davidaulloa/AmericanStories huggingface dataset:
The Julesburg grit-advocate., 1911-08-24
Bio Future for Him.

The visitor to the Sunday school
had been asked TO talk to the scholars.
His theme was the possibility OF
youth. He dwelt at some length upon
the attanments OF men Of obscure
childhood, and to point his remark
turned to little child near at hand
and said:
Tell us your name. little man."
In voice heard through the room.
the little man piped up:
Sarah Watkins, sir"
The Julesburg grit-advocate., 1911-08-24
A Strauss Heaven.

Senator Depew, at recent dinner
IN New York, said Of Richard Strauss
music:
"To hear Strauss 'Elektra' or his
Domestic symphony always makes
me think of the old Scotch piper who
said:
"'Ah, there's ane nicht | sail ne'er
forget There were nineteen pipers
besides myself all in a wee bit parlor,
all playin' different tunes. | just
thought | was in heaven,"
The Julesburg grit-advocate., 1911-08-24
Not on the Market,

Tompkins-Ventley has received .
million dollars for his patent egg dat
ing nachine. You know It is absolute
ly interference-proof, and dates cor
rectly and indelibly as tho egg is be-
ing laid
Dewley-Is the machine on the mar
ket yet?
Tcmpkins-Oh, my. no! and 1t won't
be on the market. The patent was
bought by the cold storage trust.
The Julesburg grit-advocate., 1911-08-24
Little Pitcher

Lady Visitor-I am coming to youl
mammals company tomorrow, Tom
my.
Tommy-Well. you won't get q good
supper.
Tommy's Papa-Tommy. what do
you mean, talking like that?
Tommy-Well, you know. pa. you
told ma you'd have to get some
chicken feed for her old hen party
tomorrow
The Julesburg grit-advocate., 1911-08-24
Hard to Find Things.

He-Where are my collars, dear?
She-I don't really know.
He-Well. yesterday l couldn't find
my shirts; this morning my ties were
missing: now | cant find my collars.
The only place | know of worse than
my bureau is my card index system.
The Julesburg grit-advocate., 1911-08-24
Eastern Produce.

Chicago-Butter-E creameries
2Om25c; dairies, 1s622c.
Eggs-Easy; at mark, cases includ
ed, l0G14c; firsts, 151ac; prime firsts
1910.
Cheese-Steady; daisies. 13@13Ac;
twins, 12iz@12Ac; young Americas
13kGl3&c; long horns. 1914 @13kc
Potatoes-Firm: choice to fancy
S1.2OG1.30; fair to good, $1.1541.25
Poultry-Firm; turkeys, lac; chick
ems, 12c; springs, lac.
Veal-Steady; so to 60 lb. WITS, so
&c; 60 to S5 lb. WITS. 9h 910hc; st
to 10 lb. WITS, lie.
The Julesburg grit-advocate., 1911-08-24
Eastern Live Stock.

Kansas City = Cattle - Market
strong: native steers, S5.00ms.OO;
Southern steers, $3.S5M5.50; Southern
cows and heifers, s2.60M $50; natives
cows and heifers, $2.5oG7.25; stock
ers and feeders, $3.50m5.75; bulls,
$3OOI4.5O: calves, $4,000 200; West
ern steers. $4.40m7.00: Western cows,
$275a 500.
Hogs - Receipts. 5000; market
strong; bulk of sales. $7.30@7.55; !;
heavy, $7.30@7.6O: packers and butch
ers, s7.30@765: lights. $7.30@7.60.
Sheep - Receipts, 1000; market
steady; muttons, s3.2543.9O: lambs,
$5.50I700; range ewes, $2.50a375.
The Julesburg grit-advocate., 1911-08-24
The Publicist's Mistake.

what this town needs most" said
the eminent publcist. rs a thorough
clearing up, about dozen new
bridges and first-class subway sys'
tenn"
you are mistaken" replied the av-
erage citizen. What this town needs
most is a good lef-handed pitcher"
The Julesburg grit-advocate., 1911-08-24
THE TRUTH ABOUT sLUINo.
Talk No. I.

