The Sunday herald and weekly national intelligencer., 1891-06-28
ABOUT SUMMER RESORTS
Continued from NINTH paael.

made by the people In It; and Mr.. Jerome
dares to do that most wonderful of things
he make an excuse for Judas. It is that he
was poor. It is that although he sold his
Lord and master, though he committed the
basest of crimes, turned traitor and informer
he did 1t for the same reason that we are all
struggling to-day--to gain money. He did It
because of the gold, without realizing sense
of the dreadful thing he was doing.
WHAT POVERTY REALLY MEANS.
Maybe you know, my friend how hard It is
to be poor. IL you do, get this book and see
what jerome says about 1t. Maybe you don't
know what 1t is to be poor; maybe you have
got plenty of money. IL you have, then, for
Gods sake, let the people who haven't gain
some benefit from It.. Our prisons are filled
with men who became criminals because they
needed money; our streets are paraded by wo-
men with vice-hardened faces, with bold
Haunting manners, who have become what
they are because they wanted money. We
can't have an honest politician because of
money. We can't even have straight horse
race because of money. 1t gets all the most
beautiful things in the world, and 1t
brings down upon the world all the
most sinful 1 tell you, it's not easy
to be poor. 1t is easy to be poor in a
very grand way, and let all the world know
about 1t, and die in halo of unhappi-
ness that Will set the world a talking, and
then monument will be raised to you after
wards; but It's very hard to be poor when you
are pretty young girl and want party dress;
when you are boy and want to go to foot
ball match and have to stick in an Office
When you are woman and would like to
have home Of your own, and yet you live in
one room among strangers. When you are a
man and would like to take care of the woman
/ you love and can't do 1t because you haven't
got the money. Itisn't easy to be poor am
not making a special plea for Judas. I
haven't the ability of Mr.. Jerome. Pm long
way after him, but ask you, did you ever see
picture of Judas done by great painter,
And when say a great painter 1 mean one
who can understand the hearts as well as the
bodies of men, and who can think out the
why and wherefore and put 1t in their faces.
JEROME AND RUDYARB KIPLING
He made Judas look sensitive intellectual
man with just slight line that told YOU of
his desire for money. It was q marvellous
piece Of work and 1t gave the keynote to the
mans character. But there's no use nv saw
ing anything about this. just get the book
and then you will have q something that is
like rainbow, first one color then another,
always with hope in it while 1t tells of some
sad things and always with an undercurrent
of joyfulness that ought to make the books of
Jerome live when those of Rudyard Kipling
are forgotten. 1 think I've said it before-I
have fashion of saying over anything that's
absolutely true a grett many times--but
here's the difference between the two men.
jerome writes from an experience with
the world, what he has seen and what
he has felt. Rudyard Kipling writes about
the world as it has been described to him by
other people and all the cleverness and all the
cynicism will never make this sort of work
read as il 1t had heart throb in it, and it's
heart throb that leavens the whole lump
Goodness gracious! | haven't the slightest
doubt but if l kept on this way some paper
would engage me as book reviewer! Idon't
know how well should fill the position, but
should most certainly take all the books home
and keep them, and that believe is one of
the special duties of the man who praises or
damns book.
MAKING AN ACTORS HEART HAPPY.
Whoever started the idea that it was bad
form to applaud in the theatre? Whoever
did may be set down as downright cad.
And while New York is so eagerly anxious to
copy the English, 1t may be mentioned quite
casually that there are no people IN the world
who express their like or dislike for the play
that is before them as do the English people.
Boxes, stalls and pit all give their greeting in
their own way, and the pit doesen't hesitate to
hiss bad play, or an actor who doesn't know
his part, and very often it calls upon
the leading actor, who is also frequently the
manager to explain why he set such a poor
show before them. Well, now, you and 60
to see some good thing we are pleased, and
want the actor to know we are pleased. AS
we don't know him or her, we don't sit down
and write note saying so, but we can give
them the expression of approval they like best,
the applause of their audience, Sometimes
just one person appauding will give the cue,
to be sangy, to the whole theatre full of people
and make the actor'sheart happy.
THE CRITIC AT THE THEATRE.
Very often the play that delights the multi
tude is scorned by the critic, and yet, after all,
the critic is only one man, and the critic is
very apt to be a little influenced in his iudg-
ment; he is also very apt to discuss the play
In the theatre for the benefit OF the people
around him, and compare 1t faYorably with
other things he has seen, and he is not always
an agreeable person. The other night critic
sat behind me who hummed out loud every
tune the orchestra played, and made every
woman around him as nervous as the pro-