davidaulloa/AmericanStories huggingface dataset:
The Dolores star., 1921-11-18

For the writing desk or as a COM
panion piece to the guest book, a pen
with feather quill for handle
makes beautiful gift. Natural feath-
ers are as marvellous and beautiful in
their markings as flowers and those in
neutral colOrs can be tinted If one
wishes to brighten them. Many kinds
Of feathers, including those Of the
ostrich, are used for these decorative
every grown-up.
The Dolores star., 1921-11-18
LESSON FOR NOVEMBER 27
PAuL's VOYAGE AND sH,pwRsck

hE@>soN TEXT-Acts 27:l-4.
poLDEN TEXT know whom I have
. ne'eh. and am persuaded that he is
~, 70 keep that which 1 have committed
unto him against that day.-II T,m 10
REFERENCE MATERIAL III Cor
l:23-S: Phil. 4:l2. i3.
URINARY ToPIC-The Story of Ship
wreck. '
JUNIOR TOPIC-Paul in a Shipwreck
INTERMEDIATES AND SENIOR TOPIC
storm and Shipwreck
YOUNG PEOPLE AND ADULT TOPIC
-Psul's Power over Men.
The Dolores star., 1921-11-18
ffFERED SEVEN
LONG YEARS
In, Relieved by taking
III. E. Pinkham's
E.eetable Compound

L..vood. W. Va. eevenl long
ns,Eered from . female trouble
The Dolores star., 1921-11-18

This years candle shades made of
in such variety that every one may be
pleased, Sparkling silver tinsel strays
over some of them, adding n holiday
glitter to the pretty colors through
which the light CLEANS. a shade dec
GRATED in this way is shown at the
right of the two pictured. At :he left
foundation of plain paper Is covered
with ruffles of crepe paper In two al
ternating colOrs, in this case white
and green, and has daisies made Of
paper set about It,
The Dolores star., 1921-11-18

Santa Claus never forgets the ba-
bies and each year presents their
little belongings made In new and
pretty ways. This year "rightin-
gales" and bonnets seem even better
than their predecessors. A set to
match is shown above, made of fine
flannel and trimmed with narrow
satin ribbon gathered along one edge
and featherstitched down. A frill Of
narrow lace finishes the cap.
The Dolores star., 1921-11-18
BETTER
DEAD

! is a burden when the body
|acked with pain. Everything
kries and the victim becomes
pondent and downhearted. To
ke back the sunshine take
The Dolores star., 1921-11-18

Hangers for wee garments make
lovely gift for young children, espe-
ciauy when they look like dolls.
Here two are dressed up to represent
girl and boy doll and third Is
simply covered with ribbon and deco
rated with ribbon flowers. Little
celluloid doll heads. wide and narn,w
satin ribbon and wire hangers With
little ingenious sewing are all that b
needed for the doll hangers.
The Dolores star., 1921-11-18
COlDMEDAl.
(AplEMQn
w EYl714R ~

National Remedy Of Holland for over
years; /, is an enemy Of all pains re-
|ng from kidney, liver and uric acid
|bles. All druggists, three sizes.
J for the name Gold Medal on every boz
and accept NO imitation
The New York herald., 1921-06-26
LAS You Like 1t" at Drury Lane Theatre.

scenes OF an act. or, what is more
astonishing. between the acts them
selves. The very elaborate stage di-
rections printed in the masques OF
Jonson. Shirley and Davenant-direc-
tions often written out by the inven-
tor, Joncs-call for the use of cur
tain at the beginning. but clearly in
dcate that changes of scene through
out occurred in sight of the audience.
Perhaps ths glory OF tho designer was
heightened by the clever devices by
which he concealed from the noble au-
dience the mechanical trickery in
Volved: At any rate devices were scd
of noise and binding light--to dis
tract tho attention cf the spectators
while the feat was accomplished. Il Us
extraordinary that neither here nor on
the Continent did any ono think Of the
simple expedient of lowering the cur
tain"
Whatever part the mechanics OF the
stage may play-and It is not a small
one--the actor is tho key TO the final
result. He decides, in large measure,
by his powers or limitations. tho very
choice of drama. This is easily traced
in the history of Shakespeare on the
stage:
The mastery OF Hamlet by Garrick
The New York herald., 1921-06-26

