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About Omaha daily bee. (Omaha [Neb.]) 187?-1922 | View Entire Issue (Jan. 29, 1911)
t 1 ; i : i i j I .- TTTR OMAITA KTTNT5AT BEE: JANUARY 20, 1911. F f ' - -- - -- - II - !! Ill II II I IN I . - I I I I j HMWMnBMMMMMHMMnMMniMMMM ' ' ' V ' '""w V 1 s ' ' Vr st-'-WPf ' " V All - 1 t -t J v,- . i 'y vrw v.Vfl V: V: r u V r j v-;'------v:VV' .i7 Nx njy x x r:. .t v. i -ib7 1 ! i kv . J . - 'y k M 1 1 COUNTESS TflfiMfflJA.ntSWIBSEy'-Ar THr.BKAHESL'i ' J'? JgSy ' Yffl!' "v ' " j Here is Maude Adams as "Chantecler" .A.UDE ADAMS W 7 I neal ty welconio by New TorK- ancs as ma nero 01 nosiana s "Chantecler." Hre Is tho way the World tells of the premiere At the Knlfkerbockor on Tuesday: , Rostand',s cork at last has crowded In America. At the Knickerbocker theater lat night and before another of those agerty expectant nni Indulgent thrones which always gather when Miss Maude Adam la to appear tn a new role, Charter Frohman made' the first production In the English language of the French poet's cu rious symbolical play, "Chantecler," In a translation by Louis N. Parker, slightly Altered to remove the purely Gallic appli cation of the work. For months tre play has been antici pated as the event of the dramatic season And the rush -to It was prodigious, txmg before the curtain rose the theater Was filled and the sidewalks and lobbies were blocked by disappointed crowds that could not secure even standing room. From the moment the prologue was spoken the Applause began for the frail, feminine little star who was attempting an aggreeslve and gigantic masculine role. The curtain was lifted again and again in response to the uproar, lengthening the drama far beyond the time actually needed for Its perform ance. , This Acclaim for Mira Adams does not necessarily mean that she typified to her audience the vainglorious cock of Ros tand's strange barnyard or that she could realise the full significance of the role tn Its application to the theme of the' play. Her reception waa largely of a personal nu ture; It would have been the same had she been Impersonating Uttle Eva In a new version of "Uncle Tonfs Cabin." As to the play itself It wilt awaken un bounded curiosity, and It will surely call for rreat admiration as A spectacle. Whether It-will be so strong In Its appeal on Its dramatic side Is a matter which la by no means certain. The nettings, four In number and of great beauty, are ex aggerated ao that the relation of their alse to the stature of the barnyard fowls of Rostand'a fable la preserved. Neverthe less, they are very realistic, and they fur Blxh the desired Illusion. As a spectacle Alone "ChAntecler" should attract the town, while Its phlloophy and symbolism will give rise to no end of Argument And discussion. The play require the largest cait that Charles Frohman has organised for a pro duction since the days of "L'Alglon." So great In Europe has been the seal to dig Into "Chantecler" for hidden meanings that the one essential fuel that, after all. It is a play and, as a play, it must stand or fall has been gen erally forgotten. One person at least Is not responelblo for all this nonsense. He la the author, Kdmund Itostand. He has clearly stated that "Chantecler" Is only i what Is Indicated on Its surface a drama of human endeavor In Its struggle agalntit 1 the obstacles, disappointments and disil lusionment of life of the human will In i conflict with the heart. If you please, i And that his humans have been repre- ' ented as birds and beasts In order that they may better be suited In the poetic treatment of his theme. Therefore, dis missing all the high-sounding buncombe of the commentators, let us get at tho kernel of "Chantecler" by finding out what It expresses In spectacle and action on Its surface as a play. There is a pro logue spoken by the only human who ap pears as such in the work. It is skilfully GIRLS WHO WORK SHOULD KNJW THIS Writing on beauty topics for the Phila delphia Inquirer, Mrs. Mae Martyn says: "Liquid preparations are fast supplant. ng (ace powders, as It is found their continued use has a tendency to clog the pores, caus ing blackheads and other blemishes. "I find." she says, "when face powders are tabooed and a liquid is used, the muddy condition soon disappears and the akin takee on a pink glow of health. "One of the beat end most popular lo tions Is made by dissolving t ounces of epurmax in H pint of hot water, then add ing I teaspoonfuls glyoorine. 'This Is much easier to apply than pow der, and ao simple and Inexpensive to make that every woman ahould have It on her dressing table, hlle Its use will he fuuod la value Ma tot rough or . blotchy BkUu."-A.dv. wa. ,l.n a II f 7' '."1 II II II r. rtetnTX4 I i f V B ( V V , ) 1 corner of the kitchen garden with gigantic III fll fliwiuuv . jf , IIMI VJ I V vegetable! and flowers llttored about. The jjyijjf ' " :- , "-LVAV sitT . J l( I Guinea Ken's application to humans, too, ". ,.,,JL..' .' . V '' .ter-f I Is easy to detect. She Is the (snob and . II I J I ' 4fx i tuft hunter, the gossiping busybody oflie - : f I h, I fowls. Her guests arrive In all the varle- YOUnO" m S X ,3 ties of the poultry world, and the play for A O jT "V ' ' . JMNS BEMISa At THE BOYD designed to kindle the Imagination, of the audience and create the desired atmos phere before the curtain rises... Bounds from the stage Indicate the departure of a farmer and his family for the day. Tlu rustling of trees, buxxlng of bees and calls of dumestlc animals Indicate a barnyard eccne, and then the picture itself comes Into view. It is A wlstria-covered house, with dog kennel, farming Implements, baskets and general farmyard parapher nalia, all hugely exaggerated against a background . of country landscape. All kinds of barnyard fowl