davidaulloa/AmericanStories huggingface dataset:
The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1913-03-09

tune. But even this gives hint of the harem
In the drapery of the skirt The headdress is
also OF the 9eraglio This veil is of a sump-
tuous Oriental brocade a yard and half wide
and four yards long The Seraglio veil Is al.
ways very vouminous, else It would lose its
fascination. It is the fact that the veil APP
pears to be the greater part of the costume
that gives 1t its charm and mystery. There
Is nothing alluring in a short narrow scarf
This brocade veil ia edged with brown fur.
Partisan touch, OF course
call the veil shown in the second picture
the Mystery Veil. It is delightful modiica,
tion of the Serago Veil, and its very folds
are full Of the secret charm OF the harem It
is created in dull gold and rose crepe edged
with fur. that is necessary adjunct to every
costume this season In Paris The gown with
which this Mystery Veil is worn has Oriental
touches in its trimmings and the lovely girdle.
The soft clinging drapery Of the skirt is per.
force. the drapery of the harem scarf.
have created many other designs showing
the influence OF the veil. Some OF my most
exquisite unable to send pictures of at
present, but perhaps later VIII be able to do
SO. Some OF these costumes are almost all
wells. And think that perhaps they are more
beautiful than the ones shown here.
To my mind one of the oldest things about
Dame Fashion Is the way that she Is affected
by external happenings, and from the begin
ming she has been patiently Influenced by war.
Is It not odd that the most horrifying Of hu.
man events should put its stamp on the clothes
OF woman?
Even the very chic little tailored costume
that am showing you has a hint OF the ter.
rible battles In its tight soldier cap and the
heavy military tassels and braid on the coat
The fare given the Goa, below tho hips is
direct hint from the coats worn by the Turk.
ish officers. This flare is one OF the very lat
est touches. and the most chic women of Paris
have at least costume with the Flare
Coat"
Thee severe skirt. as you will notice. has
the 80 necessary slit at the side. The seams
. 1T the sides arc outlined with very heavy hut.
tons made of military gold cord
The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1913-03-09

4 had seemed to me at the time
that could do the thing in en-
u tire safety. Our troops were or
dered out to talte and destroy a VII
lage which lay in tho valley by tho
riverside, and their operations would
be confined to the lower ground. The
heights above would be entirely un-
troubled. unoccvpied.
And so I had gained these, after
walking five miles over gentle slopes
OF short scrub grass. and then had
lain me down on the ridge and
watched the diminishing. the at
tack and the capture through a
pair of glasses. From the distance
1t had all seemed very tame. There
were little puffs of gray smoke; men
fell; others came on Mt II run, Zig
Jagged in and out In entire disorder,
made their weapons and accoutre-
ments glitter In the sun. and then
disappeared under cover OF the mud
and bamboo village. More smoke
arose in puffs from the lanes between
the shouscs. And then n stream of
Black Flag Chinese began to pour
out at the run: some of them pitched
forward and lay still. and the others
opened out to pass these by, and 9TH
crs limped and Jagged behind the
general pace; and quite irregular
crackle from the village. like the
burning of brushwood, told me what
was causing these things.
But when the Black Flags were
out of range and the firing ceased
the valley dropped into dread oui-
ctude and there was nothing more to
see. I yawned over 1t for another
half hour. and then walked q dozen
Yards down tho slope. smoked a
couple of cigarettes, and began my
deieuner. The regiment of Black
Flaes which came down upon me
must have started climbing the hill
face the very minute 1 quilted the
ridge.
instinct, as say, jerked mo to my
feet. and instinct must have given
mo n prodigious start, for when frat
INV wits came to me / found myself
mining like frightened dog. The
ofricer gave mo 81 second shot. which
cut n cutter down my feet and then
his men opened out with Remington
riHce don't know how many fired.
II seemed as If ten million bullets
whisned past me, and had notion
I was hit In twenty places. But
nothing clogged my legs, and. al
though my heart was trying hard to
tunn clear of its moorings, ran on
nj freshened pace. There wasn't a
n,oro terrified man In Asia that min
49, ,r e, r -.
The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1913-03-09

