davidaulloa/AmericanStories huggingface dataset:
Norwich bulletin., 1916-10-18

a distance of several feet from the flame itself.
 Never allow anyone to light a pipe, cigar or cigarette in the garage. Make that apply to your best friend as well as to yourself and employees.
 By all means see that an efficient drainage system is installed, so that the floor will be kept free from pools of oil drippings and gasoline.
 Use nothing but electric lights. II other lamps are used on the car, see that they are put out before driving into the garage.
 If a fire should actually break out, first Of all keep your head and get busy with the extinguisher
 It is very easy matter in the sum mer time when a motor car is used every day. to grow careless about some of the important parts of the car.
 Because of the increased amount of driving, however, and especially driV ing at night the storage battery can- not be neglected if the owner wishes to get results from his starting and lighting systems.
 A storage battery needs plenty of water in the summer time just like a human being. On account of the warmer weather, a battery should re- ceive pure distilled water every week Warm weather makes the solution in the battery evaporate rather quick ly. This solution is what gives the battery it's life and if allowed to get below a level with the top of the bat tery plates, these plates will be eX- | posed to the air and the exposed DOT 1 tion will be damaged by civilization
 Tn addition to this danger to the 1 battery, if the owner neglects to fl | the cells with water. tie generator or l his car will over-heat his battery ant
 ruin it in a very shcrt time. This
 matter of giving the battery plenty O water is so important that we have in l structed all cur service station! 1 (which number over SO0) to advise car owners in their respective terri tories regarding these points and t' | fill batteries with water whenever re | quested"
Norwich bulletin., 1916-10-18

PiainviIIe-H s. Tyler reports Q yield of 1,500 bushels of potatoes, and nice ones at that.
Norwich bulletin., 1916-10-18

ddIetown.-Monday was the 37th wedding anniversary of MT. and Mrs. Abbott G. Butler.
Norwich bulletin., 1916-10-18
football Results

Carlisle, Pa, Oct. 17-Carlisle h. dians 20; Lebanon Valley 6.
Norwich bulletin., 1916-10-18

Acetone Varnish may be used quite effectively in restoring scratched eel luloid windows to their original trans parency. Apply thin coat of var 11ic
Norwich bulletin., 1916-10-18
Running Things.

The hyphens seem to be running There are Lloyd George and Bethmann- -Hollweg. - Kansas City Times.
Norwich bulletin., 1916-10-18

Drivers who use pipe will be in terested in this novel means of clean ing it in a few seconds without using the ordinary cleaners. The spark plug cable from one cylinder is removed to make the cylinder imperative. A pet cock is opened and the bowl of the pipe held over it, so that cylinder compression is used to clean the pipe.
The Hays free press. [volume] (Hays, Kan.) 1908-1924, 1916-05-20
ALOIS Kissing
HAYS, KANSAS
A MERCHANDISE REVOLUTION it's effect

p ~ yg ~
20 Gent dG san hL dies Men sand GfsaU
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08

but does not stop there. He is also
Infinite Beauty, Cause, Reason, Poetry
and Love. The music begins with an all
but inaudible descending passage in
the BASES, answered by sweet con-
cordant harmonies. A calm song tells
of the first streaks Of light; woodwind
and harp add their voices; a mellifiu-
Gus hymn chants the stirring flowers,
and leads into a rhythmically, more in
cisive, but still sustained, orchestral
song. which bears upon its surface the
choral proclamation Of the sun: IL am!
am lifel | am Beauty infnite!" The
fux and refux of the instrumental
surge grows in intensity, the music
begins to glow with color and pulsate
with eager life, and reaches a mighty
sorority, gorged with the crash of
multitude of tam-tams, cymbals, drums
and bells, at the clmacteric reitera-
tior of "Calore! Luce! Amor" The
piece is thrillingly effective, but as
little operate as the tintinabulatory
chant of the Cherubim in the prologue
of Boito's "Mefstofele."
And now allegory makes room for
the drama. To the door Of her cot
;age, empowered on the banks Of
quiet stream, comes Iris. The peak
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08

