davidaulloa/AmericanStories huggingface dataset:
The day book. [volume] (Chicago, Ill.) 1911-1917, 1914-06-30


ness for moment l was not able to
tell where i was It was very dark
and only here and there could l catch
glimpse of a light evidently Ian
tern carried by some one. These
lights seemed far off.
Everything was chaos, means and
cries rent the air about me. l tried
to move and could not l heard my
self calling for Dick, and then rea-
lized, for the first time, that there had
been collision and that Dick was
far away from me. l tried to move,
but in some way one of my legs was
pinned down. Iwondered why some
one did not come. l tried to call, but
my voice was drowned in the general
excitement and horrible agonizing
sounds Of pain.
In a few minutes, which seemed
hours, a, hand grasped mine and Mr..
Sanders said: care you hurt, Mrs
WaVerly?"
81 don't know know" 1 answered.
Il can't move one of my legs and
seem to be just one bundle of pain"
Il cannot move, either" he said
slowly as though with great effort,
but keep up your courage. Some
one will surely be here. You see, we
we're the only people. in the dining
car, beside the walters. l don't see
where they all are now"
Just then one of the lantern lights |
came over toward us and we heaerd a |
mans voice, moaning and swearing
in the same breath.
Some one called. Come over here;
there is some one hurt in the dining |
car" AS he said it noticed line of |
fire crawling along toward us from |
the other end of the car where the
kitchen was. My heart stopped beat
ing, and must have grasped Mr.. San
ders' hand harder, for he said: What |
is the matter?"
THE car is afire."
. Tho mon Tuhn oollipo
The day book. [volume] (Chicago, Ill.) 1911-1917, 1914-06-30
THE CONFESSIONS OF A WIFE
BACK TO The WORLD OF FEAR-coNFEssIoN 1874

TEAh-SONEGS SIOTN 1871
Here, here, help me, help me" he
called
There is a woman penned under
the seats" said Mr.. Sanders; help
her first
Come on, boys; there are a lot
of folks here,'' shouted a rough voice.
Bring some water quick-the car
is afire and it will take long while
to get these people out"
The flames burst out, and could
feel their heat. The hand 1 had been
holding clasped mine tighter.
Don't be afraid, Margie, were the
words l heard; they will get us out
all right now that they know we are
here"
And then it seemed to me that 1
heard some one praying: God save
her! God save her! Never mind me,
save her!' -.
81 don't want to burn to death,
Mr.. Sanders. Can't you put me out
of the way so that / will not burn to
death? Oh, can't burn to DEATH"
Hush, dear, the men are here and
will rescue you, was the answer to
my plea. ''And, ,Margie, feel that 1
am dying! l have not told you, but
am so crushed that am sure death
is near"
burst into tears as felt his hand
grow chill. .--.
Don't cry, dearest girl, he said. 81
am almost glad to go, for now know
that you will always pity me through
the years, for love you, Margie.
Il loved you from the moment l
saw you in the car. Tell your Dick
this-he is mamie will know that
this wild, unreasoning love comes at
first sight and, knowing you, dear, he
will not blame me. Here comes the
men to rescue you-it is too late for
goodbye"
l lost consciousness and only
awoke in this hospital bed with dear
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01
Faversham Talks of Coming
''OthellO''

Hugo Rumbold. has nearly outstripped
his master. Mr. Rumbold Is one OF
tho foremost artists In England: his
paintings are annually exhibited at the
Royal Academy, and his pictures have
found permanent places upon the walls
of every leading museum Of Europe.
His latest work has been confined to
the theatre. Here he has achieved un-
usual results by applying behind the
footlghts the formulas and the codes
of the new phases OF the painters art,
variously termed imprcssionistic' or
'futurist or 'Cubist,' according To the
degrees Of revolutionary tendency
"Mr, Rumbold comes of n distinguished
late Right Hon. Horace Rumbold, Bart.
q, q. H., q. &. Nj. O., who died last
month. Tho life of the elder Rumhuld
was almost entirely devoted 10 the dip
lomatic service The demands of his oii-
cial career had taken him to every nook
and corner of the globe. BESIDES II
host of lesser posts, Sir Horace Rum
bold was ut various times Minister
Plenipotentiary To Argentina, To Nor
way, To Greece, tn the Netherlands, and
for several years was Ambassador to the
Austrian Emperor. Consequently young
Hugo Rumbold early In life achieved
a reputation us "A world traveller. Oddly
enough however, Hugo is the only one
of the Rumholds, who has won dis
tinction in the arts. although his mother
was quite widely known for her beau
tiful singing"
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01

