davidaulloa/AmericanStories huggingface dataset:
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20
NOBODY STOOD LIP

Old street car conductors sometimes
have a great deal of trouble with their
understudies.' 1t is the custom of the
| Indianapolis company to break In new
| men by sending them out over the lines
| with experienced employees who have
| been long in the service. This is done in
order to train the new men to act as sub
stitutes or extras" Recently a Bright
wood line conductor had one of the new
men in charge. On the first trip the be-
glfner WIS shown how to collect fares.
how the rod connecting with the indi-
Gator should be manipulated to show a
ticket, how 1t should be worked to irdi-
cate a cash fare and how the trip re-
ports should be made out, in the mean
time teaching him the names of the
streets and when 30 call them. On the
next trip the understudy thought he had
learned his part so well he asked perms-
sion to rim the car himself under super
vision. The old conductor watched the
new man collect the fares and saw that
he missed a number. When he returned
to the rear of the car he was informed
that he was five short-that there were
thirty passengers and he had collected
only twenty-five fares. without waiting
for further advice the new man nut his
aead iE the door Of the car and shouted:
''All who have not paid their fares will
please stand up"
Not q passenger moved Perhaps they
were too amazed-prohably as much as
tonished as the old conductor The silence
was becoming almost painful. Finally a
suhurbante nuoged his neighbor and
asked MIN why he didn't stand UP.
Cant lie," was the reply I'm hon
est. PAID my fare"
BY this time the hunor OF tho situation
began 20 dawn upon the other passengers.
The men laughed and the women smiled
all except five girls in the front part OF
the ca, who We're so busy talking they
had not heard the new conductors
stand-up" order nor Witnessed what
followed. One Of the girls mad n bunch
of transfer tickets partly concealed In q
glove. The old conductor knew w.ale
the missing fares we're and had Intended
to tell the new man, but the latter did
not give him time. The incident was
enoed by the Old conductor walking to
the laxative girls and saying Fares,
please es If nothing had happened. The
transfers were surrendered without the
girls knowing an attempt had been made
to introduce an innovation N street car
ethics
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20

and that only Frenchman can
do without it,"
We French people are pecu-
liar people. When we travel we
carry cur own soap in our
trunks. and we should have as
much objection to using a piece
of soap which was used yester-
day. perhaps by-well, never
mind whom by-as We should to
using an old toothbrush that was
lying on that washstand. Ma
tons are not better or worse
than others, they are different.
Some like secondhand soap.
Some do not.
Old-fashioned people in France,
even those who some time ago
did not battle as often as they
should, always felt great repul-
sion at bringing in contact with
their bodies anything that had
touched other peoples bodies.
| know any amount of French
ladies who, when they start on
a journey, either to alight at ho-
tells or in the private houses of
friends, take in their trunks a
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20
STAGE TEARS ARE
NOT ALL FALSE
BY MRS. LESLIE CARTER.

You tell me that Professor Melinaud
says that actors are never real, that we
, pretend to cry, and that even II we are
able to shed tears, we do not feel any
emotion whatever that we are just play
ing a part pronouncing the words and ex-
| hibiting emotions in a purely mechanical
way.
have heard the famous French ac-
tor Coquelln say som ething to the same
effect, that he is able to be two persons
at once, one person who plays the part
seems to show all the feeling and emo
ton that the character calls for, exactly
as If he was actually the person por-
trayed.
The one part of Coquelin who does this
is Coquein the actor, but the other part
of him, the other person in him, is also
present in his mind, cody criticisng the
actions and expressions of Coquelin the
actor.
Coqueln may be able to feel this way,
may be able to study himself, a cool
spectator standing outside the part, but
L doubt very much if he will find very
many actors will agree with him.
Do you think it possible even to read
a good strong play without feeling with
or Tor the cnaracterSl
Personally, / know that I would never
dare attempt putting character before
my audience If l did not feel as one with
her, If | were not able to forget my own
self entirely.
Being a woman, l am naturally of the
opinion that a person whose soul is not
like the most delicate instrument respon-
sive to the slightest touch, able to feel
the pulsation of life and emotion in all
it's finest and strongest shades, will never
be able to move his or her audience.
To play a part, you must enter into it
with all your heart and soul and then,
if you have the real artistic temperament
and the gift of being able to show your
emotions then you have something of the
true genius in you, and if you have this
it will be felt and appreciated by the
intelligent audience.
Professor Melnaud further says that
when we Che audience) cry in the the
atre, we do this without really feeling
actual, deep emotion, but because we in
stinctively initiate the actor
If the professor has only seen actors on
the stage who played their parts mechan-
ically, playing 1t without putting their
whole soul into their acting, / can readily
understand that he himself has not felt
real emotion.
l know personally, that what comes
from the heart goes to the heart and u
am very proud and happy to say that I
have been able to move my audience to
show real deep-felt emotions, emotions
so strong that they did not even stop
after the fall of the curtain.
Only yesterday. when I had played Du
Barry at the matinee, found three or
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20
THANKS TO AMERICA EUROPE is CLEAN NOW

