs
Bumpus-''That isn't Van Smiths dog;
it's our dog. my dear" Bumpus-''Are
you sure it is our dog?" Mrs. Bumpus-
Eyes, I'm positive it is our dog" Bum
pus-"Well-er-all right-good night
Brooklyn Citizen.
THE JAPANESE mo" DANCE.
An ontlandi.h Performance by Automa.
ton-Ltke Actors.
The No dance of the Japanese is
wholly artificial, the movements of the
actors being as stiff, stilted and meas.
ured as the classic idiom in which the
dialogue is spoken and the ancient and
obsolete ideographs which set forth the
synopsis of the action. Confined to
yashikis and monasteries, the No was
for the upper classes, who alone could
understand its involved and lofty die
ton and intricate symbolism.
The No is a trilogy occupying four OF
five hours of three successive days. The
first set of scenes is to propitiate the
gods; the second to terrify evil spirits
and punish the wicked, and the third to
glorify the good, beautiful and pleasant.
The dramatis personae are gods god
desses, demons, priests, warriors and
heroes of early legend and history, and
much of the action is allegorical.
by long, open gallery at the left the
actors approach the elevated pavilion
or platform of the stage, which is with.
out curtain or scenery, and almost with
out properties. The costuming is superb,
many of the rich, century-old brocade
and cloth of gold garments having de-
scended several generations
The actors enter at a gait that out
struts the most exaggerated stage stride
ever seen, the body held rigid as q
statue, and the foot, never wholly lifted
sliding slowly along the polished floor.
These bucl<ram figures, moving with
the solemnity of condemned men, utter
their lines like automatic, not muscle
nor an eyelash moving, not flicker OF
expression changing the countenance.
The nasal, high-pitched and falsettc
tones are unspeakably distressing, and
many performers have ruined and lost
their voices and even burst blood YES,
sells in the long-continued, unnatural
strain of their recitation. The children
who sometimes take part, equal the old
est members in their gravity and me
chanicalness.
In some delightful scenes the demons,
with hideous masks and abundant
wigs of long, red silk hair, spread de.
liberate and conventional terror among
the buckram grandees; and, stamping
! the stage wildly, leaping and whirling
relieve the long-drawn seriousness Of
J the trilogy 1t is only when all the
performers are without the ancient
lacquered masks that the scene is to b<
imagined as a light and amusing farce
while the roars of the audience are
elected by stately, ponderous and time
honored puns, and plays upon word.
that foreigner can not appreciate
Cosmopolitan.
THE USE or GRAPE.
J Tho French Woman Makes Much Of 1t II
q nj 49,