succlnct summary OF Swinburno has
ever been surpassed. He declared that
~ surely as Othcllo is tho noblest man
Of mans making. IdOo is the most per-
feet evildoer, the most perfect demi-
devil
"Hugos estimate OF Othello Is often
quoted because of its shimmering brill
lance. He said. 'Othcllo is great: he is
dgnihcd: he is majestic; ho scars above
all heads; he has an escort, bravery,
battle and braying of trumpets, the ban
ners of war, renown, glory. no IL radi-
ant with twenty victories; he Is studded
with stars, this Ofhoilo. hut he is black,
And thus how soon when jealous. the
hero becomes the monster, tho black
becomes the negro! How speedily has
night beckoned to DEATH
I'm recently published volume en-
titled 'Shakespearian Tragedy Prof. A.
c. Bradley of oxford declares that of all
the Shakespeare tragedies, "Othello"
is the most painfully exciting and the
most terrible. Many learned critics
concur In pronouncins Othello' the
most moving, the most fascinating and
the most gripping of all Shakespearan
plays"
In connection with Hugo Rumbold
who designed the costumes for his re-
vival Of "Othello," Mr.. Faversham said.
Since the meteoric advent of Cor
don Craig, with his new theory of the
art Of the theatre II number of his
ardent followers have accomplished
marvellous things. andaons among them.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01

William Faversham, who is to make
Mt the Lyric Theatre next week the Sec
ond revival Of "Othello' which has been
seen hero this winter. talked with a
Sun reporter the other day concerning
his plans and the work itself. Mr.. Fav-
ersham said:
1.-THE present generation has seen very
few notable presentations OF 'Dthello,
for the hstrionic requirements Of the
leading parts are such that 1t Is almost
impossible to assemble in one organi-
zation n company that can do adequate
justice 10 the play as whole.
Some fifteen or more years ago Sal
VIM played 'Othello' In America with
Edwin Booth as IdgO, Marie VAIN
wright ~ Desdem0nd, and Mrs. u. f.
Bowers az Emilia. certainly a remark
able cast. Il. l.. Davenport was fond
of playing Othello and played it admir-
ably. as did John Mccullough. Oddly
enough, Lawrence Barrett was never
very successful with the play. Edwin
Booth, though. won much praise as IaDo,
many critics placing 1t second only
to his Hamlet in his gallery Of Shake
spearian characterizations. 'Othello
has always been II favorite play Of
the more noteworthy critics Of the
works OF Shakespeare. Discussions and
estimates concerning the characters
Of Othcllo and IaQo have been many
and heated, ~ 70 doubtful tf the
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01
~ LAWRENCE REAMER.

TINE disappearance of Change"
impends. so IT may not be neces-
sary to repeat the inquiry as
TO it, importation by Joseph
Weber and it's production in Win
throp Ames's theatre. Its presence
lief that anything in the world
IS good enough for this country. So
there Is really no more significance in
the production Of this Welsh drama
than If Heap Watch Game" should be
sent to London. The appropriateness Of
the reprisal is obvious. Change has
jist about as We'll justified It's grounds
% Importation as the American expert
ment. Two or three performances b.
a stage society after IL had won Lord
de Walden's prize made 1t seem ripe
for the enjoyment OF American audi
ences.
"Bunty Pulls the Strings" was en-
ioyed by many thousands in this coun-
try. but 1t left some disagreeable re-
suits. one OF these is the perpetual
effort to discover its successor. The
expert who picked out that entertain
ing and profitable huke is constantly
expected to do the trick again. So far
history has stubbornly refused to repeat
itself Probably its most determined
balk took place on Tuesday night at the
Booth Theatre.
Is it beginning to be true that the
PLAYS produced by other than CONNER
cal managers must he poor and made
quate before they will be considered?
Recent incidents seem to point to that
possibility. Poor as they are, these
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01