Talk No. I.
Avoid liquid bluing. Every drop Of
water Is adulteration. Half a cents
worth of blue in large bottle filled
with water Is sold for cents or 10
cents in many places.
Always use RED CROSS BAG
BLUE. the blue that's all blue. A
large two-oz. package. all blue. sella
for cents or 4-oz. for 10 cents. De-
lights the laundress. AT ALL GOOD
GROCERS.
The Julesburg grit-advocate., 1911-08-24
Metals.

s,ew York-Standard copper quiet
spot, August. September, October
and November, s12.l5@12.35; Lake
copper, $l275M 1900; electrolytic
$l2.5O@12.75; casting, $12.25G12.5O
Tin--F1rm, but quiet: spot, $44.50M
1850; August. $43.75M $500; Septem
ber, $41.75Q42.25; October. $4,000
1900; November, s41.O0d41.50.
I.ead-Firmer; $4.45m AGO, New
York; $4.42M447H, East St. Louis.
Spelter-Dull; s6.05M6.15, New
York: $5.9O16.1O. East st. Louis.
Iron-Firm. No. l foundry nor
thern, $15.5OM16.OO; No. 2, $l5.25@
1915; No. l southern and No.
southern soft, $14.75A 1925.
The Julesburg grit-advocate., 1911-08-24
Back to the Soil.

Gardening has restored young
Weakling to health. Great thing. gard.
ening''
1T was gardening that knocked him
out in the first place"
That's strange. What kind!"
Roof"
The Julesburg grit-advocate., 1911-08-24
The Extreme Limit.

is there anything worse than liv-
ing in the suburbs? ?" asked Howard
YES" replied Mr.. Farurek, of North
Hackensack. there is. Living in the
suburbs of the suburbs
The Julesburg grit-advocate., 1911-08-24

fallen timber with less trouble than
many Q city dvellsr ands in walking
. score Of blocks to his once. John
10 q mountain product Three genera.
lions Of his ancestors have found
ways to live in these beautiful North
Carolina mountains. Little apprscis'
tioa they have for the scenic charm
that capelvatss the visitor. and sends
him into scstasiss over the wilder
ness. The natives. Of the purest
Anglo -Saxons ON the continent. have
bssn too much concerned In forcina
food and raiment out Of the barren
hills and narrow. fertile creek bot
tome to give thought to the beauty oil
about them. Hardy. sslf-reliant. and
rssourceful. within their limitation
The Julesburg grit-advocate., 1911-08-24

Evelyn-But when 1t comes to love-
making Harold is rather green, isn't
he?
Nyrtle-Not now.
Evelyn-Indeed!
Myrtle-No, he's blue; I rejected
him last evening.
The Julesburg grit-advocate., 1911-08-24
d lifs worth living? I should ~
tAat 1t depends on the liver.-Thonas
0oA Appleton.

0rsL Winslovss Soothing syrup for ChilAPsA
ssesAinR. softens the Guus. reduces inhAnma-
~. ailAys pa,s. eusas Vtna collie, Nc . bosslA
The Julesburg grit-advocate., 1911-08-24
Sheep.
Hay.

Colorado upland, per ton. .16.00017.Ot
Nebraska upland, per ton. 1900 1900
Second bottom, Colorado
and Nebraska, per ton .l3.O0Q 14.OO
Timothy. per ton ....... 5000 1900
AIalfa, per ton . .11.5O0 l2.OO
South Park, choice, per ton 19.00Q2O.O0
san Luis Valley, per ton. .l3.00414.OO
Gunnison Valley, per ton .15.OOg 1900
Straw, per ton ........... 4.00Q 500
The Julesburg grit-advocate., 1911-08-24
commuter's Explanation.

