Daily press. [volume] (Newport News, Va.) 1896-current, 1898-07-17

con0rol OF the situation. pitIed him,
poor fellow, pitied him so hard that I
broke tho pearl handle of your dearest
friends fan when you exchanged smile
of perfect understanding, which included
Dalrylnple and myself in its seemingly in
nocent unconsciousness Of greeting.
| wonder is that peculiar soft light in
your eyes tonight? Are the curves in your
figure SO distractingly lovely? Are your
lips us red, so fit, SO unwilling to be touch
ed? Are you gowned in blue or white or
in one Of those indescribablc tints that you
1 wore, do you remember at the Eyclins' {
| tea?
You seemed astonished when walked.
| in that afternoon. You didn't know I
cared for teas You Thought they bored
me-" Bore mo, and you thcrc-you CO.
| quoting with IL long haired, ritualistic 5
| O'Clock tea victim, vowed to celibacy who
ate tlozcns of waters with /, healthy, I'M
| aesthetic appetite and looked at you rs if
| you were ~ Mary just stepped from q
| shrincl
escorted you to your carriage that day
do you rcfncnbcr on one side Tom
| Hastings was on the other. You ''didn't
know he cared for tens You Thought
| they bored him"
| Well, it was something to see you, to
hear your knocking voice, even in that UNI
! satisfying way; to gazo at you through q
|
| you breathing your accuEtolncd at1nos-
pherc of adulaton, moth laden. We
couldn't stand heaven all at once. We
| would have to be prepared for it by degrees,
gll1npScs, hastily closed doors, quick shut
! gates else tho wonder and glory OF it
would evcrastingly dim our sight.
And our goodby! You hoped I'd like
ranching." You We're sure it must be
great fun You hoped I'd be back in
| tilpr fpr hn En
of my attempts ut seriousness! How you
surrounded yourself with Il Chinese wall
| OF frivoliticS and witticiSms! How
| My God-dcar! Enough of this testing!
Don't you know why l went away? Did
not you know it then, that day when I
laughed farewell, With u white face and
tight drawn lips? Can't you read II man )
heart or have you played with them too
long? Are you like the child who has to
break his plaything before he knows it has
an inner life, mechanism of soul?
Here under the unfatholnable heaven;
here where nature mockS ut Superficali-
ties, ut atfectations, ut the sheath plating
of callous worldlincss; here where man
can dare to bc himself; here l can tell
you What l was too weak, too proud, too
inpatient of self to tell you. What do +
care now If you only laugh? What do I
care If am only another victim like poor
Baldwin, who shot himself cleaning his
gum just after you had refused him. and
Goodwin who has taken orders of the Der
pctual
You have checked me, silenccd me-
laughed Mt me, sent me away for the last
time. shall tell you l love you'll l love
you! l.
I must stop. The horses are uneasy, and
/ will quiet them. The COWBOYS will not
| hn iii l1rlpt} Eha1- h,y b,,,,
day, and they need the rest
That's right Dick, old boy. Just lift
me Il little Easy there. Now thuts all
right.
This isn't y heroic way to die 1t isn't
even commonplace. We've been afraid OF
Indians the last few days. There was a
rumor that tho Ncz Pcrccs were around
When Dick woke and saw /; solitary figure
near the horses, he didnt wait for oxpla-
nations The cowboys always shoot first
and explain after. He sho5 haven t hun
IL minute or two longer to live. can feel
it going-all-the lifc-the hopc-the de.
sirc-sensc-feeling- but the
pain in the wound-the sickcning nausea
that comes ut the sight of blcod-one's
own-and the ache in the hcurt--for you
\ 1 have made moss OF my life, but can
die game. Perhaps there is some forgive
ness for one who meets an ignuble death
brAvely. e 7
VIII you ever give me IL thought? If
you get this just as you are dressing for q
pail, will you go just the same? Will YOU
between the two steps tell yourr. rtner the
shocking story, punctuatc it with signs
for tho loss of AN acquaintance whose step
suited yours SO We'll laugh at the ridicu-
louS--"nd shot by |. cowboy i'll mistake for
an Indian.
Perhaps we shall meet again Who
knows-all the things l have thought rot
and laughed ;lt-thc soul historics--nay
be true. l shall soon find ouu-other
heights in other lives may be- If l could
but see you oncc-thnse cycs-it would
pay me for all thu loneliness, the l;lin, the
dread You couldn't help being beauti-
ful, and l, u fool-sonc other time per-
haps-this can't be all.-Criterion
chiaroscuro-Its Effects.
The term which artists use to designate
the distribution and blending Of tho lights
ana shadows in picture and also the gen
ertl effect produced by their infringement
Is 'charoscuro." This word or term. ia
lladc up OF TWO Italian worlds one signi-
lying light and the other shadow The
worn does not mean light and shadow, but
inc nrt OF representing light in shadow
ana shadow i'll light SO that the parts OF
the picture i'll shadow shall have the clear
ness ana detail OF those in the light and
those III the light shall have tho softncss
ana roundncss of those iii the shadow. By
striving for 'chiarosc,lro'' in photoerapby
we obtain-if we succecd-the effect In
plack ana white which the artist gets Ly
means of colors
The effect of chiaroscuro' in a photo.
graph may he seen by comparing two pic
cures OF the same subject, one taken ut
hlgh noon, when the shadows are strong
anc directly beneath Che objects, and an
, oshrr t''Ecn ~ the carly morning or late
afternoon. when the shadows are lonr ma
SOFT. IN the first picture the shadows viii
appear :s black patches and the high lights
harsh and chalky, the contrast between
the light and shade being sharp and un.
pleasant. In the second picture tho OBJ
Jccts III shadow will havo us much detail
\