davidaulloa/AmericanStories huggingface dataset:
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04
Noted Damast Advises Woudbe Writers Depend Inspirations That
Fails, to Sweep Crossings No One Compelled to
Be Writer He Points Out.

traction is that she Is q Fact. She
also came, saw. conquered, but she
gave Heaven the credit.
Henderson: Thus passes the bogy
Of stage heroines to slow music. ID
sen destroyed the hero, Strindberg the
heroine, Shaw the villain. II someone
would only eliminat, comic relief the
drama itself would softly fade out Of
the picture! With the drama of dis
cussion, then, the playwright starts,
not from some dominant personality,
but from some central, controlling
idea.
Shaw: In writing a play you start
anywhere you can. You may even
have a plot. dangerous as that is. At
the other extreme you may even not
see a sentence ahead of you from the
rise Of the curtain to its fall. You
mostly start with what il called a
, situation" and write your play by
leading up TO it and taking its conse'
quences.
The situation may be a mere Incl.
dent, or it may imply a character or
a conflict Of characters. That is, it
may be schoolboyishly simple or sage
ly complex. Even a repsrtee may be
the Seeding of a play.
Then there is the chronicle play
in which you just arrange history for
the stage. The value of the result de-
ponds on your grasp of historical is
sues-whether your history is big
history or Little Arthurs history.
Akin to this is the play founded on
fact, when you arrange some incident
in real life for the stage. But this in
wolves a fictitious introduction and .
fictitious finish, so that your slice Of
life is treated as situation.
'IMPIsH PERVERSITY."
Henderson: Ny dear Shaw, /
thought for "a moment ] was back In
the classroom. You should reconsider
the University of Liverpool's offer Of
professorship in dramatics. How
your last remarks would have delight
ed our friend Archer, who always felt
that !, gu loved to violate dramatic can.
ons out Of a sense Of impish peyersity.
But it is no use talking like a profes-
sor Of playwriting unless you make
the application to your own works.
Shaw: Right you are. Examples
from my own plays are HeartDreak
House, which began with an atmo,
sphere and does not contain a word
that was foreseen before IL was writ.
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

Pa CAT telephone somewhat bswdered) What doctor will
go to? Don't you the spoon first?
MA: (Re-enerng with oi No. I've the
poon hospital hospital the ambulance the
comng Pour. spoonful of begins sneak
with fake smile of tendenes) Here mothers darling Open
your mouth and it will go right down quick
JUNIOR Through eenehed eeth-not taking ehanees
the maternal hand quicker than the eye) Won't!
MA (yereay happy carefree) Look,
doesn't taste bad (Pted can't fool old
easily It's good good this
is the taseless kind Junior
JUNIOR: Laughing through eIenhed teeth) Ho no.
believe you'll
PA: (Felplessly ephone) Who did wanted
to get?
Ma Gving oil for bad job and pushing him asde
you're of nuisance than Junior picks
of telephone book random makes him promise
franeay until he arrives, meanwhile
by almanac read aloud internally
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

MA: Boiling ovsr) What do about Madagascar!
PA ur WE'LL you don't have mad about it. (Returns
to beloved almanac with injured ar.)
MA: (To Junior) How do you feel lover?
JUNIOR: Fine.
MAJ (Not istenng) The doctor will be here minute
JUNIOR: (Alarmed) don't need DOCTOR feel
wunnerful.
(Readins .loud) which single female
make valid contract marriage is eighteen in
Arkansas California Colorado
MA: Will you keep quiet?
PA: Hawaii Idaho, Illinois, Iowa. Kansas.
you swallowed watch; maybe would keep
you quiet
PA Males at fourteen without parents
Kentucky louisiana Hampshire and Virginia (Closss
book this eo f Well what do think of that?
Now, what q boy of fourteen years know?
MA: Judging by you-nothng Doorbel rnss) Go who's
at the door.
PA: (Who h., gone back his book lovinxy) Causes
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04
By J. P. McEVOY