know that | am a foreigner. and that
am just learning English and are
good enough to overlook any grammati-
cal errors or those OF misprominciatlon
which may make.
But on the stage there Is not this
same consideration shown, and very
naturally. The public pays to see good
acting, proper pronunciation Of the
words of the language used in which the
play is given. and a good performa nee.
The papers and critics have been good
enough To say that my accent'-whiCh is
Of course unavoiddb le-fits into the part
of Ramon nicely. am glad OF it. Like
wise am | very glad to say that in
little over half a year think I know
enough English so that now | can think
In that tongue.
You see. when | came to London
early last summer and studied with a
teacher, who instructed me in English
l had To think either in modern Greek,
Dutch, French, Italian, Portuguese or
Norwegian. and then translate into what
I consider the English equivalent. This
very naturally is n rather rounda bout
way of doing things.
When ! produced Dorian Gray in
London last summer after two months
study 1t was very difficult for me be-
cause ! had the double work to do,
thinking in one language mentally
translating il INTO another and giving
| utterance to it in still a third tongue. All
the while l had double work to do, to
control my brain and tongue and to con-
troll myself and actions. You under
stand mo, don't you?'
In answer to the question whether he
considered the English or the Ameri-
cans the better actors and which he
| liked better Of each nationality, Lou
Tellegen made a deprccaung gesture
and asked:
Who am that should cri,icise my
brothers? That is n difficult question
for me to answer, for various reasons
chiefly because | have seen so few OF
English or American actors since
learned to speak and understand your
! language. But ! should say that of the
English actors whom I have seen ! like
Martin Harvey the best. Please under
stand, I never have had the profit and
pleasure Of seeing Sir Forbes Robertson
act.
"Of your American actors have seen
but few. think without exception that
Mr.. Belasco's star, David Waril,4d, Is
the greatest artist I have seen so far
on the American stage. but please real
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01
NOTES OF THE STAGE.
Fact and Comment In the Thentre
World.

Prof. Richard Burton OF Minnesota,
author of The New American Drama"
was the guest of honor at a Drama
League luncheon given at the house OF
Mrs. Arthur Dodge yesterday for a
group Of tho members of the New York
centre. This was the first Of series of
such luncheons organized by Mrs. AL
fred Meyer which will continue through
out the rest of the season. AT each
some guest Of honor Will tell what the
organized audience can accomplish and
will also tell something OF most OF the
older centres of Chicago. Boston. San
Francisco. Philadelphia and Washington.
The other hostesses include Mrs.
Henry Fairfield Osborne, Mrs. William
+. Lowe, Mrs. Laurent Oppenheim. Mrs.
Howard Cans, Mrs. Albert st. Harris.
Mrs. Charles Neukirch, Mrs. Eugene
Coulter Saridge, Mrs. Frederick Nathan.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01
Musical Plays to Be Heard Here This Week

Donald Brian in 1.-THE Marriage Mar
ket," will have another of the leading
roles in the new production, and WILL
lam Norris has been engaged for the
part Of the famous divorce lawyer. 9th
ers prominent in the cast are Frances
Demarest, Josie Intropidi. Fred Walton.
Roy Atwell. John Daily Murphy and
Nigel Barrie.
The French Drama Society announces
tomorrow afternoon at the Harris
Theatre Gabrielle d'Annunzio's Clio
conda" in the remarkable translation
made by d. Herelle, which was adopted
for the French performances Of the play
at the Theatre de Gymnase in Paris
a few years ago.
Mime. Yorska will enact the part made
famous by Nine Duse In the italian per-
formances. Others will be Mines. Fo-
ver!, Elenora Defrance and De Anchorez,
and NM. Ruben, Verneuil and I.oir.
Blanche Ring will begin an engage
ment at the Thlrty-ninth Street Thea
tire tomorrow evening. She will APP
pear in when Claudia Smiles" farce
with songs, written by Anne Caldwell,
devised from the material contained in
n play adapted by Leo Ditrlchstein.
The Coincidence will play the part of
Claudia Rogers. a Broadway show girl
whose stage career has been interrupted
temporarily, thanks to a divorce and a
trip abroad. Once she realizes she has
legally cut herself adrift from the only
man she really loves she becomes in
yolved in violent flirtations with two
elderly admirers for the strictly femi-
nine purpose Of making her ex-husband
Jealous Her escapades with this idea
in mind form tho main business OF the
play. Incidentally 1t is divulged that
Claudia. rs Is the case with many of
here prototypes hereabout, is able to
start a great deal Of mischief without
any intent Of malice or harm. Several
characters more or less familiar In the
surface life Of New York are introduced,
and as a background for the incidents
the author has selected the foyer Of
The Ritz Carlton and the pink boudolr
of the principal parsonage.
There are a dozen musical numbers.
Among them avs why sthe' Ocean So
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01
EarvLeve- AgAis.F
tlaa NeSd::

