davidaulloa/AmericanStories huggingface dataset:
East Oregonian : E.O. (Pendleton, OR) 1888-current, 1919-01-16
That's Why They Are
Used More and More
All the Time!

More and more are the little affairs" Of life,
which people used to allow to solve themselves, find
ing their quick and satisfactory solutions through
the classified advertisements of the East OregOnian.
This is in keeping with the trend of thought nova
daysLthe sensible tendency to solve business mat
tiers in a business way.
For the finding of a new position in a business
matter. Sometimes it is an urgent One-and to
"trust to luck" in your wOrk-quest would be another
way of trusting to luck for your daily bread.
The finding of tenants for property is a business
nlatter-as is the selling or real estate. But to ne
elect to ADVERTISE in the East OregOnian want
ads for tenants or buyers is to neglect to apply bust
ness sense to the problem. FtbH
The quest for "heIp,' for the home or business, is
4 business matterAusuaIy quickly and well solved
through the service rendered by the East 0FegOnian
classified "ads"-and not often solved at all other
wise.
East OregOnian want ads SERVE hundreds Of
p~eOpIe-making business matters" of what often
become v~exatiOus and expensive annOyances other,
wise. And their possibilities Of service to YOU are
as great as to anyone else in the city.
The rates are shown in this advertisements. Think
of the big results you can get from these little costs.
Make use of them.
East Oregonian : E.O. (Pendleton, OR) 1888-current, 1919-01-16
ADDITIONAL SOCIETY PAGE 8
BOND PLAN IS ONLY

CONTINUED from page one.O
The Lakeland evening telegram. (Lakeland, Fla.) 1911-1922, 1919-07-03

on investigation, she learned that ner
room had been sprayed with "Tor-
ment" the afternoon before by her
son. Torment" is a new preparation
put out by The G. B. Williams Com
pany, Quitman, Georgia, and is Great
ing quite a sensation all over the
South. It is deadly to flies, mosqui-
toes. ants, fleas, lice, mites, bedbugs'
reaches, etc. 1t has pleasant odor'
will not soil clothing nor furniture
and is absolutely harmless to human
beings. Torment" is put up in 2e'
bottles. Sold by dealers everywhere
The Lakeland evening telegram. (Lakeland, Fla.) 1911-1922, 1919-07-03

There is no better place In Florida
to stop than Shaw's Hotel, Lakeland,
Fla. Open Day and Night to Ladies
and Gentlemen. This Hotel Is kept In
order By q man Of experience and the
rooms are rs neat and clean - Q pin.
Located on Florida avenue, opposite
CITY RAl
The Lakeland evening telegram. (Lakeland, Fla.) 1911-1922, 1919-07-03
CIECIAL NOTICE

II you have Kidney Trouble, Liver
Trouble, Indigestion, Weak and Ack-
Ing Back, Pains in Stomach, SIZE Or
Back, or Rheumatism, get BEETLE q
Old Seminole Treatment the kina
Shaw puts up. at Shaw's HotsL Tea
can ts that II 10 doing you gesS IN
twenty 4aInutes AftsE tAzlsg ; -
The Lakeland evening telegram. (Lakeland, Fla.) 1911-1922, 1919-07-03
Found Dead
in Bedroom
Unusual Experience of Georgia Lady
Which Created Sensation

Last Wednesday night, Mrs. Julia
Brown, who lives in Georgia near the
Florida line, found about fifty mala-
rial mosquitoes dead in her bedroom.
She was very much surprised. Up
The Lakeland evening telegram. (Lakeland, Fla.) 1911-1922, 1919-07-03

ISN'T IT strange. |
HOW A fellow can go ahead.
AND Make an innocent remark.
AND MEAN nothing by it.
AND HAVE it understood.
IN AN entirely different manner.
FROM WHAT he intended.
AND THE other afternoon.
THE WIND was blowing.
RATHER HARD.
AND I was standing at the corner.
AND A girl friend came along.
AND I noticed.
THAT SHE was wearing.
A NEW silk sweater.
AND A striped green skirt.
AND I thought.
THAT I'D go ahead.
AND SAY something nice.
TO HER about them.
BECAUSE could see.
THAT THEY were brand new.
AND AS I said before.
THE WIND was blowing.
RATHER HARD.
AND I spoke up and said:
The Lakeland evening telegram. (Lakeland, Fla.) 1911-1922, 1919-07-03
The Town Gossip