The man in the iron mask explained.
They assured me there were no
mosquitoes here" he cried.
The Julesburg grit-advocate., 1911-08-24
ARueR eRid9sBeaarstt|g&4t ID 5{;!!!x:a s!7|!:!1&

HEN II you vaat - -
II Q Blue Ridge beAr
race. here's yoer
chance" said the chief
hunter Of Lavtus
Mountain one eAu4y
day In October. ITS
goin' to b . mighty
rough chase 40 unsess
too much for you. but
you caa start. anyway.
patronixingly continued
this sinewy man. Who
could climb Q mountain
eoverol With rocks.
briars. thickets and
The Julesburg grit-advocate., 1911-08-24
2AG G&4su1aaeoka

Can double your salary in six months. Endorsed
by d. banks. Write Tor valuable souvenir and
catalog free. Denver. Colorado.
The Julesburg grit-advocate., 1911-08-24
5utter.
Eggs.
MISCELLANEOUS MARKETS.

Eggs, case count, less com. SOLO
The Julesburg grit-advocate., 1911-08-24
Hogs.

Hogs.
Gooo hogs .................7 .7.iO07.50
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-02-26

tated whether or not we should lay tne
action there. or during the Revolution or
the Mexican War. We decided finally
upon the Civil War. as we thought that
the bright costumes of Revolutionary
times would be too great a contrast Win
the spirit of the drama, and because many
Americans do not consider the Mexican
War a very noble page in our history.
THE story OF the opera has 20 do Win
the struggle of a man between duty 10 mrs
country and love for the girl he has be-
trayed. and consequently the patriotic
note must be strong.
IL am exceedingly gratified I'm he choice
OF the three singers who are to take part
Nine. Gadski, Mr. Martin and Mr.. Win
erspoon. All three are taking hold WIN
zeal, and l consider myself fortunate IN
deed in having the hearty cooperation OF
such artists"
Mr.. Nevins happiness over the accept
ance of his opera was made douoly s'eas
by cable just received FROM Paris thA'
his wife. who before her marriage Wa
Miss Mary LYMAN. had just been az
pointed bacteriologist at the Pasteur iH'
stitute in that city.
MY wife has been studying bacterio'1r
ogy for some years." said Mr.. Ne'i"
Her speciality is diseases of the thros'
and lungs. and since last September s"e
has been living in Paris, working uhoe'
Professor Metchnikoff at the Pasteur 'h'
stitute. ! understand that the appo'hs-
ment carries with IL the degree OF NJ, -
The news has made me even happier wa"
the acceptance OF my Twilight
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-02-26

covered, a lot is cast. which points out
the arrow maker as the new war lord.
I'm the second act comes the arrow
makers marriage to chiefs daughter.
Here I introduce the blanket dance 1t
is little drama of courtship. The girls
Of the tribe ornament themselves with
flowers, each selecting the blossom which
she believes symbolizes her own pecu-
liar charm perhaps modesty. or loyalty
or industry. The young braves dance
with arms outstretched. holding a. blanket
spread out like the wings Of bird. This
like the eagle dance is taken from bird
movements, and consists Of series OF
advances and retreats. The brave dances
about among the girls and at last he lets
corner of the blanket fall over the
head of one Of them. She slaps at MIN
and squeals, but if he thinks she is taxi
ing kindly to it he will suddenly swoop
down on her, draw her into the blanket
and claim a kiss. 1t isn't a real kiss.
| for the Indians do not think that is
proper. He touches her cheek with his
nose. The song that goes with the dance
runs, oh, how happy we will be when
we two walk in one blanket
There is also the ceremonial marriage
dance Only women who are both wives
and mothers take part in it. They dance
before the bride and sprinkle nuts and
seeds on her. 1t is a prayer that she
may be fruitful. II any barren woman
takes part, it is out of spite against the
bride, and her presence carries a curse
with it.
AT the wedding the Chisera suddenly
appears. She accuses her lover of his
everything that he has done was done
through her power. In her rage she de-
clares that she will never use her power
again. and prophesies that her lover and
perhaps the whole tribe will be destroyed
for lack of it.
I'm the last act the tribe is making
final stand against its enemies in a
mountain camp. The Chisera has lost
the power to make medicine though she
is threatened with death for not doing
So At last she Is moved by her feeling
for the dying children and consents to
make one more attempt to gain relief
Her song is, With what cry shall l cry
to the gods, now that my heart is emp
tied Of all but the grief of women? The
prayer is successful, the warriors are in
spired by her triumph and cut their way
through the enemy in safety.
1T was a serious problem how to put
those dances on the stage We must use
the real Indian dances, yet they must be
given within a few minutes. The cere-
monial dances take hours in the per-
Torrance 1t was curious, the way the
solution came. AS soon as ii was known
that was preparing an Indian play Ind
ians began to come to ne with sugges-
items. never supposed there were so
many Indians this side the Mississippi
great many of them. of course, claimed
kinsbip because their grandmothers
father was a Canadian halfbreed, or for
some equally remote reason.
"One old Apache had an idea he was
sure ought to carry out. He wanted to
teach me an Apache dance i'm which the
braves shot off their 'revolivers,' as he
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-02-26