ize that | am in no position TO judge
OF the relative merits OF the various
actors on the stage in this country
because i have seen so few OF them and
who am | TO criticise their work." And
again Lou-Tellegen smiled.
You see | too am an actor. II is my
business to act, that is my trade, and
you--you are a critic. 1t is your bust
ness to criticise, So pardon me. let US
each stick to our own line"
Lou-Tellegen declares that he does
not attempt to initiate any French
Dutch. English or American actor whom
he has seen. While he admits that ii
is possible for person to absorb un-
consciously certain traits of great ar
lists, he still maintains that every in
dividual actor worthy OF the name and
DESTROYS of success should use the brain
temperament, feeling and soul with
which he was created. The develop
ment of these. he contends. lies wholly
with the individual. Along these lines
the young foreigner whom society has
l!onized and who has given Broadway
its most agreeable shock In a quarter of
century said:
Very naturally Nine. Bernhard has
taught me much. No person living could
NC Az iitA NbilIBilN l'll tlSlll years dS
l was without learning something of
her marvellous art. ] can never ade-
quately express my sense OF obligation
to this greatest OF actresses and artistes,
for l owe her more than ] can pos
sibly tell.
Also do I owe much TO Mounet Sully
and his brother and TO De Max, neither
would fail 10 give credit to Sylvan, all
OF whom took me in hand when / was
younger and about to make my debut
on the Paris stage. Iou viii not think
mo boastul, will you, when / say that
i was the laureate Of the Conservato!re,
a fact of which l am very proud.
You see that | have played all OF
tho principal male roles IN the Shake
spearian plays and in the French
classics. To say nothing OF the modern
dramas written 10y Ihsen. Shaw and
others which have been translated into
French and in the majority of the mod
ern French plays.
Il find in this country that audiences
are very OBSERVATION-DISCLOSURES can
feel their brains working in unison with
that OF Ramon in Maria Rosa | don't
know whether.you would call this teiep-
athy or not. but it is certainly a stimu-
lus to the actor. particularly when ne
is foreigner and playing in strangely
new language.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01

them clcNcrlN constructed. fun Of hui
NOR, fun of human nature. | don't
think you can surpass them in any
country. And tho level Of their
acting il as high in my humble iudC-
ment as any YOU would find in Paris
or in London
There seems To he n large section
Of the playgo!ng public that likes to
have its palate tiCkl-d with somewhat
highly seasoned food. but one must
remember that the public that flocks
to see the dramas Of the shady side OF
life does not neglect Hamlet, so there
can't be much wrong with its taste.
81 fancy the motto Of the public hero
is as it is in other cities: Let 'em all
come and If the work is very good it's
good enough for us and If it isn't very
good we won't worry 1t. Wen just let
il alone
speaking personally, the New York
public has always been very generous
to me. When have given il work that
IL has thought worthy II has always
welcomed it, When I have fallen short
OF its expectations il has always gently
but firmly let me know il. on nv
previous visits to New York | have
produced with Charles Frohman The
W l''NN az lI'' IIllllIlf UttlIt, w
which Margaret AuElIu made such
hit, 'Imprudcnce' at the same theatre,
so finely played by Fay DAVIS and Mr..
Faversham; My Lady's Lord with MisS
Millward. Mr.. F'avcrsham and Guy
Standing, and about the same period.
when We Were Twenty-one' with Nat
Goodwin and Maxine Elliott AT ths
KnickcrhoCkcr Theatre. | also had tho
measure nf surviving John Drew with
play, 'One summers Day done, be-
licvc, at WallaCk's Theatre. though I
have never had the pleasure OF seeing
him play II. Another great JOY TO me
was Julia Marowe's appearance IN my
play Fools OF Nature which unfor-
tunately her illness prevented her play-
ing in New York.
1.-THE new play that | am submitting
To New lork's judgment at the Garrick
Theatre Monday night Is IA serious
comedy. call it "rhe Dear Fool r.
deals with an incident in the life Of a
woman who realizes that her youth IN
slipping away from her while she is
passionatoly in love with n man almost
young enough to be her son. She is q
widow with two boys of her own. II is
"A character that touches great depths
Of emotion and, speaking aS an author.
am more than lucky in having it
played az II Will 10 played by EVA
Moore"
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01
II. V. Esnond Tells of Experiences Here