:
"THEY SURE look NICE"
AND SHE looked at me.
AND AT the same time.
SHE WAS holding down her skirt.
BECAUSE OF the wind.
AND I repeated my remark and
said:
"THEY SURE look good.
AND DOG gone it.
SHE TURNED up her nose.
AND WALKED right past.
WITHOUT SAYING a word.
AND THEN I realized.
THAT SHE had misunderstood me
AND DIDN'T know.
THAT I was referring.
TO HER new summer regalia.
AND THE worst of 1t is.
THAT I can't explain.
BECAUSE IF l did.
1T WOULD make matters worse.
AND 1T just goes to show.
THAT A fellow can get in bad.
/ WHEN HE'S doing his darndest.
TO GET in good.
| THANK you.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16
"THE HONOR OF THE FAMILY"
BY PAUL M. POTTER.

~ the night OF the eleventh OF
L March, 1908, the supper par
ties poured into Foyots res
taurant, Rue Vanguard, Paris, and ex-
citedly announced that at the neigh
boring Odeon Theatre a new thrill had
been born to the French stage. 1t
was merely that NJ. Gemier, the actor,
had staggered dying into his uncle's
house after a duel had glared savage
ly at his uncle's mistress who had sent
him to his death. and shouting to his
uncle 81 forbid you to marry that loose
womanl" had gripped the back Of a
chair and had fallen, chair and all, to
the ground, his heels locked In the
rungs Of the chair. his forehead soak
ing the floor with blood. 1t is true
that NJ. Gemier used a much coarser
term than loose woman" He used a
term that / had never heard uttered
on the stage. But It was the right
word for the situation and it insured
the success Of the play.
The fame of NJ. Gemier and his chair
went to the uttermost ends of Paris.
Fashionable people came focking over
the water in droves. The Forty I'M
mortals of the French Academy, doz-
Ing in their pausoleum on the Seine,
heard the clamor and proceeded to
Grown" the play. And, strangest of
all, the work was considered SO su-
Perlatively good that its author was
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16

made manager OF the celebrated The
atre Francois which was a transition
as amazing as II a waiter at Jacks
were elected President OF the United
States.
The play was called La Raboutl-
leuse." This added to the sensation
Nobody knew who or what ''rabouil-
leuse" could be. Littre's Dictionary
did not know. The Forty Immortals
though they crowned" the play, had
no idea what it meant II needed some
dry s-dust in the Bibliotheque Ma
tionale to discover a provincial dialect
in which ''rabouilleuse" was a bare
legged girl standing in a shallow
stream whipping the water with a
branch and stirring up the fish for the
benefit Of anglers posted below. Then
| everybody remembered that Balzac
had painted luscious picture of a
lovely girl discharging this function.
Her petticoat pinned between her
legs" he had said. had the effect Of
bathing drawers. An old paper bonnet
covered the most exquisite golden hair
that daughter Of Eve could desire
Feet. neck, bust, all worthy of antique
statuary and pair of dancing blue
eyes whose glance would make poet
or painter fall on his knees" So the
secret was out. La Rabouilleuse" was
Balzac's "Menage de Garcon," and tho
author was Emile Fabre, who had
taken eight pages of Balzacs story
shaped the conflict between Philippe
Bridau and Flora Brazier and thrown,
away the rest. This is how French
playwrights dramati2e novels. This is
why the art of dramatiZing O novel
supposed by Americans to be O matter
OF paste pot and scissors--is held by
the French to be far more difficult than
the art of contrivlng an original play.
had the good fortune to be at the
Odeon during the first performance of
La Rabouilleuse" and cabled to
Charles Frohman that l thought we
had good thing. Emile Faber, living
with his mother in a most artistic
little flat at Montmartre, explained to
me how the part of Philippe Bridau-
the original, by the way, OF Thack-
eray's Barry Lyndon-had grown in
his mind. Gemier came to talk with
me in Switzerland, and holding the
back of a chair on the veranda
showed me how he fell over It on the
stage. Frohman arrived in Paris with
Gillette we went to the Odeon to-
gether, and Gillette, though kindly as
ever, did not "see himself" In the
part. So the play fingered for years.
I read 1t to Tree at the Albany in
London, and he said: THE characters
should be shot. They are the vllest
lot Of rotters ever heard Of" George
Alexander said: my audiences at the
st. James's don't want to see me as
villain" In short. La Rabouilleuse"
as I have transmitted It had a dis
tinctly bad reception.
Then the unexpected happened.
Gemier had assumed the management
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16
OUT OF THE MOVIES.

