davidaulloa/AmericanStories huggingface dataset:
Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1918-10-19
COLLECTIONS NOT MADE
FOR HARRISBURG SOCIETY

Officials of the Roberta Disbrow
Lloyd Sunshine Society to-day stat
ed that a woman who is soliciting
funds for a Sunshine Society" in
Harrisburg to-day has no connection
with them.
Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1918-10-19
KATHERINE NJ SINNERS

Katherine May Summers. infant
daughter of Mr.. and Mrs. A. c. sum-
mers, died Wednesday at the home
of her parents, 17O11a Elm street,
from pneumonia. Further details
will be announced later.
Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1918-10-19
III E- sTENICk RECnNEns

F. f. 'Stevick, of 1011 North Third
street, who has been confined to the
with pneumonia, has so far recov-
cred as to be. able to walk out.
Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1918-10-19
MRS, DAVID RERGER

Mrs. David Berger, 1915 North
Third street. died at 1890 o'clock
last night at the Harrisburg Hos
pltal. Pneumonia was the cause of
death. Mrs. Berger was aged 26
years. Funeral services will be an
nounced later
Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1918-10-19

Mrs. w. Scott Coble. aged y years.
pneumonia at her home in Worm
leysburg. She was the wife of w.
Scott COble,' justice of the peace. Fu-
neral services will be held to-mor-
row: Mrs. Coble was formerly Miss
Marie Swail.
Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1918-10-19
MRS. LOTTIE b. FAIR

Mrs. Lottie B. Fair. wife of John
A. Fair. died at her home. IA North
Eighth street. Reading, this morning
She was aged 80 years. Funeral sery-
ices will be announced later.
Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1918-10-19
LIBERTY'S CALL TO
BE ANSWERED HERE

IContinued from First Page.l
New-York tribune., 1918-12-01

savants whom Bonaparte sent into
Egypt in 1893. and he wrote the chap
ters on music in the monumental De
scription de l'Egyptc Rabaud is only
one of many composers who have
studied him. though he has done 80 to
better purpose than any of his prede-
cessors save, possibly Felicien David.
who makes fine use of the chant of the
Muezzin in his Desert - Cornelius
uses this music, or another transcript
tion of the call, in his Barber of Bag
dad" where it is the only bit of local
color introduced, but where it is also
most skilfully treated.
There are, no doubt. many other
quotations in Rabaud's score which es-
capped our recognition, and themes
which had their inspiration in melodies
noted down by Villoteau. There is a
suggestion of q traditional Egyptian
march in the militant theme which IN
PRODUCES the Sultan note examples ,
and accompanies him through the
scenes IN which he figures. This de-
vice of characterization is frequently
employed by Rabaud The cobbler is q
New-York tribune., 1918-12-01

had been the friend Of score of gem
erations before US, has gone with the
Forty Thieves into the cave of oblivion.
whose door will no more swing open
to our open, sesamel' We never saw
Marouf till Mr.. Gatti presented him
TO us, and never even heard of him
unless it was he who used to frequent
the German stage under the double
disguise of "Der lustige Schuster."
Possibly, but the matter doesn't sig
Nifty; we have the Cairene cobbler now
and we hope for his continued ac-
quaintance for years to come.
The Barber of Bagdad"
But we remember and with much
grateful kindness, another fellow Of
infinite jest and excellent fancy, who
journeyed to our opera house from
Bagdad, though he came to us from
that centre of German culture (not
KultlDD, Weimar, fragrant with mem
ories Of Goethe, Schiller, Herder and
List. The Barber of Bagdad," by
Peter Cornelius, was feature of the
Metropolitan some twenty-eight years
ago. A long time, yet his embodiment
in the actuality of Emil Fischer came
back to occupy memory and fancy
New-York tribune., 1918-12-01

they were the natural food of hearing,
as the pale blue, starless sky, with It's
farawav domes wreathed and crowned
with lights, seems the only picture that
ought to fill the vision. Here the scene
painter at the Metropolitan and the
c 'mposer work IN transporting syn
chronsm. What Juggling Of theirs is
it that made the music exhae from
every figure, animate and inanimate, in
the picture, from every crevice and
GRANNY in the walls, from every object
in the scene? Why did the very air
seem tremulous with sounds which even
a mind given to analysis did not care
to associate with the voices of lament
ing flutes and signing violns? The
miracle was wrought by the highest
modern skill we know, but that fact
had nothing IN it of allurement. 1t
was ingenious device produced by high
skill prompted by reflection we know.
but we surrendered to effect without
wish to know the cause
Operas Racial Element
The dialogue in "Marouf" is carried
New-York tribune., 1918-12-01