provision Of bed sheets and bed
room articles.
Their hostesses, who them
selves do the same when they
travel or visit their friends, are
not offended. They practically
expect it.
When | visited England for the
first time, about thirty years ago,
there was only one hotel which
Americans might have called fair
ly comfortable and in which you
could have something for dinner
besides roast beef, boiled pota-
toes and boiled peas reeking in
mince sauce, and something for
lunch besides cold beef and mus
tard. That was the Langham.
Now London possesses the Me-
tropole, the Victoria, the Grand,
the Savoy, the Cecil, the Carlton.
and do not know how many
scores more, where you can eat
as we'll as in Paris or New York.
Those hotels, every one of them,
were built to cater to the Amer
leans who now flock to Europe
every year.
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20

, heart of the barbarian, that they act as
a mute complaint, and make him repent
his rudeness and brutality. and, like the
child she will often cry to awaken the
pity of others, to show them how much
she is to be pitied or even to get their
help against her tyrant.
1t Is not even unusual to see men cry
Intentionally for the same various rea-
sons as women and children, but they
are not quite as apt to do Ii, normally.
All this tends to show that tears are
used to invoke sympathy. pity and
even help; that they are g. language, and
that very eloquent and effective lam
guage. To be sure, a person that is no
hypocrite does not actually say to HIM
self: Now 1 will cry to awaken my Eel
low mems interest and sympathy" sbut
half consciously he strives toward this
end.
Such is the language of tears Some
times they mean: II take part in your
sufferings and my heart goes out in SYM
pathy to you" Those are the tears we
shed not for our own sorrows, but for
others-tears of sympathy and pity. They
are not called forth as result of deep
emotion, but to show that we have this
feeling.
Accordingly I think it is safe to say
that tears always express an appeal for
sympathy or TO TESTIFY ABOUT sympathy.
And it is with their language as with
the language of words. An expression of
love for instance may escape our lips
involuntarily when we are carried
away by the strength of our feeling; 1t
may be expressed voluntarily, 1t may be
spoken as lie and hypocritically, but 1t
Is usually spoken half voluntarily.
This explanation agrees very well with
the indsputable fact that tears are prim-
itivey connected with the loud cutlery.
Darwin, for instance builds his theory
of tears on this: 1T is by emitting pierre
ing cries that the baby first causes the
tears to flow"
If the tears are originally inseparable
from the cry. they can very well have the
character and meaning that has been
shown here. Is not the cry, even II not
language. an appeal for help?
This explanation Is also in accord with
Schopenhauer' sons what narrow, but
very ingenious theory. According to him.
tears do not come as n result of sor-
row or pain, they always originate from
pity, pity with yourself.
He proves his theory in this way: He
starts to show that to cry Is to pity
yourself. You either cry over yourself or
over others. If you cry over yourself 1t is
not your sorrow or pain directly that
makes you cry, 1t Is the contemplation of
your lot. that seems so deplorable, and
you pity yourself just as you pity others.
1t is for this reason that the child only
cries when you pity 1t. 1t Is not the suf-
ering itself but the representation of it's
suffering that makes 1t cry. If you cry
over another. 1t Is because you put your
self in this place, you see In his sorrow
the common fate of all humanity, and
first of all your own, and consequently
1t is also here self-pity that causes your
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20