The puppet dies and with Jor
dances. Off into Nirvana. Now three
geishas, representing Beauty, Death
and the Vampire, begin a dance.
Kvoto distracts the attention of the
spectators while the dancers faunt
their skirts higher and wider until
their folds conceal Iris, and Osdkd's
hi elings seize her and bear her off
toward the city. Kuoto places let
ter and money at the cottage door
for the blind father. Through a ped
Ter and the woman he learns that his
daughter is gone to be an inmate Of
the Yoshiwara. He implores the peo-
pie who had been jeering him to lead
him thither. that he may spit in her
face and curse her.
Iris is asleep upon a bed in the
"Green House" of the district, which
needs no description. A song, accom-
panied by the twanging Of samisen
and the changing of tamtams, is sung
by three geishas. KUotO brings in
Osaka to admire her beauty, and sets
a high price upon it. Osaka sends for
jewels. Iris awakes and speculates in
philosophical vein touching the ques-
ton Of her existence. She cannot be
dead, for death brings knowledge and
paradise joy, but she weeps. Osaka
appears. He praises her rapturously-
her form, her hair, her eyes, her
mouth, her smile. Iris thinks him
vertically Jor, but he says his name is
pleasure" The maiden recoils in
terror. A priest had taught her in an
allegory that Pleasure and Death were
one! Osaka loads her with jewels,
fondles her, draws her to his breast,
kisses her passionately. Iris weeps.
She knows nothing Of passion, and
longs only for her father, her cottage
and her garden. Osaka wearies of his
guest, but Knoto plans to play still
further upon his lust. He clothes her
in richer robes, but more transparent,
places her upon a balcony, and, with
drawing a curtain, exhibits her beauty
to the multitude in the street. Amazed
cries greet the revelation. Osaka re-
turns and pleads for her love.
"Irisl" 1t is the cry of the blind
man hunting the child whom he thinks
has sold herself into disgraceful slav-
cry. The crowd falls back before him,
while Iris rushes forward to the edge
Of the veranda and cries out to him,
that he may know her presence. He
gathers a handful Of mud from the
street and hurls it in the direction Of
her voice. There. In your face!
In your forehead In your mouth! In
your eyes! Fdnqo!" Under the i'm
precautions of her father the mind OF
Iris gives way. She rushes along a
corridor and hurls herself out OF a
window.
The third act 10 reached. and drama
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08

began in failure and ended in scandal.
There had been no adequate prepare
ton for the operas announced and one
of them was not attempted. This was
"Ratclif." "Cavalleria rusticana,"
"Zanetto" and "Iris" were poorly per-
formed at the Metropolitan Opera
House in October, and an attempt at
Sunday night concerts was made.
Signor Mascagni's countrymen labored
hard to create enthusiasm for his
cause, but the general public remained
Indifferent. Having failed miserably
in New York, Mascagni, heavily bur-
dened with debt, went to Boston.
There he was arrested for breach of
contract. He retaliated with suit for
damages against his American man
ayers. The usual amount Of crimina-
ton and recrimination followed, but
eventually the difficulties were COM
pounded and Mascagni went back to
his home sadly disillusionized man.
(The story Of this visit is told III
greater detail in my chapters Of
OPERA" as is also the story of the
rivalry among American managers tc
be first in the field with "Cavalleria
rusticana.D
"Zanetto" was produced along with
"Cavalleria rusticana" at the Metro
politan Opera House on October 8,
1902, and "Iris" on October l6. Signor
Mascagni conducted and the parts were
distributed as follows among the sing
ers of the company: Iris, Marie Far
nett; Osaka, Pietro Schavazzi; KyOtO,
virgilio Bollsti; II Cieco, Francesca
Navarrini; Una Guechd, Dora de FL
lippe; I'm Mercidnola, Pasquale
Blasio; IN Cencidnold, Bernardino
Landino. The opera was not heard of
again until the season of 1907-'0s,
when, just before the end Of the adj
ministration of Heinrich Conried, it was
incorporated into the repertory Of the
Metropolitan Opera House apparently
for the purpose of giving Nine. Emma
Eames an opportunity to vie with Miss
Geraldine Farrar in japanese opera.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08