SHAKESPEARE FROM BETTERTON
TO IRVING. Two volumes, illus
trated BY George c. Odell. Charles
Scribner's Sons.
THE history of the drama as a
form of literature and the his
= tory of stagecraft are two sepa-
rate streams. They mingle to some
degree and each is modified by the
other. Certainly Shakespeare would
be read II there were no theatres. And
there would be acting without Ham
let or Portid. Yet either of these two
conditions is hard to imagine. For the
majority of readers there must be a
half conscious imaginary reconstruc
ton of the stage, even when they get
their Shakespeare from book. And
however actors or managers may af-
feet to disregard the supreme master
they cannot escape his influence.
The author of these treasure packed
volumes is a professor of English in
Columbia University. He feels keenly
enough the rel, ton between book and
stage But in this work he concen-
trates attention steadily upon the lat
ter. For him the poets own work is
finished and launched like a ship on
the sea. What are it's adventures
there. what topsails are lost in high
winds? In what harbors and what
ruthless repair docks does she suffer
unloading or remodelling? What pi-
rates board her?
Prof Odell has answered these ques-
tions with a minuteness that never be-
comes tedious. for his own curiosity
never fails. He has little need of pic
lures to hold the reader. yet many a
book with nothing but pictures has
less to Justify it's issue. The material
of the second volume is perhaps more
familiar. since II falls largely within
the nineteenth century. and has been
more or less covered in the memoirs
of that period. Nevertheless IL ac-
quires fresh interest In this arrange
ment. And much of il Is gathered
from little known sources.
The modern period began at about
the time OF the American Revolution
and was dominated by John Philip
kemDie, VINO WAS not alfdlu 10 cut
Shakespeare. but who did in general
treat him with reverence and who GER
tainly achieved a high degree of the
atrical effectiveness.
Following Kemble came the leader
less age" and then the ages of Mac
ready. of Phelps and Charles Kean and
Of Irving. Along with these individual
figures Odell carries the development
OF costume. lighting and scenery.
The first volume. naturally has more
OF the curious and picturesque in 9TH
Illustration and text. Here Is an ex-
ample OF the development Of acting
versions in the eighteenth century:
I'VE have seen how great was the
vogue of Tate's King Lear another
play 10 live on even longer In equally
mangied form was Colley Cibber's
Richard H. played first by the au-
thor at Drury Lane in 100. This ver-
sion has really never been driven from
the stage It is probably "A more ef-
fective acting vehicle than Shake
speare's. II simply strings together
bits Of Henry w. Part ILL.,; Richard
II, and Richard IIf.,' interpolating
even much OF the best part OF the first
scene from Henry w. Part IT.. where
Northumberland learns OF the death of
The New York herald., 1921-06-26
lived through many changes of actors and scenery

Drury Lane following the celebration
cording to q note in the second edi
ton of Davies's Life of Garrick' the
piece opened with a number of comic
scenes involving rustic characters at
Stratford, and ended with the grand
Jubilee procession, made up of best
known plays, each group preceded by
persons properly habted, bearing
streamers of various colours, on which
were inscribed the names of the sew
eral performances Half way down
the procession was the Comic Muse
seated on a magnificent car. drawn by
Satyrs, and attended by the different
characters of the ancient Comedy At
the end of the line was Apollo with
his Tyre. followed by the Tragic Muse
on a triumphal car, surrounded by
Calriope, Clio, Erato, Euterpe, Poly
hymnia, Terpsichore and Urania. At
the very last. the figure of Shak-
spere. from his monument in West
minister Abbey, with emblematical or
naments, and a numerous train of at
tendants, closed the procession
So our own time has seen the Cali
ban" of Percy Mackaye and various
other tercentennial fantasies. IL the
world lives to see a thousand years Of
Shakespeare no doubt there will be in
ventions beyond the powers of yester-
day or to- day to give new forms to the
poets dreamA
The New York herald., 1921-06-26