w YHEN Leighton Graves Osmun.
w author OF The Fortune Tell
err" which Marjorie Ram
beau is now playing at the Republic
Theatre, had his first invitation into
the theatre by way of an imperative
call from Arthur Hopkins. who had
just read his script, he says he felt the
emotion OF superb satisfaction and ex-
| altation for the first time in his life,
and that all he did was 10 sit In a sort
OF daze, without batting an oyelash.
And because lie had spent the past
| four years in Los Angeles with the De
Miles and Frank Reicher writing
! plays for pictures. and because he was
caturated with the countless movie
requirements" of that gallant band, he
suddenly came out Of his stupor OF
| satisfaction and announced, ~ know
what is the matter with pictures"
He knew, for example, that IL he had
been writing his own story, with his
| triumphant climax the receiving OF
that magic telegram, he would have
had TO make his hero throw both arms
! up. wave them north, east, south and
west, the while he hoped about and
grinned and grtnned again.
Ills own experience had taught him
that man sat in a daze. He visioned
what would happen to a completed pic
| ture, In some theatre in the "chin
whisker belt" If the picture hero did
such a thlng--the amazed whisper the
! What's that fool doing that for?" and
all the rest Of it.
Then ne came upon his NJ convic-
ton: The thing that is the matter
| with pictures is their audiences"
Mr.. Osmun had gone into scenario
writing with high hopes. He had been
| growing oranges and writing novels
down at San Diego, but when Cecil De
Mile told him about the coming glorics
| OF pictures he left everything else be-
hind and fell to on movie stories.
Everybody was then agreed that
pictures were thoroughly bad, but
everybody had a remedy The stories
were TO be real, the acting real, the
whole effect faithful to life and sincere
and the mechanics of taking pictures
improved world without end.
OF these promises, one at least was
lived up TO. The taking OF motion pic
lures became a nearly perfected art.
| All the other schemes had steadily to
be lived down.
Mr.. Osmun describes his gradual
disillusionment,. eliminating the day
he abandoned pictures for another
stage, as having been accompanied
with intolerable pain.
| He learned, for instance, that no
| emotion could be put into a picture
except one that the lowest mind could
grasp, from the limits Of its own ex-
/ perence, because there was no eXpla-
nation TO go with the picture. He
found eyes vastly insufficient to the
/ great nine-tenths. In a book they
could be convinced Of something more
. than the baldest OF motives-thera~ ~ as
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16