nierges again into allegory. In the wan
light Of the moon rag-pickers, men and
women, are dragging their hooks
through the Shiny muck that flows
through the open sewer beneath the
fatal window. They sing mockingly to
the moon. A fash Of light from Fusi-
yama awakens a glimmer in the filth.
Again. They rush forward and pull
forth the body of Iris and begin to
strip it Of its aiornments. She moves
and they fly in superstitious fear. She
RECEIVERS consciousness, and in turn
voices from invisible singers tell her
Of the selfish inspirations Of Osdkd,
Kuoto and her blind father; Osaka's
desire bafiied by fate. Such is life!
Kpoto's slavery to pleasure and a
hargman's reward. Such is life! The
blind mans dependence on his child
for creature comforts. Such is life!
Iris bemoans her fate as death comes
gently 70 her. The sky grows rosy and
the light brings momentary life. She
stretches out her arms to the sun and
acclaims the glowing orb. As once upon
Ida, "glad earth perceives and from her
bosom pours unbidden herbs and volun-
tary fow'rs!" A field Of blossoms
spreads around her, into which she
sinks, while the sun. again many voiced
and articulate, chants his glory as In
the beginning.
The story is perhaps prettier IN the
telling than in the performance. What
there is in its symbolism and its
poe4ical suggestion that is ingratiating
is more effective in the fancy than in
the experience. There are fewer clogs,
fewer stagnsnt pools. fewer eddies
which whirl to no purpose. In the
modern school, with its distemper
music put on in splotches, there must
be more merit and action. Psychology
cal delineation In music which stimu-
lates action. or makes one forget the
want of outward movement, demands
a different order of genius than that
which signor Masesgni possesses.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08
Mascagni and the
Fruits of His Opera
=. Plots of the Followers of Verismo-A Sequel tc
"Cavallera Rusticana - Operas by Cea,
Ciordano and Tasca-Mascagni's Career
and Other Operas-''Iris'
By II. E. kREHBIEL.
Copyright. 1915. by II T. Krehbiel )

rWOI foolish question or attempt deny the merits OF
-, type OF Italian opera established by Mascagnis lucky
oaon The brevity OF the realistic little tragedy the
f its movement its adherence to the Italian ideal Of
, first lis ingenious combination of song with iumi
,cbestral part-these elements union created style
70 oosers Of Italy France and Germany quick adopt
was the fruit OF the and has been the
80 enduring indeed far America and England
ND ~Cayalleria rusticana' and "Pagacci" only
rrts Of the school which have obtained lasting footing
Thew were followed by food OF Italian, Trench and German
,ts IN which life realistically portrayed, but, though
M manner Of composition easily copied the subjects
- found in the suns Of the mtators OF Mascagn and
1.oocaao achieved 1.-THE OF their The
selves were too shrewd and wise attempt repeat the
.xoerment which had once been triumphant
In one respect influence of the operas deporable
bae attempted characterize that influence general
hut order the may be plainly presented
n me best to present few examples of detail The
ess with which writers sought in moral muck
ess OF all artistic elements is rkingy illustrated in
t.mpt by German writer Edmund FREEHOLD Il this
illustration Ferdinand Pfohs book Die MOderne Oper to
yde "Cavalera rustcana with sequel Won FREEHOLD wrote
The lbo for music drama which he called "Santuzza the
story OF which begins long enough after the close OF Vega story
for both the women concerned in "Cavalera rucana to have
grown children has given birth named Massimo
and Lola daughter Anita The youthful pair grow up side by
side in the Scan village and fall in love with another They
might have married and way expated the of their
had not fo overheard his wife, Lola confess that Turddu not
her husband the father of The lovers thus discovered
to be half brother and sister This reminder OF his betrayal by
Lola nfuriates Afo He rue upon his wife to kill her.
who hates him the slayer OF her lover throws her
self between and punges her dagger AS heart Having thus
taken revenge for TduS DEATH anusza dies OF hand Lola
as an inferior character falls faint and Massimo makes end
M deecable story by going from there parts unknown
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08

Mere talent for crtful device will not
suffce. There are many effective bits
Of expressive writing in the score OF
Iris" but most Of them are fugitive
and aim at coloring a word, a phrase,
or at best temporary situation. There
is little flow of natural, fervent
melody. What the composer accom-
plished with tune, Characteristic but
fluent, eloquent yet sustained, in
"Cavalleria rusticana," he tries to
achieve in "Iris" with violent, dis
jointed, shifting Of keys and splashes
Of instrumental color. In this he is
seldom successful, for he is not
master Of orchestral writing-that
technical facility which nearly all the
young musicians have in the same de-
gree that all pianists have finger
technic. His orchestral stream il
muddy; his effects generally Grass and
empty Of euphony. He throws the din
Of outlandish instruments Of percus-
sion, a battery Of gongs, big and
little, drums and cymbals into his
score without achieving local color.
Once only does he utilize it so as 20
catch the ears and stir the fancy Of
his listeners-in the beginning OF the
second act, where there is a murmur
of real japanese melody. As q rule.
however, Signor Mascagni seems to
have been careless in the matter OF
local color, properly so, perhaps, for.
strictly speaking, local color in the
lyric drama Is for comedy with its
petty limitations, not for tragedy with
its appeal to large and universal pas
sions. Yet it Is in the lighter scenes.
the scenes Of comedy, like the marion
cite show, the scenes Of mild pathos,
like the monologues Of Iris. and the
scenes Of mere accessory decoration,
like that Of the laundresses, the
mousm6 in the first act, with its purl-
ing figure borrowed from LES Hugue-
nots" and its unnecessarily uncanny col
legno effect conveyed fr..n "L'Afn,
cains" Il 10 most effective.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08
Calendar for the
Current Week