/ of the time that they have been parted;
1t is the feeling of happiness that is the
cause.
Tears will come as a reaction after a
strong tension of the nerves, as when a
person has gone through the pains of
an operation without a tear and then will
cry when the pain has passed.
Oftener than crying involuntarily as a
result of an emotion or relaxation after
strong tension we cry semi-voluntarfly--
that is we often cry when we really
could hold the tears back without exer-
ton. We will cry when others are pres
ent, though IL we were alone we would
not think of doing so.
That the will controls the tears is with
out doubt. Who does not know the tears
of the liar, the hypocrite or the actor?
I know very well that hypocrites or 30
tors often will make believe they are cry
ing, though they really do not, but very
often they are able to shed tears though
feeling no emotion whatever.
Passing over the tears of the hypocrite,
there are cases when we cry. though we
really feel moved and are sincere, but
the impulse to cry Is not irresistible. If
you want an illustration, think of the
tears shed at funerals by persons who
think that 1t Is their duty or that 1t looks
well, who cry because they want to cry.
How can we explain this intervention of
the will?
To answer this we must remember that
tears are a language, a means OF ex-
preston as well as the smile.
The person who cries in the presence
of others informs them Of his deep emo
ton We know when we see him cry,
that he is deeply touched; the tears mean
and W. iTGtfurttVp1V look for
the cause, when we In many cases ought
to look for the intention and ask our
selves: what do these tears mean?
Very often they mean this: II am very
unhappy and want your sympathy and
pity"
II you look at the tears Of children or
of women, l think they will make clear
what I mean.
Look at child who falls. You will al
most invariably notice that the child
does not cry Immediately; 1t will get up
again, and If there is no one near, it
will not cry, unless seriously hurt, but
If 1t sees It's mother, and especially II the
mother shows signs of pity, it will start
crying Immediately. The tears come half
voluntarily to show that the child wants
to let you know that you ought to pity
it, caress 1t.
II you scold a child, 1t Is not the sor-
row that It feels over your words that
will cause It's tears. 1t will cry for two
reasons; first, to soften your feelings,
second, to tell you without words: How
wicked you are to make me feel so bad;
stop scolding, pick me up and pet me-"
Very often 1t win also cry to try to
cause Intervention by other more soft
hearted persons present. II the father
scolds, it will cry to call the mother to
help 1t.
Tears of women are very often of this
same kind. II husband will say an un-
kind or harsh word, the wife will cry.
Often because she really feels extremely
sorry, but not always for this reason.
She hopes that the tears will melt the
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20
POWER OF TEARS IN
CRIMINAL TRIALS
BY JOHN r. MCINTYRE.

Tears l have seen many times exert
ing an influence in the jury box and
thereby being the means of lessening the
degree of crime.
Tears too, have oftentimes in my ex-
perience wrought serious miscarriages Of
justice.
1 have seen men and women cry them
selves out of court.
Strong Misunderstanding men are prone
sometimes to wilt under the tears of a
man or woman, and disregard strong
testimony establishing guilt. When their
emotions are aroused in this wise they
seem to lose control of their judgment,
and sympathetic considerations control,
to the end that the law of the state is
set at naught
1 have aftentmes felt (when I was a
prosecutor) that a good CRY" in the
presence of a jury by an accused person
was a more potent defence than one es-
tablished by testimony of witnesses.
1t will take ones mind from damaging
facts, and becloud ones remembrance of
the evidence for when pity enters the
breast the mind ceases to exercise its
functions In the direction of caution and
clearness
Some lawyers recognize well the force
of tears Sometimes they are anxious for
a client to cry sometimes it is suggested
in cur criminal courts that members of
the immediate family cry at the right
time which Is intended only for the jury,
and often is effective.
A clever lawyer of this city used to,
in the preparation of his case, make his
clients cry to order. and once when he
was defending a woman charged with
murder, and in the course of his sum
ming up rested the weight of his body
on the instep of her foot until she
screamed out in agony--the tears gushed
over her face-she swooned-she was ac-
quilted.
Tears did it.
The same lawyer, believing IN the eff
ficacy of tears, occasionally cried him
self when defending a client
He could shed real tears.
All the prosecutors of my time knew
that there was no real sentiment be-
hind his tears, and that there was some
hypocrisy in them, but how he at will
produced this physiological function of
the gland none of us could surmise, until
1t came to be observed that when he was
speaking to a jury he invariably held in
his left hand a large silk handkerchief,
and just before his crying spell was due
he would put it to his face.
After doing this on one occasion the
prosecutor opposed to him lifeted up the
handkerchief when lying upon the table,
and to establishment of court and jury
a fair-sized white onion partly crushed.
fell out of 1t.
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20