the authors word for it. In 4 play on
the stage the characters spoke and
convinced with their voices, their in
, donations, &c. In picture they could
be convinced of nothing they could no
see, and they would accept nothing
they saw except what fitted into thei'
own preconceptions
Finally, and worst, he said t'ler,
was the inalterable, fatal defect OF the
camera, that it registered cverytlir-
with equal force and that there colill
be no proportion in a motion picture.
Minor chara cters, IL they happened z,
have good makeups. could monopoli.-
a picture against the brightest ST.
, This would throw the story out of vea,
and lose It's well laid themes in mayce
Of distortion.
80 that though THE Fortune Teller"
was Mr.. osmun's first play, It viii nor
De MS last. lie has drawn a good long
breath and doomed farewell to the
movies.
| George Marion. who has scored
such a tremendous success in the nart
OF Chce Tobv, the old negro seryitor
IN IobY's Bow" at the Comedy Thea
ire Is more readily recalled as a stag
director. Some OF the most fnroons
successes have been whipped into
shape by Mr.. Marion. Among then,
are such varieties as Sleeping Part
ners." Business Before Pleasure
Madame X" Every Woman" "Tha
Sultan of Sulu," THE Merry Widow"
The College Widow" THE Yankea
|
! Chairman" "Sari," Pom Pom" Mad.
anne President and The Prince OF
Flisen' both here and in London. For
! four years Mr.. Marion was with
| tlorenz Ziegfeld. Jr. The prime reason
Tor Marion's success as a stage direc-
! Tor, he declares, is that he is an actor.
Mr.. Marion sums 1t up In a few
| words; You cannot get very good re-
suits when directing a play II YOU are
not able to act. II is ridiculous.
think, to tell an actor or actress how
10 act when you can't act yourself"
| AS with all great actors oG~SW past
and the present, character acting has
| leen Mr. Marion's specially. He be-
gan his career as a pantomimist in the
| early 7Os. San Francisco at that
time was the haven for actors who
were left stranded on the coast when
the plays in which they acted went
| Ito smash" II was in San Francisco
and from these actors that George
Marion received his apprenticeship.
Mr.. Marion soon most naturally
! heard the call Of the East and set out
for Broadway. Here he made his first
appearance in 1856 in a speciality act
at the old San Francisco Minstrel
Hall. Mr. Marion at that time 40
quired no little fame for his Italian
| dialect stories, among which were
| "Christopho Colombo, ""Gcorgie Wash
ington" and The Italian Baseball
Game" An engagement then fol-
lowed In Hoyt's "A Brass Monkey"
To Mr.. Marion was then offered the
post of stage manager at the famous
| Boston Museum. which position hs
held for two years. Later he created
several noted roles, the more impor-
tant of which were THE Minister 10
Dahomey," in "a Texas Steer" tho
French scientist. Brady. In polar
Star" and MS the darkey in blue
Grass" His success in this latter play
was gigantic, and II is interesting TO
note that in hts latest success in
"Toby's Bow" Mr.. Marion again es-
says the role Of a faithful old darkey
Of Virginia.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16

Of the Theatre Antoine. William Sey-
mour. stage producer for Charles Froh-
man, went to see La Rabouilleuse"
revived. He said in a flash: 1T is
skinner; and out of his old repertory
honored name, The Honor OF the
Family" Frohman approved; Skin
ner's sympathies were enlisted; and,
being in Switzerland. got telegram
from Frohman asking II l could let
Clyde Fitch edit the play for Otis
Skinner. Fitch had been living with
md in Lausanne; he knew my en-
thuslasm for La Rabouilleuse"; and
what is more. he knew the methods Of
Skinner. So l accepted his aid with
delight, and II was late in the autumn
of 1907 that I sat on the wall between
Muldoons and the Frohman- Dilling-
ham farm at White Plains, and F'roh-
man said We've licked that play
of yours into shape. Run down to
New Rochelle and see its first per-
formance next Saturday" To New
Rochelle went. At the theatre I met
Fitch. He seemed bit timid You
mustn't expect too much. Paul" said
haven't company of French actors"
Il don't care how 1t is acted" said I,
$50 long as Skinner dies in good style
over his chair He doesn't die over
a chair" said Fitch hesitatingly.
How does he die. them" I asked
aghast. He doesn't die at ALL" said
Fitch. l tore my hair. There was no
redress. F'rohman knew his public:
Fitch knew his public; Skinner knew
his public They all agreed that
American audiences insisted on hap
Ply endings." To console me the late
William Harris. who was everybody
friend, went to Philadelphia to decide
the point Skinner must live" he
said when he came back. And at last
advices Skinner Is living still.
On May 6. 1910. Arthur Bourchier
presented THE Honor of the Family"
in London. lie meant to die over the
chair as Gemier died. Unfortunately,
at the end Of Act III. the newsboys
| outside shouting extras" announced
n crisis in the condition of Edward
VII. The theatre was instantly emp
tied and Bourchier. unwilling to make
a risky experiment in an empty house,
merely spoke the TRADE with which
Skinner ends the play. So that night
It was not Philippe Briddu who died,
1t was the King of England.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16
MRS. FISKE AND THE COMIC
GENIUS.