, of the muezzin's call to matin prayer,
which trace kinship with Cornelius's
setting of his own dramatic version of
the tailors story in 1.-The Thousand
Nights and One Night Rabaud's COM
position is saturated with the arguori
Gus colors and odors of the East. Cor
nclus's is German music. There Is no
effect IN which they meet, unless. as
we thought when hearing "Marouf" for
the first time. it IS that dry cackling
of wood-wind instruments in dssonant
chords which accom- panes Bostana, the
female pendant of the barber and
which Rnbaud uses to characterize the
virago who drives Marouf into good
fortuna. 1t is In analogous music that
Wagner published Beckmessers jaun-
diced vision Of the gallant young
knight in Die Meistersinger "The
Barber of Bagdad" antedates Wagner's
comedy, and we fancy t,&' Rabaud was
familiar with both OF the German
scores when he sat down to write his
fascinating opera.
Charming Score
Bot this is ar all but negligible feat
nre in the French opera and not one
Of it's charming traits The chief
fascination comes from the use of Ori-
entail themes: perhaps not so much
from the id!oms themselves as from the
manner in which they are employed
We can imagine shat ears accustomed
to orly melody of the Occidental types
(fcr we have many types of melody in
the operas of the Metropoitan's list
which in point of time covers a century
of musical development) might become
weary of the dialogue in "Marouf"
for of set song there is nothing except
an air in the third act which does not
belong to the score and was interpolat-
ed by the composer to oblige Nine.
Alda), but it is an unlnqulsitive ear
and stagnapt fancy that will not be
arrested, lured and seduced by the
woven voices of the orchestra. Here
the idicm of the East is transmitted
into speech which belongs to the
world of exalted fancy-exalted yet al
together ingenious The score is won
dcrfully transparent. There is not an
Opaque measure in if, not one in which
instruments are multiplied or colors
mixed till the utterance becomes tur-
gid not one in which one voice in
validates another, not one in which
even the most exotic of tones and COM
binations does not seem native because
# its fitness to scene or situation.
There are throbbings of Arab drums
and the reedy tones Of oboes which
might bring up memories of the Streets
of Cairo in the big show in Chicago in
1898, if they were not refined and sub
limated by the atmosphere in which
they float, the atmosphere Of the land
of romance through which we walked
when we put our hands in the long ago
within the irresistible fingers of Shehe-
razade, where they still remain and
whence they will never be withdrawn.
Faint Standardization of golden toned
gongs float through the air, and he
ear, enslaved by the imagination, alb
serbs them, rot wonderingly, but as if
New-York tribune., 1918-12-01
A Rhapsody on 'Marouf"

when few days ago We listened to
Rabaud's delightful opera. Again we
listened to the gable and the Gilber-
t'an patter of the prototype of all
loquacious. prying, intermeddling bar
bers. We heard him hurl his ter
rible name, Abu Hassan Ali Ebe Be
car. amid orchestral thunderings at
Noureddin's affrightcd servants Saw
them attack him, throw him on a
d'van; pouItice. plaster. rub. bandage,
phlebotomize and dose him to the
verge of death. because when called
on to shave their master he insisted
on casting his horoscope and chatter
ing half an hour about his own pau
city Of speech and the garruity of his
six brothers before he even honed his
razor. We saw the lovclorn endur-
New-York tribune., 1918-12-01
Tom D0bson
II, Menaorom