To the left wero the French lines
and safety. In front. and balls
low, turbid stream OF tho river.
1t was impossible to reach the
camp even had I wished 1t, The
Black Flags had anticipated the movo
and had detailed off party to out
flank me in that direction. BY turning
off to the right I might very we'll
bring down the enemy upon our ex-
peditionary force on their march back
from tho village. They might be
prepared to receive them. and again
they might not. and / would have
died ten times sooner than any move
Of mine for my own safety should
bring disaster on my comrades. Our
branch of the service gets sneered at
enough as 1t IS.
So I raced on for the road and
passed It and labored down to the
river. The shots came fast and thick
now, and two more bullets grazed
me, but I waded through the shall
lows without further hurt and gained
the deep. tawny river beyond.
a sampan was moored hundred
yards out and a little downstream.
I made for 1t with long. bursting
dives There were half dozen men
on board. Jumping. gesticulating and
came up from an underwater swim
one Of them let fly a matchbox at
me. 1 saw him blow his smoking
fuse and Are 1t was loaded with
birdshot but I was too close for the
charge to scatter, and SO 1t all missed
me-
Another dive and was upon them
and they received mo with knife
stabs. and how the fight turned next
could not tell. But of sudden, with
blink and a gasp and n downward
blow. came by my wits again, and
found that 1 was on board tho sampan
with q curved Chinese sword In my
hand, and one man lay dead and
bleeding at my feet. another was
dead and floating face downward
with tho current astern. And the
rest were swimming to. the shore. and,
twenty Black Flags were firing over
their heads as fast as they could.
My pistol was como and could do
no more on the offensive. The Wish
for flight had left me; the lust for life
alone remained. 7 cut the painter and
lay on the sampan's bottom. whilst
she drifted down with the curren-
Into our own lineR
And yet my officers were pleased
to call mo brave, and the general
gavo me the war medal tried to
refuse 1t, but they laughed a. me-.
vedette, 1t seemed, had watched me
through glass from tho moment OF
the first shot being fred. and they
said no man could have behaved more
oI,ickt1y us
The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1913-03-09
The Same Reason.
" DUNG BELTS had Just told b

" DUNG BELTS had Just told h1a
mother Of his engagement 10
q charming young woman who was
not blessed with much of this
worlds goods, and no met With I'm
mediate objection.
Now, mother. DEAR" said the
young man, don't be angry With
me for falling In love with her. Be.
sides. you were a poor girl whett
you first met father"
YES" replied Mrs. Belts, go i
was. But 30 was your father. And
married him because I knew he
would succeed"
We'll, mother" he said. -and shs
is going to marry me because hs
did-don't you seer"
The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1913-03-09
Little Brother Speaks.

FLORENCE. who was an ardenf
L admirer OF her own vocal quail
ties, had been selected to sing q
solo at church entertainment
The following morning at ting
breakfast table she remarked to her
younger brother:
well. l never thought my voios
would fill that large hall"
Neither did l." answered her
brother unfeelingly. II thought u
would empty It."
A False Statement.
nnT'KIE was badly hurt In that
AVI train smash, wasn't BIC. doc
tori"
very. We had to amputata
both legs"
How sadl Will he pull through"
"Oh, yes; we'll have him ON his
feet again in less than TIRES
months" a.6,xas;
Her Portrait.
HE painstakins artist anxious
= to please, remarked 20 q proc.
pective customer:
IT can paint you q portrait Of
your wife which will be- q speaking
likeness 4.
aH'm-couldn't yon do It in whist
they call still. iife?n :.
New-York tribune., 1913-09-07