Lear Quin was famous as Falstaff;
Drury Lane had no Falstaff. Hence
for ten years, the two parts OF Henry
". we're often acted at Covent Gar
den; hardly at all at Drury Lane.
Shutter took up the part after Quin
retired, and both parts of Henry ~.
and The Merry Wives Of Kindsor were
kept in the repertoire. Love at Drury
Lane finally won success in the char
acter. and the three Falstaff plays
came back to Garrick's stage. Romeo
and Juliet. i'm spite OF its great popu-
larity. finally was neglected when
Garrick and Barry and Mrs Cibber
became too old 10 look their famous
characters. Much Ado About Nothing
and Cymbeline were revived con-
stantly at Drury Lane. As You Like
It was saved to the stage by a sue
cession OF great, Rosalinds-M Mrs.
Pritchard. Mrs. woffington. Mrs.
Barry. Mrs. Yates. Measure for
Measure was revived at times to give
these same fair ladies an opportunity
to appear as Isabella"
Finally, around the edge OF the plays
themselves there has always been a
curious fringe or filigree of Shake
pearian spectacle. adaptation or mask.
"Garrick's famous Shakespeare Ju-
bilee had a run Of ninety nights at
The New York herald., 1921-06-26
BOOKS ON SHAKESPEARE

adverbs and adjectives form fours,
sentences sweat and gyoan like porters
with three thoughts piled on one back,
and not one dares mutiny any more
than Ariel dares it against Prospero's
most delicate bidding. Prospero him
self, in his narrative of how he
reached the island, throws all gram
mar to the Winds as does 'Imogen in
her painting haste to find Milford
Haven. Shakespeare, in fine, and at
the utmost of his quality, sinks all
grammar in the heave and swell VI
speech under emotion-and in the end
we are left to question. How did this
man learn to make sentences mean
so much more than they say? How
contrive his voice so that four quite
simple words, Think, we had moth
ers.' or The rest is silence chime
with overtones and undertones that so
deepen all the space and meaning OF
life between hell and heaven?"
However other scholars may ques-
ton the details of the new edition no.
The New York herald., 1921-06-26

NOTE UPON THE DARK LADY"
SERIES OF SHAKESPEARE SON.
NETS. BY John r. Strong. G. p.
Putnams Sons.
[ JELEN's power to launch
thousand ships, according to
L i Marlowe, was in her face. Very
llkely. When men are in the fighting
mood they will fight over anything.
lt would have been greater triumph
to make them stop. And the world is
more interested to-day in the women
that have inspired men to creation
rather than destruction, Who gave
Shakespeare his ideas of womanhood?
1t would be narrow and mechanical
view of Portia, Beatrice and Rosalind
that saw in them copies of some Eliza
bethan girl. Nevertheless, he learned
some very definite lessons from a liv-
ing teacher, call her the Dark Lady"
or any other name
Mr.. Strong is for the Mary Fytton
theory. He takes up in detail the
arguments derived from the sonnets
and from Loves Labor's Lost" He
recalls the known facts of Mary's life:
THE young lady came to court in or
near 1895 as one among the maids of
honor to Queen Elizabeth. She there
fore was at the court in 1897. the year
of Loves L4abor's Lost then 10 years
Old 1t was in 1900 that her affair
with Lord Herbert, the Earl of Penn
broke's son. took place. There are some
indications that she was both witty
and passionate. And whatever were
Shakespeares relations with her. it is
not difficult to believe that she left
him a sadder man. That he was also
wiser one his plays bear witness.
A contemporary letter Of Rowland
Whyte is quoted. with an account of
Mary Fitton's attendance at Black
friars wedding. after supper the
maske came in as 1 writ in my last:
and delicate it was to see Ladies soc
PRETTY and richly attired Mrs. F'itton
leade, and after they had donne all
their own Ceremonies these Ladys
Maskers choose Ladies more to
dawnce the Measures. Mrs. Fitton
went to the Queen, and woed her to
dawnce; her Majesty asked what she
was: Affection, she said. Affection.
said the Queen, Affection is false. Yet
her Majestic rose and dawnced: soc
did my lady Marques [of Winchesterl".
Now whether Elizabeth's answer was
intended as a divination of character
or simply as repartee, nobody can now
determine. 1t seems more likely, how
ever, that in such a case she would
The New York herald., 1921-06-26

