New-York tribune., 1919-09-18

either moro money Tor the Same work or
tho same money for less work; or because
they want more money for less work. And
let him who wouldn't like to work less and
have more money toss the first boulder.
Somebody who knows lot about educa-
ton, heredity and boys could write good
essay on, the fact that the mothers Of most
Of the bank robbers are 80 astonished at their
sons lapses
Answering, in So Many Words, the Age-Old
Query
Sir: It has been so long since anybody
yesteryeared in ballade and such (com-
paratively) extended while since we were all
deploring the passing Of the Good Old Stuff
and, besides, Frank Vilon has como in for
so much more or less undeserved panning Of
late, and feel that every ballade, however
rotten, is Just ono moro boost for Frank
and as you want to get away early Wednes-
day (tholgh I'm afraid you'll have to set
this in something bigger than minion il you
do), why, I am moved by the 80 to speak
Muse to shoot You something with two
cylinder refrain In J. II. Mccarthy right
hot from the gun.
Naturally (and here inevitably drop into
the style Of Ed Poe's PHILOSOPHY Of Com
position"), the principal refrain will bo
"Where are tho songs or the plays or tho
novels or the anything Of yesterday?" and
for the secondary burden the one that slips
in two lines earlier-what could be more
beautifully tnRed as it were with soupcon
of pathos. or at least Of plaintve melancholy,
than this rapturous exclamation "What
royalties they used to pay?
As for the rhymcs--ths is a "Where 2"
pome and there are lot OF words in "air"
in "The Poets Companion" (Dick e. Fit2-
gerald 1S Ann Street.. So here goes for
thcm there dear old songs:
IT'S hnoscn aoithfa qchot deep abyss
.NcGinty jom,,d himself It lair,
AID IN state of perfect bliss
Darells qcith street. Anuie Rooney there;
Bet nosne the fort.ne Consrcdes share
What 7oVclties they used to poy'
And Henrietta debonob---
Where are the Songs Of Yesterdoy9
Imagine Ned -Sothern dwelling lovingly on
those last few sylabes! Oh, boy! My titles
Gays you're liable to get somebody sore at
Won II you speak Of anything later than '9s
as "old." 50 we'll throw the drarmer way
back into the middle dstance--as frnst:
seq Whsfc CYrGa0 CG.as tie KISS,
let gsou1ly tohcs it rot: AID qchere
Tiat deatsroua Jim NE Pen,nun IS;
The Gilds5 Fcoi; nnd Ro6espierye
Where's Shannndooh's bottle blaree
WHAT royalties Nsev @sed TO pay!
|I'soi p.qv aTrout docs Byummel dare?
Wheye are the Ploge Of Yestcrdcy?
Rough stuff, I'll call it. And don't think
''s'' is very good. they nay at dear old
Hasv'd sort of rhyme for 'lzss," do you?
but say it quicklilsc and We'll get on TO
the books--and here it becomes for the frs.
time evident why started out with that
pes.<y sicilant. 1t so We could AJAX:
Where crc TIE Slips oj Beatrice
And TrilbV in her beauty Jaro?
where's Richord CaYceI Lit-or-,aiss9
lsn't j, wonderful how in Just ~ phrase
like that the true critic can characterize a
whole 200 0,000 word novcl-not to mention
getting muck needed rhyme?
Where's c. Steele Of tie stonY stu,.e,
I'm crazy about that ALTERATION
Where's Dorid Hn,unt and lis
Well, now, it couldn't be horse, could IL?
--1aore!
'''hot roYoities tiey used to pay,
is thcTe 70 t7nce Of Theron We're?
l even forget who wrote it.
Where TIC Books Of Tcsterdayo
Which brings US to the enrol. two lines OF
which, glory be, already thus, to phrase
It, fashioned. Let 'er go!
r.'ENvoI
Alas jor acisNeys! Hho's to core
What s-oyalties trey used to pug,
When cert cmsrers, "T Declare,
Where ARE III" Hits of lesteyduyg"
c. A.
'ris pretty. but it's it Art? My dentist
begs TO announce that hereafter his Tee
will be SIS an hour not Ct daresay)
even remotely suspecting that there
by he sewers all economic and professional
relations betwesnas they so aptly put it in
Forty second Street.-The and I. And--to do
a little be1nartining-what is to you the
funniest word? Mine is 'irregardless."