A THEORIST on humor asserted
~ recently that the comedy in
\ Mrs. Fiske's role was due
either to a synthesis of opposition or
was the result OF a sudden perception
OF the homogeneous by the audience.
But this logic is inadequate as an ex-
PLANTATION OF Mrs. Fiske's comedy skill.
How does she attain the comic? Why
does she make us laugh?
1t has been suggested that Mrs.
Fiske's genius as n Coincidence is duo
TO her technical skill and proficiency,
her long training and many years OF
experience. 1t is a noteworthy fact as
Mrs. Fiske has often pointed out,
that the amateur actor as we'll as tho
young professional is seldom II ever a
good coincidence. The youngster
plunges boldly and unhesitatingly into
tragedy or melodrama. often with sue
cess, while a similar attempt at COM
edy generally results in dire failure.
But 1t is not technical skill or pro-
flciency, according TO Mrs. Fiske. 1t is
very definite gift, Unborn and in
herent In the individual. 1T is anal
ogous to a sense of humor," says Mrs.
Fiske. Instantly alert. spontaneous
and effervescent, keen and alive at all
times, constantly sensing the comic in
every situation"
1t is this intuition that is account
able for Mrs. Fislle's genius as q
comedlenne. In the, role of NeIlv
DGpentrv she runs the gamut of comic
emotions.
"The source OF the come dlenne's skill
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16
THE NEW PLAYS.

MONDAY-Lberty THEATRE Henry Miller will present
play in three acts by Philip Moee which
of the French dramas Mr. Miller Blanche Hol
brook Blnn and Estele Wnwood will head including
Robinson Sidney Herbert Alice Gale Frederick
Paul Doucet.
Globe THEATRE Otis Skinner, presented by Charles Frohan
Inc, will in Paul M Potters play
Family in which he gained distinction
Broadhurst Theatre: Another
by THE Kiss Burglar" the musical romance by
Donough Raymond Hubbe which
with cast headed by Marie Carroll and Denman Maley
Theatre du Vieux CoombieT: Asecond
be sounded by French players
change their weekly bill the Msanthrope
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16

stead of tears. For above all and be-
fore ell Mrs. Fiske is Coincidence,
gifted with that rare sixth sense of the
comic that has made her many comedy
achievements glittering actualities.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16

pearance in New York in this role will
be feature OF a season that has been
notable for the fine acting done on the
local stage by several of the best
known players IN America.
In the company, organized by Charles
Frohman, Inc. to appear with Mr..
Skinner in this presentation Of the
play, are included Evelyn Warden, Rob-
ert Harrison Alexander Onslow, Ruth
Rose, Margaret Calvert, Harry Burk-
hardt, Marshall Birmingham. John
Rogers and Walter +. Scott.
The Shuberts announce the engage
ment of Glen MacDonough and Ray
mond Hubbell's musical romance. 1.-THE
Kiss Burglar" at the Broldhurst The
atre for an indefinite period beginning
tomorrow night. 1.-The Melting Of
Molly" closed its engagement at that
theatre last evening. Prominent in the
cast Of THE Kiss Burglar" are Marie
Carroll, Denman Maley, Harry Clarke,
Louise Mink, George Leon Moore, En-
NETT Shackleford, Oliver Smith and
Ann Sands. Since the beginning of the
season THE Kiss Burglar" has been
on tour with this cast, playing Boston,
Washington and Philadelphia.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16