hear tankards humping a refrain 10
marvellous conversation, in which Kit
Mariowe, Bacon, Ben Johnson, Sir
Walter Raleigh. Greene, Kyd, Nashe
and Shakespeare take part. This is not
so. again cries the kill-joy seeker after
truth. Certain writer's of the time
hated and villified Shakespeare in the
meanest fashion. The possession OF a
university degree and of family coat
of arms meant great deal in those
days, and as Shakespeare had neither
he was cordially contemned
I'm the time of Elizabeth" we read,
"the stage was recognized as one OF
the principle vehicles for the refec-
ton of opinion concerning ri~-tters OF
public interest; the players being, In
Shakespeare's phrase. the abstract Ind
brief chronicles of the time Mr.. Ache
son connects many speeches and char
acterizations with events and char
acters of the day. King john" in par
ticular, he points out, shows political
animus. Then again, there was the
interest of his patron, who was par
ticipant in one of the court struggles
of the day, 70 be guarded.
Probably the most significant chap
ter of the volume is that entitled "Fal-
staff's Original" in which the author
names a particular contemporary of
Shakespeare as the prototype of the
carousing comrade of Prince Hal
John Flocio shared with Shakespeare
the patronage and friendship Of the
Earl Of Southampton. The play wright
was the late conner, wherefore Flcrio
regarded him with envy as an intruder.
F'lorio, physically, is the very image
of Falstaff. His character and the his
tory of his life disclose traits and in
cidents which might have suggested
passages in the plays where Falstaff
appears Florio's writings revea! the
Falstaffian swagger, meanness and
cynicism. The author has found traces
of F1orio in two other characters Of
Shakespeare, Paroles of "AlPs Well
That Ends Well'' and Armada of
Loves Labor Lost" That Florio and
his friends were aware of the satire
is the contention of this author. who
quotes a letter from the wife of the
Earl of Southampton to her husband
referring joculary to Florio as Fal-
staff.
The figure, however. has too much
of the universal to admit of any GER
tainty as to its origin. There is no
harm in speculation of this kind. And
Acheson has done a service to lovers
OF the seventeenth century IN bringing
back some Of the half forgotten figures.
F1orio has a place of his own, apart
from the Falstaffian conjecture. His
translation of Montaigne commands
respect. The passages reprinted from
his other works in this volume have
a curious interest.
The New York herald., 1921-06-26
Without division into acts

wash your foule mynds VT teares anu
those same hands
that you lyke REBELS lyft against lhe
peace
lift up for peace, and your unreverent
knees
[thatl make them your feet to kneele to
be forgiven
1t must not be Thought, however,
that this new text is full OF changes
In many cases, even where the EDITORS
are convinced in their own minds that
different reading is the right one.
they content themselves with sug-
gesting it in the notes. And they
cannot justly be accused of trying to
Improve" the poet. Their double
aim is to restore his text to as near
the original as may be; and to clarity
it by showing its relation to stage
business.
In his general introduction Sir
The New York herald., 1921-06-26