called them He said it would I'LL the
stage with smoke and would look Just
fine. / had to take long while to tell
him that these Indians were Piutes and
that they didn't carry revolvers.
Il had come over from London 10 work
on these dances, and l did feel that
wanted some help. So / made little
medicine myself. I know two or three
which work pretty well. Well, / made
this medicine here in my room. The next !,
day Red Eagle came. yo
Il could see that he was educated He
told me he was Winnebago. In five
minutes l had learned that he really
knew Indian dances; not only what were
the movements, but what they meant
and what was the spirit behind them.
Coming from the plains, he knew the
dances of some of the tribes better than
/ did So told him to come up to The
New Theatre for a rehearsal. He was
there promptly at 9 o'clock with little
paper parcel that he took out OF his
overcoat pocket
II got a drum and said, I suppose
you'll want to put on your moccasinsAI
He smiled and went behind screen, and ?
in two minutes he stepped out wearing
exactly what had been in that parcel II
was mostly beads, and not so many Of
then. as Maud Allan wears, by long
sight. His hair was down in Indian fash.
ion: he must have been wearing 1t coilei
up under his hat.
when he had gone through two or
three figures both the manager and I
knew that he was born dancer, and he
was hired on the spot to teach the dances
for the play. Then he and got together u
and went over all the dances we KNEW.
to select the most interesting and aps1r
propriate movements for the scenes. We
condensed and condensed. and at last
think we have succeeded fairly well In
saving the emotional effect Of those four
hour dances for the brief time we have
to show them in. Now he is rehearsing
the people and he is making them catch
the spirit wonderfully well.
I'VE could remember the music for the
drums and chants, but we were told that
that was not enough II would take more
volume OF sound 10 fill big house like
The New Theatre. SO we went at II in4'
earnest Red Eagle and I went over
, more than two hundred and forty rolls
of photograph records at the American
Museum of Natural History That coll
lection OF Indian songs and music Is re-
markably complete. At last we selected
lust the themes we wanted, and they
were developed somewhat by The new
Theatre musicians so as TO be rendered
by the orchestra The museum has been
very kind to us. We have used us
help in thousand details OF scenery and
properties.
1.-The Arrow Maker is an experiment.
but it is an honest experiment bellows
that the emotional meaning OF the dances
will get across, as they say, TO the
audience. Even if it does not they are
intensely interesting as spectacles. Ana
they form only small part Of the play
1t is story which has interested me In
tensely ever since | first heard II; IT re-
mains to be seen whether il will interest
the audience"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-02-26