SUNDAY - Aeolian Hall, 3 p. m,
song recital by Evan Williams;
Carnegie Hall, p. m. song recital
by Nine. Gadski; Manhattan Opera
House, evening, popular concert.
MONDAY-Aeolian Hall, $3.50 p. m,
song recital by Louis Shenk, barry
tone.
TUESDAY-Aeolian Hall, 8 p. m,
pianoforte recital by Frances Nash.
WEDNESDAY-Aeolian Hall, after
noon, violin recital by Samuel
Gardner; Carnegie Hall, $3.50 p. m,
song recital by Anna Case.
THURSDAY-Aeolian Hall, 3 p. m.
recital of violoncello music By
Michael Penha; S:15, pianoforte
recital by Theodore Henrion.
FRIDAY - Aeolisn Hall, 3 p. m,
pianoforte recital by Beryl Rubin
stein; s:15 p. m, violin recital by
Mayo Wedler.
SATURDAY - Carnegie Hall, $3.50
p. M, violin recital by Fritz Kreis-
Ter; Aeolian Hall, $3.50 p. m, song
recital by Reinald Werrenrath;
Washington Irving High School,
Sis p. m, concert of chamber mu-
sic by the Flonzaley Quartet.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08
The Plots of Realistic Operas.

intellectually for the law. Like Handel.
the boy studied the pianoforte by
stealth in the attic. Grown in years, ne
began attending a music school, when,
il is said, his father confined him TO his
house; thence his uncle freed him and
took over his care upon himself. Sim
gularly enough, the man who in the
height Of his success posed as the most
Italian Of Italian masters had his in
SEPARATION first stirred by German
poetry. Early in his career Beethoven
resolved to set Schiller's Hymn to
JOY" The purpose remained in his
mind for forty years or so, and finally
became a realization in the finale or
the Ninth Symphony. Pietro Mascagni
resolved as a boy to compose music for
the same ode, and did it at once. Then
he set TO work upon a two-act opera,
al Filanda." His uncle died, and
Count Florestan (here is another
Beethovenian echo!) sent him to the
Conservatory at Milan, where, like
nearly all Of his native contemporaries,
he imbibed knowledge land musical
ideas from Ponchielli.
After two years or so of academic
study he yielded to a gypsy desire and
set out on his wsnderings, but not
until he had chosen as companion
Maffei's translation of Heine's Rat
clif"-a gloomy romance which seems
TO have caught the fancy Of many COM
rosers. There followed five years Of as
checkered a life as ever musician led.
Over and over again he was engaged as
conductor Of itinersnt or stationary
operetta and opera companies, only 10
have the enterprises fail and leave him
stranded. For six weeks in Naples his
daily ration was a plate Of macaronl.
But ne worked at his opera steadily
although, as he once remarked, his
dreams Of fame were frequently swai-
lowed I'D in the growls Of his stomach,
which caused him more trouble than
manv n millionaire suffers from too
little appetite or too much govt
Finally convinced that he could 90 pet
ter as a teacher of the pianoforte, he
IAN away from an engagement wnich
paid him 81 a day, and. sending on the
manuscript OF "Ratclif" in portman-
teau, settled down in Cerignols. There
he became director Of school for or
ohestral players, though he had first 10
learn to play the instruments; he also
taught pisnoforte and thoroughpass'
end eked out a troublous existence un-
Ill his success in competition for the
prize offered by Sonzogno. the Milanese
publisher made him famous In day
and started him on the road to wealth.
II was but natural that. after "Caval-
Ieria rusticana" had virulently affected
the whole world with what the enemies
Of sisnor Mascagni called "Mascagni-
tis.n his next opera should be looked
forward 10 with feverish anxiety. There
was but q year to wait, for "L'Amico
Fritz was brought forward In Rome on
the last day Of October, 1891. "ithip
ten week. it's title found place on
tn. programme Of one Of Mr.. Walter
Dsuroseh's Sunday night concerts In
New York; but tho realization was a
dissppointment. Five numbers were
.une BY Mme. Tsvary and sighor Cam
,.,iuL ana NJ. psmyessh nst hsv'ns
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08
Mascagni's Japanese Opera.