purely physiological function of the
grands; you will shed such tears when
tickled, when coughing, when troubled
with nausea These few examples will
illustrate what I mean by mechanical
tears.
1t might not be out of place to say
a word about the m echanism of the tears
which remains the same, whether emo
ton takes part or not. The physiologi-
cal theory is quite simple. The tears are
a formed secretion, and they are con-
stantly formed and used to keep the eye
moist, and when we cry or shed tears.
they are simply formed in excess and
this excessive secretion of tears takes
place when the blood vessels of the eye
are compressed or in other words, when
the muscles of the eye are being violent
ly contracted, and these muscles contract
invoiuntarily when we cough or when we
laugh violently. =.
The first tears of baby are explained
the same way They come after the cry
called forth by the violent efforts to cry
out loud. When a baby feels hungry or
when it feels pain 1t will break out cry
ing aloud, perhaps because the piercing
cries In themselves will give some re-
lief, but more likely as because the in
stinct will tell 1t that the cries will
bring its mother to it's side. The violent
exertion and expansion will send the
blood to the arteries of the eye and make
the muscles contract and cause the flow
of tears. In later life, under the infiu-
ence of will, habit and training the cries
will stop and the tears cease flowing
When we weep in the theatre at the
sight of a strongly Grammatical situation,
we do this without really feeling actual
deep emotion, because we instinctively
initiate the actor. We reproduce within
ourselves his mimics, we inwardly re-
peat his words, and contract our brows
with him, and this will cause our tears
to flow, but they are still only mechani-
cal tears.
On the other SIDE there are tears, shed
involuntarily, which have a moral sig
nifcance and express our emotion
There are cases when we simply can
not help crying, because we are driven
by an irresistible feeling, but what is this
feeling?
The answer Is very simple: We cry be-
cause we feel sad; the tears follow the
feeling of sadness as naturally as
laughter accompanies joy
But this answer, though true, is not
complete. There are certainly cases when
we cry as a result of sadness, but In
grown person these are rare.
Oftener we have been able to go
through the deepest despair without cry
ing, but then small circumstance in
significant in itself will start the tears.
This circumstance may be a plying word
the arrival of a friend, a disappearing
word from another, though we had in
wardly spoken the same word to our
selves without sobbing.
Tender feelings will make us cry We
will read or hear about mother find
ing her long lost daughter, and the tears
will fill our eyes, though there is nothing
to cause sadness in this. In real life we
will shed tears of JOY Two friends that
have been parted for years meet, and
they will cry. not because they think
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20

France land am not an old
mani, at leading school ev-
cry Saturday We boys were made
to wash our feet in a tub twelve
in the same one, twenty-four feet
at a time. This was done in or
der that we might be fairly clean
on Sunday when we visited our
parents.
Not ten hotels in Paris, or any
other great city Of the Contin-
ent, had a bathingroom, and not
one had apartments with bath
rooms attached to them. In the
small towns of Continental Eu-
rope practically not one house
had a bath.
Each town had one or more
bath houses, according to it's
size, where the inhabitants came
to treat themselves to tub once
a month. Only tie very wealthy
had a bath (not ~room) in
their houses. TIL, >ap-
ulation cleaned In
penny numbers
Those remar mt
mental EuroJ fish
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20