To The Editor Of The Tribune.
SIR On Monday there died in M,
city Of pneumonia. following infuenz.
young man who in the last three
years had created for himself union.
position in the music life Of the plses
Tom Dobson was simple, pent,.
soul, full of the Joy Of living, to whom
all the beautiful things in art, natur.
and life made strong appeal. In the
last three seasons be had been maxine
more and more place for himself AZ q
singer of songs. His methods wers
novel and his own. He had fac,to
musical talent. a prodigious memorv
and adequate piano technique 10 ha
able to accompany himself and SING
literally hundreds of songs, from tba
most TRIVIAL music hall type to the
finest Classical models. as we'll as tbs
ultra-mo odern school In most casas
one or two readings sufficed to commi,
words and music to memory for evey
after Many of his programmes wen.
addressed to the young. to whom thsy
made an irresistible appeal. Beside.
he showed distinct talent for compo-
slt'on. and his friends believe that he
would have achieved a reputation as an
earnest writer of music. His untirnelv
going cannot but be a distinct loss to
the community. and will bring very
strong sense Of grief to an unusually
large and devoted circle of friends.
RUDOLPH SCHIRMER.
New York, Nov. 81.
New-York tribune., 1918-12-01

on not in set melodc formularies, but
in a species of muscally heightened
and emotionally colored speech. 1t
ought to be ineligible to all, and
would be if it were sung in the ver-
nacular. or to all knowers of French, if
the pronunciation and dicticn Of
all the persons concerned in the per
formance were what they ought to be.
The composer has done nothing to OBJ
scure it. In part it makes use of the
intervallic idioms of Oriental music
and is burdened with the remplissage
of ornament peculiar to Oriental song.
New-York tribune., 1918-12-01
BY H. f. Krehbiel

How many opera stories are there still
locked UP in the "Arabian Nights"
tales? We DO not know; we cannot
guess. Only Allah (extoled be his
namely knows. The thesaurus has been
opened scores of times, hundreds of
times, probably. but the uncut gems
still lie heaps upon heaps There have
been English. French, German and
Italian operate Aladdtns. even a
Swedish, but they have long ago gone
into the limbo of things forgotten a
bohemian ALI Baba lived once on the
lyric stage and had namesakes who
were begotten by composers whose
names and some Of whose music have Il
familiar sound Bottesiui. Cherubin,
Lacocq; but our boyhood friend. who
New-York tribune., 1918-12-01

Nights" stories is hagrantly proclaimed
in the final punishment of the onlv far
seeing parsonage of the play.
We smile while seeing the vizier
punished; yet it was he who saw
through the false pretence of the ras-
cally cobbler who is rewarded for his
domestic truancy with a wife beautiful
as the moon and immeasureable treas
ure, while the servant of the Sultan
who sought to save his master goes ia
the bastinado. Kismet. "What will
happen, will happen" No harm 1t is
all OF the very essence of the ARABIAN
Nights Scheherazade distilled it in her
recital to her lord the King; Rabaud
has given it to us again out of his
alembic, Bismillahi
New-York tribune., 1918-12-01

is plainly Cairene folksong, shorn
Of some of its redundancy of ornament,
which Nlloteau preserved for us. The
song of the muezzin, which calls the
faithful to prayer (see elsewhere). as
we hear 1t first from two solo voices
IN the second scene Of the second act
and which is woven through the later
contrapuntal ensemble, is another quo.
iation from that learned musical
Egyptologist. Vi!loteau was one of the
New-York tribune., 1918-12-01
SUNDAY

Carnegie Hall, s p. m, concert by the
philharmonic Society:
Symphony No s. In minor. Op. eA..
Tschaikowsky
Intermission
Aria. Romeo and Juliet" for soprano
and orchestra belilnl
Hulda Lashanska
rone poem. 1.-THE Swan Of Tuonela" .Sibelus
Symphonic poem. "Voltava'' .Smetana
Aria "pleurez mes yeux. from Ls
Hulda Lashanska
one poem 'verdun'' ....- vsllers-Stanford
Aeolan Hall, 3 p. NJ. concert by the
Symphony Society;
symphony. New World" "........... Dvorak
Best Of Lads" from "Ths Impresssrio.
Mozart
Lucy Gates
Entracte and passe-pied From la Ba-
RsrcaroIle Ssint-Saens
Hymn to the Sun. from "Le Coz DOR
Rimsky Korsakoff
Lucy Gates
Fantasy on two Angevin tunes. .Lekeu
New-York tribune., 1918-12-01
TUESDAY

Aeolian Hall, 8:15 p. m., concert by
the Letz Quartette:
Quartette No /. in G major Koechel.
Quartette in f fiat major. Op "A Beethoven
Quartette in major Op % .Tschaikowsky
New-York tribune., 1918-12-01