accounts for the constant inclusion of
the play in the repertoire of his the
atre; at Covent Garden the play was
acted frequently when Barry was a
member OF the company, less fire.
quently when he was not. Garrick
failed as Othello and Iago-hence the
play was passed by for ten years at
Garrick's theatre: Quin and Barry
were highly esteemed as Othello-
hence Othello was acted more regu-
larly at Covent Garden. When Mack
lin was attached to either company
The Merchant of Venice was certain
to be acted; less certain when he was
not. When Barry or Smith was at
Covent Garden Henry V. figured in
the bills: otherwise not. When there
was no Quin or Barry at the same
house, there was likely to be no King
The New York herald., 1921-06-26

Hotspur. Many lines of this are given
to King Henry in his grst scene, where
King Henry also contributes"
The custom of utilizing the back of
the stage to prepare for later scene
while action is going on in the space
in front Of a curtain or drop is still
common in vaudeville and not un-
known in regular plays. 1t was AN
essential of the earlier periods, though
the role of the curtain varied, as the
author explains:
'It is certain that the Elizabethan
stage manager made use OF the cur
tains before the inner stage when the
action passed from the propertied
scene to the outer. more indefinite
platform; but we have no reason to
believe that the curtain in Restoration
houses was usually dropped between
The New York herald., 1921-06-26

THAT the divisions in the Folio are
void of authority and that Snake
speare wrote his plays in one un-
broken continuity was admitted by DR..
Johnson in his preface of 1865, and
Capel three years later pleaded for
the reformation. But they still persist
in modern texts. though they are often
dramatically absurd In this edition
they are wholly discarded, changes of
place alone being marked by space
on the page"
1t is contended that In the cases
where act divisions occur in Shake
speare's early plays, in haphazard
fashion. they indicate revision of other
dramatists' work from which he failed
to cut them out. Others were perhaps
introduced by actors as conveniences.
The other striking feature Of this
new edition is the number of stage di-
rections inserted by the editors. ut
should be remembered" they plead,
that this edition is intended not for
the Elizabethan actor, but for the mod
ern reader. and that a play book is
very different thing from a moving.
audible pageant. In our opinion, the
almost complete absence of stage di-
rections in the printed text is one of
the chief obstacles to the appreciation
of Shakespeare by his countrymon.
AS a matter of fact, he almost
always formed clear cut and definite
picture of the surroundings amid
which his characters moved. and 1t is
generally possible to reconstruct this
scenery from incidental references in
the play. In attempting this we shall
again only be completing the process
already begun by previous editors"
In general the attempt has been to
restore old forms. when these are i'm
any way expressive of intention II is
now held that much of the original
punctuation, which former editors have
discarded as illogical or ungrammati-
cal. throws light on the way in which
the poet sought to guide the actors
rendering of the lines. In this and
other details the Cambridge edition is
a defence of the much abused Eliza
bethan compositor. The editor con-
tends that he followed copy" and that
IT, we wish to get back of the critics
W Ailt VI 'UdhfHBfdIf HlIIlStlA
we must restore many of the rejected
readings.
In the study of texts. the editors of
our day have tried to detect the pos
sible printers errors by an examina-
tion of Elizabethan styles of hand
writing. For this would show the
kind of confusion most likely to arise
in setting type from manuscript.
New light has been thrown on the
whole matter by the discovery OF an
insertion i'm a contemporary play of
lines in the style of Shakespeare's
known signature. His own hand may
have written them Even IL II did not.
they serve to show the forms of letters
and the method OF Joining one letter
to another. When an editor is doubt
full as 10 word or phrase i'm the
present text, he writes Il in the
"Shakespee rian" style. and sometimes
the obstinate puzzle Is cleared at
glance This Is the translation" of
the passage, the two words at the left
being intended for IAN" and Moore"
marry god forbid that
The New York herald., 1921-06-26

express the opposite of her thought.
Mr. Strong cites many passages in
the sonnets to support the idea OF
their relationship to three persons:
Southampton, Lord Herbert (afterward
Pembroke) and Mary Fytton. The first
was away from London when Lord
Herbert-and perhaps Shakespeare
himself-were involved in entangle-
ments of one sort or another. If the
absent friend and patron of the dra-
matist heard on his return court gos-
The New York herald., 1921-06-26
Mary Fytton.