felony deeron cruelty drunkenness one year
whistles with .stonihmsnD What jag Takes millionaire these
days to underwrte like
strangely Hello, what do you want?
STRANGER: Did somebody call a doctor here?
PA: don't know wait minute Ma did call doctor?
MA Crushing to doo) Oh DOCTOR my little boy swallowed
difference?
DOCTOR: entering beginning Junior) WE'LL my
little unor begins hate him instsnyite man. inded
MA: (Anxiously) Do think you hear it in HIM?
DOCTOR: shouldn't think (Besn. who
had better take him the hospital where XRay him.
we can't get it ony other Wen have to operate
JUNIOR: (Resli.nx April Fool joke going too fa)
just joking didn't swallow the watch
DOCTOR (soothins). There there it's all right it isn't going
hurt (To MAJ They always b of rather than have
operation course must Little boys go
round with watches in their system.
JUNIOR (Tsaruy) tell didn't swallow it. Olives into
pants pocket to bring evdsne) I've got right here in my
MA: (E.ser) Oh you darling. Where!
JUNIORS eeins frantieay for w.tchit has ds.ppe.edD
It's gone! 1t slipped out of my pocket.
DOCTOR: (Noddng OF (To MAJ You
the hospital but of he
JUNIORS Crying fantieaIy) But tell didn't swallow it.
DocToR (Bu'ins.ske) you let me phone I'll call
hospital have everything ready right Mean
while don't him anything to eat and dose him good with
oil not to operate but then Of course we must do
whatever S necessary when the time
PA Earnestly Maybe the boy is right Maybe he didn't swa
DOCTOR Prof...on.lIy) OF course swallowed it.
else could he do with it?
(Rebellou.ly) You doctors always want to operate If
ANYBODY loses an umbrella open
(Tearfuy don't want operation either but don't
running around with watch inside of him all his life
JUNIOR (Pawig fantc.ly poekets) in pocket
tell you, did I did, did!
drumming Juniors trousers) If he he did
bet he did wait minute what's this there's something
lining Junior upside down and shakes him out of his
hurriedly finds watch caught ns
Hold, up triumphatIy) There, what did tell you?
(Hugsing hysteically) I'm happy
o p. with voenee) you dare touch that child
won't have him punished, understand?
DOCTOR: Ten dollars please
Pa (Going beloved amanac) Mrs Potter viii give it
Give gentleman dollars called him.
reading hmse Those attendance at the Locarno
Conference Luther Chancellor and Gustav Stress
mann Foreign Of Germany; Emile Vanderved Bel
GUM.
AND THAT'S THAT-UNTIL NEXT SUNDAY
,,,v 1926 King dramatic and
motion author
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

Most men and women past 80 must
give TO the bowels some occasional
help else they suffer from constipation.
One might as well refuse TO aid weak
eyes with glasses as to neglect n gen.
tie aid to weak bowels.
Is your present laxative, in what
ever form, promoting natural bowel
"regularity'-or must you purge and
"physic" every day or two TO avoid
sick headache, dizziness, biliousness,
colds, or sour. gassy stomachr
DIR. Caldwell's Syrup Pepsin helps
TO establish natural, regular bowel
movement even for those chrOnically
conshpated. II never gripes, sickens
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

ten. Arms and the Man, The Devils
Disciple and John Bulls Other Island
grew round situations.
The first fragment Of Man and Sup
srman that came into being was the
repartee: 81 am q brigand: l live by
robbing the rich" II am a gentle
man; 1 live by robbing the poor, "
though it afterward developed that a
thesis play, which is always a confess
sion Of faith or a confession of doubt
on the authors part. The Philanderer
began with a slice of life; most of the
first act really occurred. Back to
Methusaleh, Is prophecy in the scrip
tural, not the race tipster's, sense.
Henderson: Fascinating! But what
about the big scene" we are always
hearing about? Francisque Sarcey,
dramatic critic representative Of the
School Of Scribe, Dumas, fms, and sar-
dou made a great TODD about the
scene-a-faire, the indispensable episode.
THE BIG SCENE.
Shaw: A play with one big scene
is like a farce with one joke. Where
is the big scene in Lear or Hamlet?
They are all big scenes from end to
end. The Merchant of Venice has
big scene-the trial scene-from the
nature Of the story; but A Midsummer
Nights Dream has none. Sometimes
the grand scene is left out when you
come to it. That happened in Pygma-
lion. The only person who spotted it
was Barrie. You can amuse yourself
by guessing what the scene was. Gaze
sar and Cleopatra and st. Joan are,
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04
THE POTTERS