He had begun his career as an actor
when he Joined other amateurs and
organized the Ihastre Theatre, in
which they played upon a stage sup
ported by trestles in racquet court
in the Quarter de ct. Paul These
amateurs were SO successful that they
began to charge fee for admission
and so lost caste. In this emergency
Moliere, discarding his own name,
Jean Baptiste Poqdelln, assumed com
mand Of the troupe and with the aid
OF certain provincial players-the Be-
Jarts, two brothers and two sisters and
Duparc, better known as Gros Rene
began his professional career, at first
beset with hardships, that was to
bring him to Paris and the high favor
OF the King.
1t is in the latter years of Moliere's
life that the play "Moliere" is laid. The
nrst and second acts take place in 1879
and the third act in February, 1878,
before, during and after the perform
ance OF lie Malade Imaginaire," Gull
minating with the death Of Moliere.
In the course OF the play one en-
counters such historical characters. in
addition to the famous actor-dramatist,
as Nine. de Montespan, Louis XIV,
Armande. the young wife of Moliere;
La Fontaine, the fabulist; La Forest,
the faithful cook; Lulli. the court mu-
stefan; do Lauzun, the coulter; Baron,
the youthful member OF the troupe of
Moliere, who later became a famous
actor. and Claude Chapelle, the bibu-
Ions fpianA ~ he d,-ay eln. mi
are other important characters, such
as the old actor Colinge. who do not
appear in history, but have their bear
ing upon the play.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16
THE NEW PLAYS.

Henry Miller. Blanche Bates, Hol-
brook Blinn and Estelle Winwood will
head the distinguished company that
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16

VIII be seen at the Liberty Theatre,
under the direction Of Henry Miller, to-
morrow in '.Moliere." a play in three
nets by Philip Moeller Mr.. Miller will
he seen as MoHcre, Miss Bates as Nine.
de Aontespdh. Mr. Blinn as Louis XIV.
and Miss WILDWOOD as Armande, the
young wife of MoHere. Among the
other characters will be Forrest Robin
son as the old actor Colinoe, Sidney
Herbert as La Fontdine. the fabulist,
and Paul noucet as LulH, the court
musician.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16

Otis Skinner will begin his engage
ment in Paul NJ. Potter's 1.-THE Honor
Of the Family" at the Globe Theatre to-
morrow night Mr.. SINNERS reap
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-16

In this presentation Of "Moliere" two
acts show the study of Moliere in the
Palais Royal Just Off the study is the
stage where the troupe OF Moliere
played before Louis XIV. While his
torical accuracy has been aimed at by
Mr.. Moeller, the author of the play,
and by Mr.. Miller In producing it
neither has felt obliged to sacrifice
drama 70 history. For example, the
AFFAIR in the second act showing the
love Of Nine. de Mantespan for Moliere
Is not recorded In history That Mo-
liere had a study Off his theatre, how
ever. is more than likely. It was no
doubt combination OF green room,
study and living room. Indeed, the
fireplace was doubtless utilized by La
Forest. the cook to whom Moliere read
MS plays, to prepare many a savory
dish for the master
The theatre OF the Palais Royal OF
the time Of Moliere was the hall OF
the PalaiS transformed by Cardinal
Richelieu. 1t was the only structure
in Paris designed especially for play
house purposes. 1t stood on the west
ern corner of the Rue st. Honore and
the Rue de Valois. BY some it has
been confused with the PalaIs Royal
Of to-day, the home for many years Of
witty French farces. This theatre was
a reconstruction of the old building on
this site which had been partially de-
stroyed by fire and was opened in 1881.
The early theatres Of Paris during
and just prior to the advent of Moliere
were for the most part built on the
outer town wall Of Philippe Augusta,
the walls that were used for the hand
tennis courts. Here the rabble stood
in front Of the improvised stage and
the quality stood or sat at the sides Of
the stage. Moliere's tenancy OF the
Palais Royal began in January, 1850
Prior to his advent in Paris he had
been strolling player in the prov
inces.