sip that did not please him, he might
have turned cold.
The longest section of the book is
devoted to minute examination of the
authenticity of portraits which have
been labelled with Mary's name. They
do not At the adjective in Dark
Lady" Strong's arguments against
their authenticity carries great weight.
In any case there is no dispute as to
the statue of Mary. here reprinted.
The New York herald., 1921-06-26

Arthur sketches the history of the
plays in print and closes on the lyric
note-one more tribute Of the heart,
lest the work of a scholarly editor
should seem to be done coldly, from
the head alone:
I'VE trace up this word-play .
from command to tyranny: until-in
Antony and Cleopatra for example
nouns scurry to do the work of verbs.
The New York herald., 1921-06-26
"shakespearan" Addition to Play "Sr Thomas More

body can doubt the editors high pur-
pose-to present living poet, not his
dead bones. And the methods of mod
ern scholarships are so explained as
to give the ordinary reader clue to
many things that have puzzled him in
the text of his beloved Shakespeare.
He may even be inspired to make his
own emendations, where the literary
doctors disagree.
The New York herald., 1921-06-26
Faith
By SAMUEL HoFFENsTEIN

ForegO reason,
Forego thought;
Of more than these
Is Heaven wrought.
OF tears below.
And stars above,
Out of labor,
Out Of love.
Let the brain
Explore the sod;
Let the heart
Discover God.
Unto themselves
The wise suffice.
But fools of faith
Are blessed thrice.
The New York herald., 1921-06-26
Reviewed by GEORGE KENT


n ONE day the infinite pains" Of
Shakespearian scholars will be
- rewarded and every fact con-
cerning the life and work of the great
master will emerge from its shadow
and stand illuminated and distinct in
the heavy pages of voluminous and at
last authoritative Biographies. When
that comes to pass the Avon bard will
be less loved and adored.
The widely accepted and affection
ately cherished legend OF the play
wright is that he was poacher. a liber-
tine and general scamp, that he
Joined with band of strolling players
passing through Stratford and came to
London to play street Ramin. and one
day while holding the horse Of a noble
men obtained favor, and. presto. plays,
poems. sonnets Of surprising excel
lence.
With positiveness that dissrms ar
gument. Mr.. Acheson asserts that
was practical creature.
He proves that the poet never Joined
any strolling players, but that he came
to London determined TO make his for
tune and so rescue the family name
from the mire of poverty. There he
himself as general facto-
tum to James Burbage actor, manager
and theatre owner.
Lovers Of literature delight 10 brood
over the gallant Elizabethan era. They
The New York herald., 1921-06-26

THE TEMPEST. First volume of the
new Cambridge edition of Shake
speare. Edited by Sir Arthur Quiller-
Couch and John Dover Wilson. The
Macmillan Company.
The New York herald., 1921-06-26

and to add ampler matte TO this
he tgodl hath not tlel souly lent the
king his ngure
his throne Ihysl & sword but gwen him
his owne name
calls him a god on earth, what do you
then
rysing gsinst him that god himself en-
stalls
but ryse gsinst god, what do you 20 yo'r
sowles
in doing this dosperat tori az you are.
The New York herald., 1921-06-26

nay certainly you are
for to the king god hath his offyc lent
of dread Of Justice. Power and Command
hath bid him rule, and Wild you to obay
The New York herald., 1921-06-26
Reviewed by ROBERT J. COLE.

w rALT WHITMAN, in his con-
NA/ versations with Traubel.
w spoke of the ineXorable