But the characteristic racial element
IS found chiefly in the orchestral
stream upon which the dialogue floats.
There are few exceptions to the rule.
MARQUIS first song, beginning:
New-York tribune., 1918-12-01

ing the torture, with bursting gall
bladder and crumbled liver, till the
call of the muezzin summoned him to
his tryst with the Cadi's daughter,
though his head was but half shaved,
and he dashed off only to suffer new
adventures, because Of the barber's
dilatoriness and pertinacity
MUEzZIN>s CALL TO PRAYER
EIE=#Eas=as:=s==E=5l.Et5.]z#=9@s3 :=#=EF=lst5.z#=@.@=ss3
hu al Tar
EAsatsses:s=s=#=5 EAasttsss=sI=5:=H=za=ssG3
R#=NMss=sI&ss==s#3EHz.=#.==tf= #Msss5Es=;=3#E=H#z
Ia ,.h. es /. .A .cA. ss..a
HsE:.=zzaHz@za=zz5|===zz7@G@:
- =#zzFEzG3EE5== e
9ses.sez4##assesa5.#== 9ss3ss.;4d#sssss5.=EatEs3
Id b, jc snt
In the music of Rabaud's "Marouf'i
there are only the Oriental arabesques
New-York tribune., 1918-12-01

shameless liar and impostor. Why do
all the characters in the play who know
him give him their sympathy? Why
does he bewail himself and his neigh
New-York tribune., 1918-12-01
THE CAIRENE COBBLER CHARMS IN OPER
'ton Symphony Orchestra:

by Boston Symphony Orchestra:
o1pl,ers oympnonY Y.............. Moza,.
Iyo''' s.Tsan oynlpnoi'y Borodrs
Overture to "Euryanthe" ........, 'Uasas wasas
Brooklyn Academy Of Music, 3D.
Concert by Symphony Society:
symphony No. 2................Ro Ro,.a.-
Andantinc Observation-Disclosures. DaIaalnae
From quartette FOR strings -Ssy
Symphonic Espagnoe for violin ard nv
Toscha Seidel s0
Three Old Belgian (Flemish) FoIksongs
Arthur De Gress
New-York tribune., 1918-12-01


Johr Charles Thomas, barytone:
Fri Tu" recit and aria. "Un Ballo
In Maschera" ......-- -. G. Verdi
Q Piccoa Maria ia..............E .Enuco Bossi
Vsione Veneziana. Renato BroRi
All, Love but Day. .......H II A Beach
Ir Flanders Fields Frank r Tours
A Prayer for You. Frank Tours
Lend Lend Me Thy FiiIet Love Howard Brockway
Hamour La ag' au Mos de Mai al Adein Fermn %
Ofrande ............... Reynaldo Hahn
Dune Prison ......... .Reynado Hahn
"promesse de mon avenir." recit- and
aria lie Roi de Lahore" Masseuet
The Yeoman's Wedding Song
Prince Poniatowskt
The Pauper'a Drive. -...... Sidney Homer
0 Moon Upon the Waters ..... Cadman
The Old Black Mare. ......W II Squire
At s:15 p m concert by the United
States Army Training School Band for
the benefit If the American Red Cross.
Professional march Hail to the Flag
Andante and scherzo from the String
Arranged rssi ed for clarionets 'f''N'"'"'
Part-songs for mems voices,
"Tho Blessed Host ............Gr Greig
There Goes Bob ...... ..... Greip
Barytone solo Sergeant Moscato *
PianoforS duet. Over 'he Hills and
Far Away .... -. .Grainger
Assistant Band Leader Percy Granger and
Corporal Ralph Leopold
Overture. "Lurline' .....W Wallace
String quartettes
THE Lonely Shepherd' ........ .Spaight
MOLLY on the Shore" arranged by Grainger
Pianoforfe solos:
Country Gardens" "................G Granger
Lullaby ..............,,..,.. Granger
Flower Waltz ...... .Tschaikowsky- Granger
Percy Granger
Negro spirituals. for mems voices arranged
by Natalie Curtis Burlin.
Listen tc the Lamb ..
Gods Agwine to Move All dc Troubles
Away
Algerian Suite .. .Saint-Saens
New-York tribune., 1918-12-01

bors echo the commserating strain =?
Why is he colossal liar without for
feltlng our regard? The injustice
which prevails in all the "Arabian
New-York tribune., 1918-12-01