ZONES April First which by has crowded
February Day it is day of innO-
when the en tricks of youngsters make
glad the elders phrase of other day
Junior Potter is no exception and it inevitable day
win be delight for Pa and Ma Who will admit de-
serve better luck
Junior Ma bedroom He has business
there which being You think that
glow his eyes is fal devotion If you think So you
those movie parents which fighting word you know what
mean.
MA: Calling Junior, where are you:
JUNIOR; (No answer).
MA: What you doing?
JUNIOR (dtto)
MA: you doing stop doing it Do something else
tJnior the various bottles of perfume into
of each to Peskobey'
his mother something else Mas wrist
watch h. been With Junior roaming loose the
hou'. this amounts to serious social error9
doing now, Junior?
JUNIOR: Chastity deahns watch from ribbon and slipping tiny
time piece into poekeD Nothing muvver.
MAJ Cher fears aroused) I'm coming right in there (and
she dos) What doing in here Olives dresser quick Prae
tiesd inventory Where's my watch?
JUNIOR: with of quick flashes of inspiration that
max. children hear,) swallowed
MA: (.shast) YOU WHAT?
JUNIOR: Expanding had it mouth and
it went right down throat all by itself oks' ummy expert
nsataiy with tentative finser) think it's right here
QUICK. HURRY
PA: Gambling in easily Well what's the trouble
MAJ Shaking him hystereay) Junior swallowed my wrist
PA: (Irri..ted) WE'LL don't try shake it out of
JUNIOR: enjoying situatiOn) can hear it tick listen Tick
took, tiektoek
MAJ (Wringng her hands) What going to do, Pa!
him upside down and shake him. You do that
while look almanac under First Aid to the Injured
vaguely that the whole thing will
quietly will be allowed take its with
his Part)
Junior down her and pounding him
fr.ntie.lIy feel coming up?
JUNIOR oKkins violently Hey what are you tryn to do
kill me?
Pas Reading almanac carefully 81. There are several
methods respiration the Schaee
considered the best being widely used throughout the
United well foreign countries BY this plan
lives saved each by members of the u s.
.55 that isn't it, let "Snakes
sting they bite with pair of hollow teeth the jaw
that isn't either CONTINUES readng) Burns and Scads
Lightning Sunstroke Sngs Painting
Bite Common Stains and How to Remove Them (Csls)
this Breads soud) For and oil
French chalk plotting other ABSORBENT
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

dccOmUO0dte themselves 10 tne liter
airy facts-not vice versa. As you
have broken the old mould and
stretched to cracking tn. dramatic
, categories you owe posterity an eI-
PLANTATION. Surely there must be
some sharp difference between a mod
ern play and an old-fashioned play.
Shaw: The difference is obvious
enough. Down to the time of A
Dolls House standard commercial
plays consisted of an exposition in the
first act, a situation in the second.
and sort Of tidying up and bowling
the audience out in the third.
A Dolls House is built like a Scribe
well-msde piece up to the last scene
Of the last act. At this point, Nora,
instead Of tidying up and falling into
the arms Of q reconciled and for
giving husband, suddenly turns on him
and says: We must sit down like
two rational beings and discuss all
this that has been happening be-
tween U.s. This novelty caught on,
a Dolls House conquered Europe
and now audiences expect a rational
discussion as well as an emotional
situation.
A play with a discussion IL a mod
ern play a play with only an emo
uonal situation is an old fashioned
one. There you have it in a single
sentence, exact and clear
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04
PASSION AND INTELLECT.


TO be amused.
PASSION AND INTELLECT.
Shaw: People don't go to the thea
ter for amusement, but 10 be rescued
from the tedium Of their own circum-
stances by some passionate interest or
other. Observe: say passionate. You
Americans have never yet understood
that intellect is a passion capable Of
giving a more lasting enjoyment than
any other passion. You should read
st. Thomas Aquinas. He will cure
you of the notion that theology is q
penitential exercise.
Intellect has ecstacies which will
finally supersede those of physical
passion as the climaxes Of human hap
piness. You, as a professor Of mathe-
mates, should constantly teach this.
All men recognize this they could not
state it formally, but they unhesitat-
ingly place the great msthematiciaus
and the heavenly doctors-the saints
above the yoluptuaries, and think Of
them as happier, more enviable peo-
pie. Who would not rather be Aqui.
mas than Don Juan?
PlaygOers, vulgar and godforsaken
as they are always assumed 70 be,
want something they can take away
and think over; something that will
throw a new light on their own lives
and the lives Of those around them.
My old audiences at the Court Thea.
ter would laugh, sometimes immOd-
erately, for two and half acts until
they could laugh no more for weari.
ness. When the curtain finally fell
on the discussion a broken and ii
fenced audience would rise YEARLY
from its seats and crawl slowly aud
painfully out Of the building. That
was the secret Of my success,
had to make the audience suffer
and take its suffering away with it
before it felt it had had its moneys
worth. And it talked about the e1-
perience for months afterwards, and
sometimes quarreled and got divorced
or reconciled-Oyer it. The play
without ideas and discussion is for.
gotten before morning.
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