Light is the LANGUAGE Of the eternal
ones-hear it," proclaims the librettist
Of Iris" in that portion of his book
which is neither said nor sung nor
played. And it is the sun that sings
with divers voices after the curtain has
risen on nocturnal scene, and the
orchestra has sought to depict the de-
parture of the night, the break of day,
the reviviication of the flowers and
the sunrise. As Byron sang of him so
Phebus Apollo celebrates himself as
"the god of life and poetry and light"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08

Of Fusiyama glows. in the
sunlight. Iris is fair and
youthful and innocent. A
dream has disturbed her.
"Gorgons and Hydras and
Chimeras dire" had filled her
garden and threatened her
doll, which she had put to
sleep under a rose bush. But
the suns rays burst forth and
the monsters fee. She lifts
her doll and moves its arms
in mimic salutation to the
sun. Osaka. n wealthy rake,
and KvotO. a pander, play spy
on her actions, gloat on her
loneliness and plot to steal
her and carry her to the
Yoshiwara. To this end they
20 TO bring on a puppet show,
that its diversion may enable
them to steal her away with
out discovery. Women come
down to the banks of the
river and sing pretty meta
phors as they wash their bas-
ketloads Of muslins. Gradual
ly the music Of samisens,
gongs and drums approaches.
Osaka and Kuoto have dis
guised themselves as travel
ling players, gathered to-
gcther some geishas and mu-
sicians and now set up a
marionette theatre. Iris COM
forts her blind father, the
only object of her love, be-
side her doll, and promises to
remain at his side. The pup
pet play tells the story of a
maiden who suffers abuse
from a cruel father, who
threatens to sell her to a
merchant. Iris is much af-
fected by the sorrows of the
puppet. The voice of Jor, the
son of the sun, is heard-it
is Osaka. singing without.
The melody is the melody Of
Turridu's Siciliano, but the
words are a promise of a
blissful, kissful death and
thereafter life everlasting.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08
Russian Ballet Postponed

Owing TO the enforced absence Of
Waslav Nijinsky from rehearsals and
the fact that a number of the novelties
to be presented under his direction
therefore lacked rehearsal, Serge de
Diaghileff's Ballet Russo, scheduled
for its opening at the Manhattan
Opera House on October 9, has been
postponed to Monday, October 16.
Mr.. Nijinsky has absolutely recov-
cred from his sprained ankle and as
sumes control of rehearsals again TO-
day, appearing on October Is with
Lopokova, Bolm, Revalles, Gsvrilow
and the other members of the troupe
at the Manhattan Opera House.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-08

the orchestral parts, played
the Accomplishments upon a
pianoforte. As usual, Mr..
Gustav Hinrichs was to the
fore with a performance in
Philadelphia Con June 8,
1892, the principal singers
being Nine. Koert Kronold,
Clara Poole, NJ. Guile and
Signor Del Pucnte. On Janu-
airy 81, 1898. the Philadelphia
singers, aided by the New
York Symphony Society, gave
a performance Of the opera,
under the auspices of the
Young Mems Hebrew Associa-
ton. for the benefit of its
charities, at the Carnegie
Music Hall, New York. Mr.
Walter Damrosch was to have
conducted, but was detained
in Washington by the funeral
of Mr.. Blaine, and Mr.. Hin
richs took his place. Another
year elapsed, and then, on
January 10, 1894, the opera
reached the Metropolitan OPP
era House. In spite Of the
fact that Madame Calve sang
the part of .Suzel. only two
performances were given OF
the work.
The failure Of this opera
did not damp the industry Of
Mascagni nor the zeal of his
enterprising publishers. For
his next opera the composer
went again to the French au-
thors - Erckmann-Chatrian--
who had supplied him with
the story of L'Amico Fritz"
This time he chose lies deux
Fr6res," which they had them
selves turned into a drama
with the title "Rantzau."
Mascagni's librettist retained
the title. The opera came out
in Florence in 1892. The ire
mendous personal popularity
of the composer, who was now
as much q favorite in Vienna
and Berlin as he was in the
+o,,-, % he b;,-th which had