than 40 per cent Of the seats for the
whole season have already been sub
scribed for. Mr.. Baird has been in active
charge OF the financial arrangements Of
the season for the last three months
spending the greater part OF his day In
his office at the Opera House.
1T has been hard work. but ! have not
Srudged it," said Mr.. Baird. The re-
sponse to our subscription has been far
beyond al expectation. We have already
sold more than 40 per cent OF the seats
for the whole season. and 1t looks now as
IL the lower portion OF the house would
he largely subscribed for at each per-
formance. With the opening Of the box
office sale. too. this week. there came a
tremendously increased demand for the
cheaper seats. II is remarkable that the
great demand seems 70 be for the Eng
lish performances. demand amply Justi-
tying our deyoting all but one night a
week to these performances. a great fac
tor in our subscription has been our
New-York tribune., 1913-09-07
Il language Of the Slaves and Phonetic Changes
in Dialect-The Creole Patois and Its
Grammar-Making French Musical.

Of the French colonists OF Louisiana and
the West Indies should have developed
patoiS or dial ect. which is not only more
ouphonious than the language from which
il was derived, but also have created
system of grammar which reflects credit
upon their logical capacity and their mu-
sical instincts. The peculiarities OF the
English songs referred to arc nearly all
extinct. but the Creole patois. though
never reduced TO writing for its users. is
still living language. IT is the medium
OF communication between black nurses
and their charges in 'he French families
Of Louisiana to-day. and half century
ago it was exclusively spoken by French
cTeolcs up TO the age Of ten or twelve
years. In fact, children had 10 be weaned
from it with bribes or punishment. II
was, besides, the language which the slave
spoke 10 his master and the master 10
him. The need which created il was the
same as that which created the corrupt
English of the slaves in other parts Of the
country. The Africans who were brought
to this country had no written language.
Among them there was diversity OF
sreech as well as tribes and customs.
Inc necQ OF a IntOluIl OF dAi'i
between them and their masters was
greater than that of communal Ian
guage for themselves, and in its construc-
ton they had the help Of their masters
who were not averse to simplifcation
of their colloquial speech The African
Languages were soon forgotten: DR.. Al
fred MERCER, who wrote delightful bro
chure on the grammar Of the creole pa
tots some forty or more years ago, says
that there were then not more than six
or seven African words in the language
spoken by the creoles. His meaning, no
doubt. was that only so many words were
used coloquially. for great many more
were in use in the incantations when
formed a part OF their supersttious rites
and in some Of the songs which accom-
panied their orgiastic dances, though
their meaning was forgotten. How the
black slave proceeded in the construction
Of a grammar for the speech which he
took from the lips of his master is most
Interestingly described by DR.. MERCER.
cEtude sur Ia Langue Creole en- Louis
lane" evidently printed for private circu-
lation and bearing neither imprint nor
dateJ / have drawn on il for the fol-
loWinp
New-York tribune., 1913-09-07
SOME CREOLE LOVE SONGS.