1t was his firm determination not to
ask Mr.. Esmond that question. But It
was the first thing that came into his
mind when Mr.. Esmorl entered the
room. So he gave him tho customary
opportunity. The answer was taste
fully in the same spirit;
How can one possibly say anything
about America when one has only h:en
in New York for week or two? I'm
pressions one must have and such as
they are these are some of mine. And
anyhow / have one impression that
shall never lose, lasting impression
of hospitality generously extended
and a very genuine welcome 10 n
stranger.
Now, to take a jump. THE most i'm
pressive sight l have ever seen in my
life | have seen in this City-and that
is the panorama of New York from the
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01

top OF the Woolworth Building. The
first View Of Niagara takes ones breath
away. but after all one expects that
the infinite forces of nature We're at
work there. But the finite mind of
man erected that Woolworth Building
and when YOU are whizzcd up To the top
by an express lift and stand looking
over the mighty city below YOU, believe
me, II gives you furlously 10 think
But let me come off that pinnacle
and deal with impressions made by
other works of man more in my own
line. The American plays | have seen
i have not seen many-but Of those
have been privileged TO see, let me
take three at random. Potash & Perl
mutter.' The Seven Keys to Baldpatc,
and Within the Law'--where could
you find three more admirable exam
pies of each special type of play. all Of
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01

The Knickerbocker Theatre to-mor-
row night presents the newest or Nien-
nese comedies with music, THE Laugh
Ing Husband in origin and
quality of production to THE Doll Girl
The Marriage Market" and The
Siren" THE Laughing Husband" has
had genuine success in Europe and in
London will shortly reach its two hun
dredth performance at the New Thea
tire.
The Laughing Husbands" first act
Is musical comedy; the second Is gen.
timely dramatic and the third Is farce
Of the quickest sort. The music is by
Edmund Eysler. composer OF The
Woman Ilaters."
The book of 1.-THE Laughing Hus-
band is taken up with the story or
IN" husband. the wife and another man.
Tie husband in this case Is retired
rorfoctioner of Berlin, rich, jolly ana
middle aged. His wife is young ana
goes in for the artistic-writes snort
stories, dresses "A Ia Bakst and SO on
She plans To write a novel, and TO ac-
qI'rc the experience in love that she
lacks see consents 20 engage in n mr.
'5'ou with II professional lady killer.
Sc ueglects, however, to make con-
id"nt OF her husband and so when he
stlmHlcs upon her and the Count tete-
d-'rle behind a screen with the hghts
OFT be- turns the guilty pair out or his
house and calls in n famous divorce
lawyer.
Nj Frohman has assembled an ex-
c'ptloually good cast for the presenta-
ton of THE Laughing Husband TO
imperSpnate the husband he has brought
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01

plays still appeal To managers suft-
GENTLY intent on the search for another
with them. They seem to forget that
the author of the Scotch play was a
playwright essentially man of the
theatre. actor, playwright and manager,
who had been all his life surrounded
by just the sort of influences which
should ultimately enable a man to write
good play II the power is in him. II
there must be importations OF dramas
dealing with the social. political and
religious life OF various parts of the
United Kingdom, brought to this coun-
try for our consumption. may they at
least he the work OF playwrights.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01

as can be witnessed and studied by
students and young folks, preceded by
comments made by prominent men and
women. Mr.. Bonheur has succeeded in
getting the acceptance OF Senator
Chauncey Depew TO inaugurate these
series OF "Mercred!s Literaires' to talk
on the works of Racine and Moiere. fol-
lowed by the presentation of Andro-
maque's scene by Nine. Yorska and Mr..
Ruben. and of the brilliant final scene
Of lie Dept Amoureux." in which Nine
Foveri. Mile. de Anchorez. Mrs. Perrin
and Andre Lolr will appear.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01
LEARNING TO ACT IN ENGLISH.


Achievement OF LOu-Tellegen.
1t seems incredible that Lou-Tellegen.
the Dutch-Greek actor appearing in
Maria Rosa" with Dorothy Donnelly.
should have learned to speak English
in seven months. 1t is a fact, however,
that even so recently he was quite
ignorant Of our tongue.
1T is much more difficult for me-" he
said, ito speak English on the stage
than in personal conversation. On the
stage l have to think of the value OF
words and sentences and their mean
ing. Also must | think of the infection
OF the voice, the expression OF my face.
my bearing, my gestures. because they
all help the spoken words or the sug-
gested thought.
I'm private conversation do not have
to be so careful. Neither is there the
strain, because persons whom l meet
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-02-01

me booth Iheatre' was nrst given IN
Lohuoh oy 'he stage society In the early
part or peceihoer inc play had won
l'ord howard dc Waidens prize offered
ior ,he pest "eish play by welsh au-
NOR ana was gwen oy the stage Society
py the welsh players who are now APP
pearins IN II. the first performance
was nailed Win such enthusiasm that
extra performances OF Change We're
given AT the Haymarket Theatre, and
thls theatre desired 10 obtain the rights