Carnegie Hall, 2.30 p. m, concert by
tho Philharmonic Society:
Symphony in D major. Op 42...
49,. ...... David Stanley Smith
Two songs Poems of the Autumn Bloch
Mary Jordan
Caucasian Sketches .Ippoitow- -Ivarow
Aria from "Azara' ......... Johf. K Paine
Mary Jordan
Scherzo. THE Sorcerer's Apprentice" .
...-..-..... Dukas.
Aeolian Hall. 8:l5 p. M. song recital
by Mics Jean Mccormick, contralto:
She nero costume Hegrenie
Lung' dal caro- bene. ...........,.. .Secchi
Chi vuol la zingarella. a............ Paiselo
Recitative and Aria. ......... .Tschaisowsky
"Adieu. Forets." Jeanne dare
AZ AT nlotner Irave. .'...--.......... Grelg
Mother Sorrow ......................G .Greig
Way of the World ..................G Greis
Ia r"ceSsioh. '.-'............ .franck
~ ~ As"' LerouE
lrlste est lie Steppe. .Gretcha ninow
Thou Hast Made Me Endless (Mms ~
...--.....-. Schminke
Sailors Wife Rlrloioh
Boogan Man. (Mms.) ............ Heyne
we Two -.......--.....-. Kramer
New-York tribune., 1918-12-01
Programmes of the Week

StSccato Etudc .......... Rubenstein
Mr.. Giorni
'oeparazlobe ..--....-..-. Sgambatf
Vittorla Vittoria Carisslrni
Mr. Caruso
Ah 81 les heurs avaent des yeux Massenet
LIZ tteVc. .Jrley
New World Ia Born Florence Parr Core
Dedicated to Namaral
Nine Namara
airc n idI LHOplD
o'obaioo n ia%, ODDpin
Mr.. Giorni
Ar dc Lienski from "EuQeno One
Mr. Carlso
a Memory (dedicated TO NameraJ
Jenny Kissed Me-. ......... Kurt SCHNEIDER
Believe Me II All Those CndearinR Young
marina .................... Old irish
Nine. Namars
Romance Observation-Disclosures. Uterhart
Dreaf' . ~. i;:..'''- -Se'sn1it-poda
Mr. Caruso
New-York tribune., 1918-12-01
SATURDAY

Aeolian Hall. 8:l5 p. M, organ re-
cital by Joseph Bonnet:
Toccata and Fugue in Minor. ..... Bach
Christmas Carol from Alsace. 49,. Guimant
Fantasie and Fugue the Choral "Ad nes
ad salutarem undam" "............. List
Poemes d'Automne. e..................B Bonnet
(a) Song of the Chrysanthemes
(b) Matin Provencal
(c) Poeme du Soir
GS9d Govotta d2th sonata) .......... Martini
Carnegie Hall. $3.50 p. M, concert by
the Philharmonic Society:
Symphony No. S. in minor. Op 95. .Dvorak
Intermission
From Bohemia's Woods and Fields. .smetana
al Evening idyll for orchestra,
Op ~ 29.....'...... .flbrich
Two Slavic dances. ................ .Dvorak
Aeolian Hall, p. m.-Piano recital
by Leo Ornstein:
Sonata. op. 54.................... .ornstein
Two Arabesques. ................ .Debussy
lie Gibet." from "Gaspard de la Mutt Ravel
lie barque sur pocean" ".............-R -Ravel
Sonata. Op. ST 7..................B Beethoven
"Appassionata."
Etude. D fat major Observation-Disclosures. List
Major
"Rigoletto," Fantastic ........V Verdi-Liszt
Carnegie Hall, $3.50 p. m.-Concert
New-York tribune., 1918-12-01
WEDNESDAY

Carnegie Hall, S:l5 p. M, concert by
Louis Graveure at meeting of the Hu-
manitaran Cult:
New-York tribune., 1918-12-01

aFsEE===s==E=|ss=========l== ==s==s====E==f
y ha roufi pau .. vr.i
New-York tribune., 1918-12-01

8.9#s]=F36FEEfFEfff13 8.6E5=FF=#sf3
u es' des No .sai nan.
ls.E@sg &c.,
New-York tribune., 1918-12-01
BROOKLYN

A -lTaa r riP'''' sas g. !! E'.ss.- ache
Tne- Pooh Gallery. Studios. ga Arlington Ave
$40 Clinton Ave. BrociAyn Residence.
New-York tribune., 1918-12-01
MONDAY