giving them the richest possible meas
ure of intellectual content.
SHAW: How can you give people
intellectual satisfaction unless they
recognize your problem as real and
urgent? Do you suppose people would
listen to plays about how many an
gels can stand on the point Of q
needle? You are really a frightfully
frivolous chap. You still think me a
mere playboy after all these years.
Your questions are sometimes per-
fectly maddening.
I tell you what interests people in
the theater apart from the personal
fascination Of the performers are
stories Of possible real lives, discus
sions of possible real conduct, I'M
yelling of possible real characters in
talk, laying bare Of souls, discovery
of pitfalls-in short, Examinations Of
life.
1t IL for his glimpses and snatches
Of this that they keep Shakespeare
alive, and Moliere. Why do Hamlet
and The Misanthrope survive 30
sturdily that their authors are called
immortal? Because they discuss every
thing, even to the extent Of becoming
50 skeptical that they can do nothing.
Henderson: Exactly. And Hamlet
is a forerunner Of the contemporary
drama which has abolished the hero.
Wilde was on the right track When
he said that perfect heroes are the
monsters Of melodrama and have no
place in dramatic art. In stepping
down from the pedestal Of the colos-
sal the modern protagonist has CAMEL
a firm fOothold upon the normal plane
Of humanity. That, ] take it, would
explain your treatment Of historical
figures, like Caesar. Napoleon AMI
Joan Of Arc.
"ROMANCE-RIDDEN FOOLS"
Shaw: Of course, Shakespeare
Caesar is the conventional tyrant Of
the Elizabethan stage adapted to Plu-
tarch's round-headed account Of him.
My Caesar is a simple return to nat
ural history.
/ created a real flesh and blood
man, who appears a whimsical para
dOx TO the romance-ridden fools who
think Of Caesar as a statue with .
phonogrsps in its mouth declaiming
Il came, / saw, ] conquered" and
EFT tn, Brute" But the public at
large knows better. Ny Joan is move
heroic and wonderful than any merely
theatrical heroine, but her real ar
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04
Old Folks Need
a Mild Laxative
Not a "Physiic"

or upsets the system. Besides, IT is
absolutely harmless and pleasant to
take.
Buy n large GO cent bottle ut any
store that sells medicine and just zee
for yourself,
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

water and soaps gasoline benne
ever it is.
Ma (Dashng n) Call the drug and
get me castor oil and get lie a spoon.
JUNIOR: (Feeing little about joke)
any castor OIL
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

Pa (Reans) Madagascar island off the coast Of
Africa from which it separated by the Mozambique Channel Gao
miles wide its pa about $50 miles long and $50
miles wide its breadth therefore nearly large
the State of Texas o MAJ What do think of that? Nearly
large the State of Texas.
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04
LAYING SOULS BARE.

HENDERSON: Dramatists ike
Pi1ndello and you do not draw their
situations and problems from real life
but devise them for the purpose Of
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

WHO IOf 50 llIdHy YEATS HdNt
been saying that you write
not dramas, but debates.
Like Ibsen, believe that the drs-
matte categories are elastic, and must
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

sitpations in a play are only pretense
and that what is interesting is the
way we should feel and argue about
them if they were real.
As Wells says, nothing can happen
on the stage, but everything that hap
pens elsewhere can be discussed.
In a Dolls House and Candida
you have action producing discussion ;
in The Doctors Dilemma you have
discussion producing action, and that
action being finally discussed. In
other plays you have discussion all
over the shop. Sometimes the discus
sion undergraduates the action from
beginning TO end. Sometimes, as in
Getting Married and Misalliance, the
whole play, though full. Of incident, is
a discussion and nothing else. The
taste for discussion has not even TO be
acquired it is a natural taste which
asserts itself the moment its food is
put before it.
MECHANICAL RABBITS"
The old plays without ideas and
with conventional figures instead Of
characters became old-fashioned and
intolerable with disconcerting swift
ness. The public now demands a case
and an argument, vehemently conduct
ed. Galswortby can make a success
full play out of a coroner's inquest.
Romeo and Juliet would be no use to
him or 20 anyone nowadays.
Henderson: But in any case you
must have something to discuss. PEG
Die can't debate for three hours and
a half about nothing. You must have
a plot or a problem or a subject OF
general interest to discuss.
Shaw: Who reneges Of it, Betsy
But the old-fashioned, well-made plays
were simply mechanical rabbits, with
wheels and cogs and a spring, but
without any life. They are the stage
toys Of grown-up children.
A real play is organic; II grows out
81 something alive-some situation OF
large import, social, religious, eeo-
Romic as well as personal; some prob
lem which, while coming home to US
by arising out Of the conditions of
today, has in it a universal quality.
Henderson: / remember you used to
talk oratorically about problem, with
its remorselcss logic and iron frame
work of fact" That was in your "un-
pleasant" era, in Mrs. Warren's day.
But you still talk Of the stage as II It
were a forum; Of the problem as IL
it must be forbidding, Of the drama
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04
By GEORGE BERNARD SHAW
que with Archibald Henderson, His Biographer)