Among the other Things she
wore that Evening was a feather
weight Escort who had Percy
written all over him. The Men
were wondering why any Peach
erette with Kentucky Shape,
who could take her Pick of all
Mankind, should want to carry
such sad Specimen Of Excess
Baggage. He was one Of these
90-pound Wrap-Holders who
showed his Teeth when he was
pleased. He belonged out at
Mothers Place out In the Coun-
try, feeding the White Rabbits.
Every Man who saw him snug
Cling up to the Unknown hoped
that he would fall down and break
his Leg.
The Rising Young Attorney
caromed on both sides of the Aisle
when he went out, for he was still
looking at the Dream. He hid be-
hind q Billboard and saw her
come out with the Human Weasle.
In her Opera Cloak she certainly
was very easy to look at.
On his way to the Boarding
House he walked two Blocks past
the Place. The Unknown had him
trancified. He imagined himself
riding with her In a Golden Auto
mobile through a Grove of VIC
lets. There was a Music Box At
tachment under the Seat and she
was fighting to hold his Hand.
He came to just in time to save
himself from walking into the
River
This Attorney was an emotion
able Proposition. He had high
John G. Calhoun Forehead and the
yearning Look of a Genius who
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20

have been New ones on her.
One Day he saw her on the
Other side of the Street. 1t made
him google-eyed and ne walked
off the Curb. Another time she
tipped past him on a Trolley.
Every time he spotted her, she
looked at least 10 per cent. better
than the time before.
I'm for her." he told himself.
Once he saw her coming out Of
a Department Store and she made
the others look like the Odds and
Ends of Rummage Sale. He
heard her Ripping Laugh and
there was enough Music in it to
carry a whole Season Of Grand
Opera. A Friend who was with
him said that her name was Clar-
ice. So he told his Friend: ANY
time that you read about Clarice
being engaged, start In to drag
the River
When he heard that she had
gone to a Summer Hotel, he
trailed her and continued his long
distance Worship. He was afraid
to get too near for fear that he
would curl up and have a Spasm.
Who was he, Legal Worm,
that he should dare to crave
Word from those Rosebud Lips or
hope for a melting Glance from
those star-lit Lamps? AS for ex-
ecuting a Clutch and swinging
into the Slow and Dreamy, that
seemed only a vague and far
away Hope of Paradise, and 1t
was a Sin to waste time on it.
The best he could hope for was
to send her Box Of long-stemme
Roses and then go and let Train
run over him and maybe she
The age-herald. [volume] (Birmingham, Ala.) 1897-1902, 1902-04-20
MODERN FABL Is BY GEORGE ABE 80 6
The Modern Fable of the Long1Range Lover.
the Lollypaloozer and the Line of Talk.


would eondeseend to attend the
Funeral. That, or else he could
save her life in Runaway and
die with his Head in her Lap. Ali
he wanted was a Romantic Fin
ish, that would leave Sad,
sweet Memory behind. He wanted
a Guarantee that she would think
of him a couple of times and he
would be satisfied to play Village
Dog and die any kind OF a Death.
While in this desperate Frame
of Mind, he met Mr.. Buzzer. the
moving Graphophone and He
Vampire sometimes known as the
Burned Edge of the Crust of So
ciety. When the unspeakable
Buzzer said that he knew Clarice
and stood Aces and Fights, the
soulful Attorney wanted to throt-
tie him, for he could not believe
that a real Diana would trifle with
a blue Catfish.
However, he accepted the OPP
portunity to hold Converse with
the Star OF his Soul. Buzzer led
him around the long Veranda and
at last he stood in that radiant
Presence.
isis, l want you to know a
Friend Of mine" said the we'll
known Safe Blower and Social
Outcast known as Buzzer.
He stood enthralled for at least
one-twentieth of a Second. Then
Clarice got under way.
Oh Crickets! | seen you at the
TT Ayter one Night" she said
az was there with Ollie Pozozzle
of Minneapolis. Ne and him come
out just behind you Say, wuzn't
that a Grand Show? I'm Just crazy
about that Mamie, Mamie, Amt