The Providence news. (Providence [R.I.]) 1891-1906, 1897-01-27
THE PEBBLE ON THE BEACH.
The Origin OF the Expression Now Popu.
lar All Over the Country.

You're not the only pebble on the
beach Is an expression which has been
made familiar on the stage in variety the
aters OF New York and other cities since
tast summer, and 10 is traceable to no more
substantial origin than chance remark OF
one female duettist 20 another, with whom
she had quarreled IN Coney Island, and q
more masculine variation Of the original
remark is 10 be found IN the expression,
YOU 're not the only cnder In the heap. -
a chance expression having some claim 70
enduring popularity is sure OF long life II
made the refrain of "A popular song, aud
such has been the fate Of the only pebble +"
| Here Is the first verse Of the song,
When you see pretty maiden who has turned
seventeen,
You think you'd like to win her for your
wife.
Don't start the game by saying shes the
sweetest thing you We seen
young girls hearts the strangest thing Ia
life.
Don't let her think that you are sure to Offer
her your hand.
She'll like you better IL you're out Of reach.
NO matter how you love her, give the girl TO
understand
She's not the only pebble on the beach
This verse is rather more philosophical
than gallant, as the first verses of popular
songs are apt TO be- and the second verse
seeks apparently 10 make amends for this
defect by calling the attention OF the audi.
ence TO that rare subject Of complaint the
neglect of men In street cars 20 give seats
TO beautiful and stylishly attired youn,
women However that may be. these are
the words of the verse:
While on board crowded hcrse car on warn
and sultry day
saw maiden overcome with heat
sIe Stood there fifteen minutes while q man
not far away
Was occupying twice his share OF seat
AS she gazed ut him with injured look sbe
said in accents low:
Look here, my man, moral I will teach,
Though You have paid your nickel, there are
Others, don't you know
You're not the only pebble on the beach,"
Much as popular songs may vary in ar.
rangement, the ingredients which 20 to
make up one are almost invariably the
same-in pathetic song, love unreauited.
homesickness, false pride, hopefulness of a
wanderers return, confidence in the fidel. |
ity OF an absent loved one and chaprin at |
the wiles of a villain: in comic song. the |
Of travel by street cars. femi. |
ninc flrtations, family jars, the irate parent |
who rebukes the tardiness of engaged cou. |
pies and the plight of man who finds in |
a restaurant that he has less money than
the bill calls for. The third verse of the
song of "thc pebble on the beach" seems to
be "a criticism of phrase of masculine sim
cerity and feminine duplicity which ought
to be very rare and probably is:
live opposite maiden. and know her steady
beau.
He tells me that she loves no one but him.
DO buys her all her dresses and her jeweIs |
don't you know.
In fact, he gratifes her every whim.
DO is sure TO call on Sunday; through the
week he's on tho road.
i really think he loves the little peach.
he could SEQ the rush on Monday night |
think he'd know
He's not the only pebble on the beach.
One of the advantages of modern songs
Il " the pebble on the beach" variety is that
hey may be extended almost indefinitely
y the addition of new verses, or, If the
udience be not cordial and appreciative,
nay be cut down with equal ease.-New
lork sun |