I'm dialogue with Archibald Henderson, His Biographer)
LONDON, March, 1926
EMERSON: As artist-scientist, like da Vnci
i i Lewis Carroll, Art and Science alike hold in
their grasp. So it is laid upon to confound the
silly professors of literature and the ser dramatic critics
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04
(Adve -tisemeag
76 Years Old
And Full
OF "Pep"

Louis 2. Glack Is Is years ola and FOR
. time he sas in bad shape from auto
lntoxicatiou" due 30 stomach and bowel
trouble Then he took Adlerlka and nov
he feels ''fuil OF pep"
Adlerlise gives the system 3 REAL
rteanEinE and brings out old metsboiiC
fl1lsCus which may have caused trouble
Tor long time. just ONE spoonful re-
iicfrs Gas and takes away that fulL
hioated feeling 30 that you can sleep
~ night without rolling from side 10
eide. ETcn n your bowels move every
daN. Adlerlka removes much additional
ro|spuoua matter which you never
thought vas IN your system, and which
rauald sour stomach. Nervousness sleep
I1a1lfss headache. etc. Don't walt any
lo1ref BAL Led Adlerln give your storm
arh anf bowels QUICK relief A. A. n
fIachers ana other heading druggists.
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

as IL 1t must be a sermon or homily.
In my youth people cherished the child
ish notion that one went to the theater
TO be amused.
San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1926-04-04

ZONES April First which by curious error has not crowded
February Valentine Day it is day OF lnnO-
cent when the en tricks of bghyed youngsters make
the elders QUAINT phrase of other dsy)
Junior Potter exception, and is inevitable that the day
win be delight Ma who will admit de-
Evening star., 1926-03-06
ADVENTURES TOLD
BY: :GLOBE-TROTTER
Lecturer Describes Unusual
Scenes to Members OF
Geographic Society.

If the wanderlust got the best of
you. what eiGh; places in the world
would you most lik. 10 visit?
Richard Halliburton, student globe
trotter, made such a choice, and last
night told members of the National
in realizing it, He spoke in the Ma
sonic auditorium.
First came the scaling of the Mat
terhOrn. Next visit to Andora, old
est and tiniest of republics. where he
was received by the President. who
wore wooden shoes and no collar. At
Gibraltar. in spite OF military senti-
nels. he climbed 10 the topmost pin
nacle Of the famous rock, and was
arrested as spy.
Going on TO Egypt Halliburton
spent night on top Of the great
pyramid to see the moon set and the
sun rise over the desert. One of the
architectural masterpieces of the
world. the Tai Mahal, al Agra. India.
was the mex, magnet to draw him.
SeCreting himself in the grounds
when they We're closed he spent a
night in and about the building,
studying its beauty by moonlight.
The famous Vale OF kashmir was the
next objective. Here the lecturer
rented a palatial houseboat. kitchen
boat and gondOla, with seven serv-
ants. for 81 a day.
Pushing from the valley into
Ladahk, among the high mountains
OF Eastern kashmir Halliburton Wis
Ted among people who practice
polyandry. each married woman hav-
ing from three to nine husbands.
Here, too. he was present at the in
vestiture of baby god" little boy
years old who was supposed to rep
resent the thirtieth incarnation of a
holy abbot. Halliburton fed this
baby god' his Cruel and rocked him
to sleep.
The young globe-trotter wound up
his adventures by climbing Fuiiyama.
noted Japanese volcano. in Winter.
The address was illustrated by pic
lures taken by Mr.. Halliburton dur
ing his travels.