Thus. then, grew the pretty language.
soft i'm tho mouth OF the creole as bella
IH0pG in bocca ToScdHa, in which the Gre
ole sang of his love, gave rhythmical impulse
to the dance or scourged with satire those
who fell under his displeasure-the uses
10 which the music was put which | pur-
pose now to discuss II should be borne in
mind that the popular notion In the United
states that a creole is "a Louisiana negro
is erroneous Prudential discusses the
origin Of the word and its application in
the introduction To his book Musk Tanz
und Dichtung bel den Nreolen Amerikas."
The Spanish word crioHo, from which the
French creole is derived. is "A derivation
from the verb Cridr. To create. bring up,
breed. From this root other words are
derived; not only substantves like crid
(brood) cridn:d education. bringing up) =.
cridturd, criddor. etc, but also criadd
(servanD, which i'm other languages has a
very different etymology (Diener. SER
uitour. domeStiquc, Scrro. etc). The term
criado Is "A relic of the old patriarchal
system. under which the servants of the
household were brought up by the family.
Children of the servants became servants
of the children OF the master 80 on the
plantations of the other states slaves were
set apart from childhood to be the play
mates and attendants of the children of
the family. Criolo also signifies things
bred at home but born In foreign lands,
and thus it came about that the Spaniard
called his children born i'm foreign lands
cyfoHoS and as these foreign lands were
chiefly the American colonies the term
came to be applied first TO the white in
habitants OF the French and Spanish coli
onies in America and only secondarily 10
the offspring of mixed marriages, regard
less of their compa arative whteness or
blackness.
When Lafcadio Hcarn was looking up
creole music for me in New Orleans In
the early sos OF the last century, he
wrote In one of his letters: The creole
Songs which | have heard sung in the
city are Frenchy I'm construction. but
possess a few African characteristics of
method. The darker the singer the more
marked the oddities OF intonation. I'm
fortunately most of those ] have heard
were quadroons or mulattoes" In an
other letter he wrote: There could
neither have been creole pstois nor creole
melodies but for the French and Spanish
blooded slaves of Louisiana and the An
TILES. The melancholy, quavering beauty
and weirdness OF the negro chant are
lightencd by the French influence, or sub
dued and deepened by the Spanish" :"
New-York tribune., 1913-09-07
cARoLINE's NUPTlAL PROSPECTS

In its way the song "Carolue' lets
light into the tragedy as well as the TO-
nance of the domestic life of the young
creole slaves Marriage. the summit OF
a poor girls ambition. is its SubJect-thh
state of blssful respectablity denied
the multitude either by law or social con-
ditions. ! have taken words and melodY
from "Slave Songs but NJ. Tiersot VINO
wrote the song down from the singing OF
a negress i'm New Orleans. gives the mans
OF the heroine as Azelie and divides the
poem into two stanzas separated by re-
frain:
Papa dit non. maman dit non.
C'est Ii m'oule. c'est ii ma prem. tbo
Tn deuN. trois. Azelie.
Pas pare com "a, ma cher (B9
Sam'di ramour. Dimanch' marie
Lundi mstin pitt dams bras
NapaS convert ma pas de draps,
Ma pas a rien. pitt dams bras.
(Papa says no. mama says no. II is ne
whom I want and who will have m.,
One. two, three; don't talk that way "'
dear -
saturday. love: Sunday married; Mon
day morning a little one IN srmo
There Is no coverlet. no sheets, nothing
little one in arms y
Tiersot gives the melody OF the stan1a'
in SIS time, of the refrain in "a ana de'
scribes the movements Of the dancers
(the song is a CounjaD as somewhat
languorous turning with slight swayins
OF the body. have translated 'cabanne
cabin. but in Martinique "caban" sisnines
a bed. and In view OF NJ. Tiersots variah'
text this may also have been the meanins
OF the term in Louisiana. II. T. n
Copyright, 1918. by G. schirmsr)
New-York tribune., 1913-09-07
MUSIC NOTES.

Leopold Kramer. the new concert mas
ter Of the Philharmonic Society comes to
New York with fine artistic record,
having filled many important positions
He was educated at the Prague Conserva-
tory. and before coming to America was
associated as concertmeister with some
OF the largest European orchestras, in
Guiding Hamburg. Amsterdam, Cologne
and Covent Garden, London. In 1897 he
was brought TO this country by the late
Theodore Thomas as concertmeister Of
the Chicago Symphony Orchestra, with
which orchestra he remained for twelve
years. giving up his work TO accept po-
sition In the same capacity with the
New-York tribune., 1913-09-07

This is the primitive stage Of the proc
css which In the mouth Of the future Gre
ole undcrgocs two changes the sound "a
Is combined with the pronoun Omora, foro
Ira. uourd. rouud rcrd- chantc). AMI
then for economical contraction the
New-York tribune., 1913-09-07

Sometimes there is a still further con-
traction. the pronominal consonant disap-
pearlng. leaving the vowel alone TO rep
resent the future. For the imperative
mood the creole uses the innnitive, pre-
ceded by the noun or pronoun; for que
Jules vicnnc avcc vous' he says JuIc
ript arc ron The FIRST person plural in
New-York tribune., 1913-09-07
Aida" To Be First Offering o
New Century Company.