Aeolian Hall, 3 p M, song recital by
J ohr Charles Thomas, barytone:
"Er ~, recit and aria ''IIn Pailo
New-York tribune., 1918-12-01

In the music of Rabaud's "Marouf'
here are only the Oriental arabesques
The daily banner. (Cambridge, Md.) 1897-2008, 1918-09-04
Nominations to Office

The Board of Election Supcrvls-
ors for Dorchester County GOES here
by cause to be published, as required
by law, the following list of candl-
dates for nomination, who have hted
with said Board certificates of candl-
dacy for partic patton in the Primary
election TO be held in said county on
The daily banner. (Cambridge, Md.) 1897-2008, 1918-09-04
Writers Are Queer Fish.

In an article which Emerson Hougn,
the great novelist, has written for the
American Magazine. he says:
"At one time it became necessary
in our household to discharge a large
blond person who had never been any
thing but an alien enemy to our dishes
and digestions As she departed, full
of wrath. Goosta turned at the door
and remarked:
"'vell ay hope you get better girl
as may, ma'am! Az lax youse veil
enough: but your hoosban, hay ess
somehow kveer'
Perhaps Goosta was right. l make
no doubt that many believe that any
writing man is somehow queer. | be-
lieve my wife-a strictly competent
human being who keeps me jumping
through hoops-is of the same BELIEF.
It looks strange to see strong man,
who would have made good black
smith sit around with no means Of
support except a typewriter and a
piece Of paper.
Eyes, perhaps Goosta was right. For
instance, I have two places where
work: One my home office and one my
downtown office. do copy at the for
mer and transact business ut the lat
ter. On the desk at each place is
skull, which | installed years ago as
corrective measure. Across the fore
head Of each is written the Omfnous
words intended to keep me from going
fishing life is short y
The daily banner. (Cambridge, Md.) 1897-2008, 1918-09-04
TYPICAL JOAN OF THE FORGE
Blacksmith Work All That Was Left
for French Woman After Hus-
band Had Fallen.

| can give you no better interpreta.
ton of the character of French woman
hood than to attempt to visualize what
will always remain in my memory as
the most touching sight / have yet
seen in the war. Isaac F. Marcosson
writes in the Saturday Evening Post.
1t was in the devastated region where
the Hun had left trail of ruined
towns, blackened forests and despoiled
land in his wake.
was on my way back from the
front. chilled and depressed by the
horizon of waste that hemmed me in.
Suddenly I heard steady hammerfng
"a strange sound it was in the midst
of such desolation-and no loneliness
IS quite so utter as the solitude of the
ravaged places. | stopped my car, got
out and walked toward dilapidated
house--the only structure with four
walls that remained in what was once
a thriving hamlet. When l reached
the spot this is what l saw.
A woman stood at an improvised an
vii. beating out a horseshoe. Her hus-
band. rs I learned, had been a black
smith He had fallen in battle ana
she wore his uniform. A child played
at her feet while the sparks flew up
ward. All she had in the world, save
this mite of humanity and the ruins
of her home, had been wiped out by
the war. Even the roof above her
head was wrecked. Yet she kept to
the task that had once sustained her.
Between the strokes of her hammer
could hear the boom of the far away
guns, sounding like the doom notes IN
the last act of "Aida." 1t was thrill
ing and unforgettable contrast.
The woman of that rude forge was
the heroic incarnation of defiant will
the symbol of her sex. Some great
artist might have painted the scene
and made it the companion picture OF
the great canvas that depicts Joan OF
Arc walking with her vision in the
little churchyard at Domremy. These
two daughters of France are of the
same immortal sisterhood.
The daily banner. (Cambridge, Md.) 1897-2008, 1918-09-04
ICE DELIVERY NOTICE.

Commencing Monday. Aug. 18th,
we will charge double the regular re-
tail price for all special deliveries
made direct from ice house, in guam
titles less than SO pounds.
There will be no advance in price
by retail wagons on their regular
trips, and consumers are requested
to secure their supply from them.
This is a special order of the
Board OF Directors.
CAMBRIDGE ICE co.
Adv. 8-9-1m.
The daily banner. (Cambridge, Md.) 1897-2008, 1918-09-04
Optimistic Thought.

Riches are we'll If gotten VOL and
We'll Sp:r'.