The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1897-11-30
Mr.. HOPE READS HIS OWN
PLYMOUTH CHURCH WAS PACKED
TO THE DOORS TO HEAR HIM.
His Pronunciation of "Zenda" Names
Differs from That Essayed by
Actor SOthern.

Anthony Hope Hawkins stood before an
Indianapolis audience of literary people last
night for an hour and a half Mr.. Hawkins
was the guest of the Century Club, which
had sent out l 500 invitations to it's friends
The response was promptly unanimous
that Plymouth Church was packed to the
doors An enterprising theatrical manager
would have hung out the legend stand
ing room only long before o'clock. Every
body was admitted who presented an in
vitation, and the result was that many peo-
pie stood up all evening and seemed glad
of the opportunity.
1t was representative audience, and
there wasn't the slightest sign of
frost" 1t may be said that Mr..
Hawkins was received with mild en-
thusiasm, for the audience laughed
wherever mirth was intended. Indianapolis
people who go to lectures are never violent
in their approval of anything good Cen
eral and Mrs. Harrison occupied seats we'll
to the front last night, and enjoyed Mr..
Hawkins. James Whitcomb Riley was also
in the audience. Mr.. Hawkins was intro
duced by Ernest p. Bicknell, member of
the Century Club. Mr.. Bicknell related
humorous story that set the audience
laughing before introducing the author. Mr..
Hawkins entertained the audience by read
ing from his own stories. He gave four or
five selections. He is absolutely devoid of
what may be called "mannerisms." While
reading he stands as he pleases taking
whatever position suits his fancy. Although
he keeps the book before him at all times,
he tells the story rather than reads it. He
reads in the most natural manner, and
there is no suggestion of elocution.
The authors first reading last night was
the story of The Philosopher in the Apple
Orchard" Following this Mr.. Hawkins
read from THE Prisoner of Zenda." He Sc
lected one of the tender scenes of the play,
the chapter entitled IF Love Were All" 1t
is the last meeting of Flavia and Rudolph
Rassendyl. AS explained by the author, the
real King has been rescued from the castle
at Zenda and the work of the young Eng
ltShman in Ruritania is DONE In the twi~
light he steals into the palace to say fare
well TO Flavia. Here the author puts oil the
pathos of his soul into the story. Those who
distressing hour Of parting between the
young Engishman, who is giving up
great love for honor. flood of pity must
fill the hearts of all for the love-lorn prin-
cess as she clings to the man-her hero.
Mr.. Hawkins reads the chapter charmlngly.
From the pathetic scenes of 'Zenda' the
but altogether lovable Dolly" 1t is in the
Dolly Dialogues" that the author is at his
He ave a THREE f feeeoRs fr 6e
tween that capricious young woman, Miss
| Dolly Foster and that interesting young
man Of the world. Samuel Traverse Carter.
Here Mr. Hawkins shows the feminine side
of his nature. He is. familiar with Dolly 5
varying humors. In fact he knows her like
book and his Interpretation OF this
volatile young lady was a particular delight
to every woman in the audience: The
Dolly Dialogues" were received with great
favor Mr. Hawkins did not read from
"Phroso" last night and overlooked the
Princess Osra'' stories.
His pronunciation of some of the names
in The Prisoner of Zenda" was surprise
to most people who have seen 1T played by
Sothern and other actors. In using the
word "Ruritapia the author ,l h pE calls 1t
MIA > Mr.. Hawkins refers to the princess
with long "a He calls her ''Flay-via."
Sothern the great American authority, says
.'F]ah-via," and many people pronounce It
"Flav-via" The Indianapolis people Will
doubtless accept the Hope pronunciation, as
there is no better authority. During MS
reading last night Mr. Hawkins made no
speeches except TO announce the particular
work from which he, would read.