The Century Opera Company. the now
organization for English opera at popu-
lar prices. will open its first season at
the Century Opera House a week from
tomorrow night. The opera will be
Verdis aida" sung In English with
the following cast
New-York tribune., 1913-09-07

I tive of tho verb to determine the Kind of
action aud tho pronoun 10 indicate the
actor Thus Va chnHte tells MS that there
ls ~ be- singing Who is 20 sing The
prouuuu gives the Information
New-York tribune., 1913-09-07
MAKING THE CREOLE GRAMMAR

In the first place, the negro composes
his verb. For his present indicative he
takes pronoun and the adjective which
qualities a state of being. lie says no
contain (Je suis content) for Moi etre
content; he suppresses the infnitive
(etre). The present indicative tells US
that the action expressed by the verb is
doing You present yourself At the door
Of house and say TO the negress who
opens 10 your knock that you want to
speak to her master She replies that he
dimes (qu'il dine) j. e, he is dining
(quil est dinant to form the present
participle she makes use Of the pronoun
'lui" (Which she pronounces I'D and
places it before the proposition apres
(dpe). OF these two words she makes
one, lane, TO which she adds the infinitive
"diner"-ldpe dintn--Gl est apres diner).
The proposition, apres, plays an i'm
pOrtant role in the creole patois. DR.,
MERCER points out that IL Is used by the
negroes In the same sense In which 1t was
employed long ago in France; etre apres
faire quelque chose, TO be after DONG
something-a locution still found in Lam
guedoc. G might add that ii is form
with which the English language has been
enriched by an Irish idiomD. The creole
negro takes the word indicating state
of being and prefiXes the pronoun:
Mo-Je suis-I am
TO-Tu es-Thou art fmalade-ill.
Lit est-He is
Nou-Nous sommes-We arc
VOu---Nous eteS-You are Smalades-lll'
Ye-Ils sont-They are
To express an act in the course Of ac-
complishment recourse is had TO the pro-
noun Joined to the proposition "apres"
(dpc) which is followed by the infnitive ::
Moi apres, l. G.. Mo ape, which is CON
tracted into mdpc, and so on with the
rest:
Mdpe1
Tape
Ndpe ''''
Pdpe
Ydpc J
the equivalent OF
Je suis
Tu cs
Nous sommes fdPies u'heI'
Vous etes
lis sont
Nothing remains Of the pronoun, except
the sound Of the initial letter and these
people having no written language. E n
the letter does not exist for them. Wien
the black slave heard his master speak OF
things in the past tense II was the sound
&c which fell most frequently and per-
sistently into his ear: Jetais, tn etais, il
etait. ills etaient. Upon this te the negro
New-York tribune., 1913-09-07

Tho negro hears some one say 90 Oh"
white man who is expecting an arrival
I'll va vcnir." lie recognizes that va
as rhe sign Of the future For "Cc gros
batcsu a yapeur nc rourra pas dcsocndrc
quand reau sera basse' he says. Gro
Shmbouc--la pas cdpdb dcccndc can 10
IA bassc. TO wa he attached the uGu-
New-York tribune., 1913-09-07

Conductor--AlstsF Szendrei
stage Dircctor-Luigi Alberteri
Stage MauHgcr-Louis =. Fcrande.
The house for the opening performance
is practically all sold out, and Edward
Kellogg Baird the president Of the COM
pany. announced on Thursday that more
New-York tribune., 1913-09-07

sounds or. ir. our. 60 are olded. the
Initial letter of the pronoun is united with
the radical sound and We have.
Ia .chante
Va
Va
New-York tribune., 1913-09-07

seized A. representing or nsurins the past
and joining it TO the pronoun hc formed
his imperfect indicative Of the verb etc.
Uofc-JCtais
TOfc-Tu etaI
Ltfc-Il etait
Notufc-Nous ttious
T0ufC-Nous cticl
Icfc-Ils Ntaiont
New-York tribune., 1913-09-07
Creole Songs and the Views Thereon Of Lat
cadio Hearn-Song Of Little Lolotte"
Tragic Romance Of caroline.