'and the modern American MATERIAL civil
ization has precious little of either
AS TO opera being sung i'm English II
is perfectly possible If the librettst uses
simple Saxon words. OF course many
English words are impossible, but any
one who has listened 10 an oratorio knows
how perfectly the words OF the Bible go
to music This is because they are almost
entirely Of Saxon origin, and Mr.. Hartley
has used such words in his libretto for my
opera"
Then Mr.. Nevin turned to his manner OF
work.
Il get my ideas when | am out walking.
and In composing ! always use the piano.
he continued. Some composers, | know,
do not, but | must. Victor Herbert for in
stance, never touches the piano when he
Is writing. ] do most OF my work in the
evening, as the quiet gives me the in
spiration, and when ] once start working
work far into the night.
Il am especially glad that American
| composers are getting a hearing in their
own country, because IL will show Euro
peans that we are not quite such igno-
| ramuses as many of them think. There
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-02-26

I eagle looking down from a cliff. There
are a number of other movements. They
portray all the happenings of eagle life.
There you see, you have the begin
nngs of true drama: impersonation ana
plot The plot is always very simple, OF
course. and many dances do not have
one. For instance, there is the dance
with which one tribe whose m-mbers are
sun worshippers, greet the sun. 1t is
slow, solemn dance, with a movement
like this
Bending forward she thrust out her
arms. one above her with the palm
turned upward. the other downward al
most to the ground. and glided across
the room with short quick steps, ending
with a sweeping. graceful turn.
That" she went on, lis the triumph
of the sun. who unites earth and sky.
One hand is raised to the heaven where
he travels in his path. and one caresses
the earth which feels his kindness. That
is prayer of praise. A prayer of petit
ton might go differently. The warrior
wants to call to him the strength Of the
earth, perhaps, and he dances with the
gesture of gathering something from the
ground and pressing it upon his body
For each of the dances there is
song. 1t is very brief very simple. but
it does express the feeling that is behind
the movements. There is one long and
rather formal dance which know which
represents a past war of the tribe. The
movements-the plot for it is plot
tell of q long trail, battle pursuit
across a river the hunting down of the
enemy the burning of a village, the eX-
termination of a whole tribe and the
triumph afterward.
"Yet the whole song is, Come to the
feast O we buzzards' That is enough
for the Indian. He sees the whole pict-
ure-dead men. a smoking village a file
of victors with bloody knives and heavy
belts. and buzzards coming in fiocks to
feed on the carrion. Indians complain
that our songs are too long White mans
songs talk too much they say.
THE song is only the keynote of the
dClbll. ne IliOldH ltSdiuS
ment as far more important. His ex-
PLANTATION is remarkable. The Indian
says that he is two people. He is him.
self, and besides he is an inside man.
The inside man is located in the solar
pleXus The man himself is in the head,
somewhere behind the eyes and ears. 1t
is he who wakes. hunts and talks. But
the inside man is the one who travels
while the Indian is asleep; dreams are
the record oe his adventures; it is he
who is depressed or joyous when there
| is neither good news nor bad news to
make him so. When this inside man is
deeply moved he moves the body, be-
cause he is seated in the body and not
| i'm the head. SO the dance is the express
/ sion of the inside man. The other SELF
the talking one. has no great part in it.
That seems TO me striking belief The
modern psychologists hold almost pre-
cisely the same theory: that each of US
has a double personality, a conscious
ard a 'subcOnscious self
THE peculiar power of the drama lies
in the terseness of its spoken words. The
best actors need the fewest words. They
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-02-26