Hearn was musically illiterate. but his
powers Of observation were keen and his
intuitions quick and penetrating lie felt
what [ have described as the imposition
of French and Spanish melody on African
rhythm.
New-York tribune., 1913-09-07
AVOIDING DIFFICULTIES.

Obeying the law OF laZiness. or follow
ing the line OF least resistance, the creole
elides the letters which are difficult OF
pronunciation. or substitutes easy ones
for them. The letter r is as difficult for
the negro as il is for the Chinaman; he
eldes it and says pou for pour, ape for
apres. di for dire, cate for quatre. In
Martinique. II | am TO judge by my songs.
when he does not dispense with the letter
altogether he gives it soft sound, like an
infusion OF "a into 10: oHochc for roche.
The French sound OF 10 is as difficult for
the negro as it is for the American or
EnSlishman he dos not struggle with II,
but substitutes the short sound of /: tort
for tortuc. Jigo for juse, or he uses the
continental sound (oo) Ia Houitc for la
mutt. tou Souitc for toute dc suite En- he
changes to al. as in air; Iondir for
rhonneur: and giving him trouble he
changes them to 2: fou$oU for toujourS.
>amdiS for jamais. mdH:c for mango. lie
has no use for the first person pronoun
"Je" NO suficinS him and "tu" he re-
places with 10 and toi Words which arc
too long 10 suit his convenience ne alb
breviates al pleasure: bdracc, embsrrasse
pete, d'appele; bile, ouble
New-York tribune., 1913-09-07

the creole imperative Is curious in that
TO form it he calls in tho help OF the I'M
perative verb "aller." which he pronounces
anon: "Traversons cette rue becomes
anon traverse ldrue ella. He escapes such
embarrassments as "buvons." "dormons''
"cusons" with the help OF his ever ready
anon. anon boi anon droHi, anon coude
In its transformation into creole says
DR.. Mcrcier. French is simpli1ed ana
ACQUIRES either grace or strength. In
many cases the verbs TO be- (etre) and
TO have (dyoir) disappear IL rniHan 'H
est vaillanD II pas pcW tll n pas
peur). In French the negative particles
are ovcrabundant it is one Of the faults
OF the language. In the phrase IL n a
pas peur' there are two negatives. nc
and pas The creole uses only one and
SAYS in three words what the speaker OF
French SAYS in i've. The difference is stil
more apparent in the phrases: Je com
mence a etre fatigue; je crois qu' IL est
temps dc nous en- retourner"
words: No copldnce idSSo; no Gre tan
uou tournir-eight. Moreover. neetness is
acquired by the suppression Of the prepo-
sition "a and the conjunction que
New-York tribune., 1913-09-07

Continued on afth page.
New-York tribune., 1913-09-07


rris ~ NJ oh' si n, o's
fsraos a. oA.is. LaS'u< restored
Washington standard. [volume] (Olympia, Wash. Territory) 1860-1921, 1913-05-02
The Marketing al Produce.

(slaud tuuUtV |''ncS.t
One of the most important gather
ings ever held in the United States
and one Of which the Northwest has
heard little, was that of nearly 500
scientific agriculturists, financiers and
economists, recently held at Chicago
The important questions discussed at
that meeting were in relation to the
marketing of produce so as to bring
The producer and the consumer closer
together. transportation, and the ex-
tending of credit to the farmer. 1t has
been plainly demonstrated that the
nigh cost of living is, in large meas
ure, due to the profits received by too
many middlemcn and when these are
eliminated the bane of high prices will
70 a great extent be removed Coop
Grafton and elimination can work
wonders.