| dance. the spoken words are only the
keynote of the scene.
"The emotions which the modern ACTOR
tries to represent are the emotions OF our
civilized life of to-day. but the gestures
which he uses for that purpose are MOI
the gestures of our real life. The fact Is
that most Of us do not gcsticulate at all
We do not express our emotions by
movements. The movements whicn
actors use to represent our feelings are
those which have been handed down by
stage tradition as the proper ones tor
given situations In other words. our
present drama works by a schedule OIL
conventions rather than in direct imita-
ton Of natural human expressions
But the dance is also an expression OF
the emotions, conventional. it is true, put
beautiful, and. for all our civilization
capable of moving us deeply. That the
feeling for the dance is deep and wide
spread to-day is proved by the successes
of Isadora Duncan and Ruth st. Denis
and some other less remarkable dancers.
Now l would simply take the remain
ing step and employ the dance. as was
done in the beginning, as an expression
Of dramatic emotion. That is what
have tried to do in The Arrow Maker.
1t is an innovation, but I believe it is In
1.-THE right direction.
There are three dances in the play.
The central figure is a 'Chisera or Med
icine Woman among the tribe of Piutes.
It is her duty as priestess and prophecies
to go before the gods in any great crisis
| in the affairs of the tribe and learn what
is the divine will. She dances herself
| into trance, and when she has recov-
cred what she says is regarded as pro-
phetic. The practice is still kept up.
have seen medicine men dance for hours
at a time before they reached the trance
condition. Frequently they fall ex-
hausted, but as soon as they can stand
they return 70 the dance. Medicine men
have died under the strain Of two or
| three days efforts
The tribe, wishing 10 keep the Chi
sera' solely to the duties Of her station,
have forbidden her to marry or to have
children. You see, the theme is a mod
ern ore. I heard the story from an old
Piute squaw, and | was strongly struck
| by that g. the time. To-day. If a girl
shows premise Of talent or genius, her
family and friends urge her to be careful
rot to marry. or at least not to burden
herself with children, but to devote her
self solely 10 her art. AS if a woman
could appeal more deeply to living hu-
man beings by herself refusing to live
deeply, Deny yourself the greatest ex-
periences in life and be a great artist!
That Is "A terrible doctrine.
This woman, who has been forbidden
to enjoy a normal love, becomes the vic
tim of the arrow maker of the tribe. A
war lord is to be chosen. and the tribe Is
undecided between the arrow maker and
another warrior. The Chisera is called
upon to go before the gods and ask their
counsel She dances herself into a trance
as the tribe supposes-to ask just
judgment. but in fact to beg a decision
in favor OF her lover. When she has re-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-02-26

Berlin. Many foolish stories have been
circulated as to how | got 'Poia' produced
One Of them was TO the effect that | got
President Roosevelt to write to the Kaiser.
The fact is that all II cost me was "a cents,
with which | bribed the doorkeeper at the
opera to let me get in to see the director
And ] have used no influence at all In the
case of Twilight ! simply sent the
manuscript TO Mr.. Gatti-CasaZza, who
liked 1t and showed il to Mr.. Hertz 1t
was not accepted at first, as there was
some doubt as to whether or not some OF
the expressions in Mr.. Hartley's libretto
were TOO frank. | did not believe that
they were, and the Metropolitan manage
ment came TO my opinion. So 1t is TO be
produced. and, of course, / am very
happy"
Have you introduced any typically
American music into your scorer" asked his
caller
Mr. Nevin smiled.
What is typicaly American music?' he
asked. IL for one have never been able
10 find any. ! have striven to write music
TO characterize my figures, to give color
and atmosphere. TO carry on my story,
above all, TO write music that is melOdl-
Gus. Melody shouA always be supreme
This is why ! do not like Debussy, though
/ admire his wonderful musical talent Mr.
Hartley has laid the scene of the opera In
the Appalachian Mountains during the
Civil War, which we both think will be &
picturesque setting.
Il could not write an opera about mod
ern American life. Ii lacks color, and
suggests high hats and evening dress lie
who is able to operative the silk hat may
arrive. but ! am sure his name will not
be Arthur Nevin. OF course. Charpentier
wrote Louise. about modern Paris but
we have no Latin Quarter and no types
such as abound in the city by the Seine.
An opera libretto needs color and romance,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-02-26

n FARY HUNTER AUSTIN is a
WI woman who has strong ana
simple thoughts because she is