appear, busy with the usual traffic of the domestic menagerie, except that they exprexa their sentiments in the language of humans. A cat dozes laxlly on the wall, and within his kennel the voice of Patou, the watch dog, la soon heard. Presently the call of Chantecler resounds, chanting his "Ode to the Hun," which is one of the poetic glories of the play. He then emerges and the drama la actually under way. Chantecler Is the egoist, the IdeallBt. the enthusiast, Imbued with a great mis sion and filled with unbounded faith in the supreme importance of his work. Fired with the Illusions of youth, he be lieves It is his vocation to dispel dark ness by making the aun to rise each day In obedience to his song. Most of the feathered world bow In admiration of his greatness, but there are a few, the Blackbird and Turkey among them, who are sceptical of his powers and pre tensions. For a time things run smoothly. Chan tecler domineers kindly over the Inhab itants of the barnyard, sending his harem of hens and progeny of chicks about their business. But soon he Is warned by his faithful friend, Patou, the dog who stands for the plain, simple philosopher and the Blackbird, a pert. Insincere and shallow qutbblvr the traditional Parisian boule varder and cafe wit that Insidious in fluences are at work against him. Suddenly, pursued by a hunter, the Hen Pheasant takes refuge In the barnyard. Her entrance into Chantecler'a life begins the conflict which is to end with his dis illusionment and fall from self-appolntml supremacy. It la perfectly clear that Itos tand means the Hen l'hcut-ant to typify the modern woman In all her virtues and also In her defects. She is beautiful, high minded, honest, yet Jealous of man's ap pointed tasks and covetous to control his whole affection and Interest. Chantlcler Is quickly Impressed with her. yet at first he will not admit It, even to himself. Thus the Cock's day ends In safety, but the gathering night reveuls Ill-omened creat ures of darkness the Owls, the Cat, with the treacherous Uluckblrd symbolical uf hatred and all that is inimical to good who meet to plot Chantl. ler's downfall. It Is now the second act. The scene is a hillside overlooking a valley. The round, lustrous eyes of the nUht birds and the faint outlines of their bodies show In the darkness. A conspiracy against Chunticler is formed. But the Owls are not able to overcome him alone. So they decide to enlist hired assassins, the aggressive tlame Cocks, secured by the Peacock, who dis likes Chantlcler. They will humble their victim at the Gulena Hen's reception on the morrow. The disdainful Chunticler has at first declined to go to the function, but he is yielding under the persuasion of the Hen Pheasant. lawn is about to break. The Hen Pheas ant has worked upon ChantUler's egotism to persuade him to tell her the Becret of his mission and to give her a practical demonstration of his power. The self- de luded awakener of the world yields, and In a splendidly Imagined and eloquently writ ten passage he summons back the dawn with hia clarion call. Then, spent by his mllghty effort, he falls exhausted at her side. The Hen Pheasant la Impressed. Only the sceptical Blackbird looks on and doubts. The third act brings the reception given by iite vaiu, paimeu Giiuea. ilea ill a corner of the kitchen garden with gigantic vegetables and flowers Uttered about. The Guinea Hen's application to humans, too, Is easy to detect. She Is the snob and tuft hunter, the gossiping busybody of, the fowls. Her guests arrive in all the varie ties of the poultry world, and the play for the moment drifts Into caustic but un dramatlc social satire with side flings at fads and follies in literature and art. Then, announced by the solemn Magpie butler, the Game Cocks of all breeds and In their gaudy, bedizened raiment appear. At last Chantlcler la seen approaching by the watchful Patou. "Pray simply say "THE COCK," be remarks to the obsequ ious Magpie. As the function proceeds, Chantlcler can not conceal his contempt for the aggres sive game cocks, who taunt and sneer at his airs. At length one of them insults the Rose. Chantecler retorts. The White Pyle with the razor apura takea up his challenge and Instantly the battle la on. The champion is beaten back. His strength begins to fall. Defeat Is before him when suddenly an ominous shadow spreads over the throng. It Is the dreaded Hawk. In stantly all the feathered tribe of the barn yard dash to their natural protector and their faith renews his strength and courage. With the passing of the Hawk here Is an episode of true dramatic va'.ue the "battle Is renewed and Chantlcler comes off vic torious. But now he observes that, with dan ger past, all his supposed friends except Patou are false at heart. In despair he listens to the pleading of the Hen Pheasant and resolves to go with her Into the wider world whence she camei This brings the play to the forest scene of the final act and to tire disillusionment of Chantecler. He still struggles to fulfill his mission, but his pheasant spouse, Jeal ous of his love of duty, will allow him only one song each morning. The sun, though, rises as majestically and promptly as before. She taunts him that the song of the Nightingale Is more beautiful than his. He ruefully admits it. A hunter shoots the Nightingale and another rises to take its place. He even begins to doubt his own omnipotence, and then the Hen Pheasant takes his head under head wing and with her blandishments keeps it there until the sun appears. And this time he hae not crowed even once! Disillusioned now, he faces the tragedy of his life, but his will Is still strong. Ha resolves to rise superior to his disillusionment. His recompense will He In performing a humbler mission well. His call will henceforth eerve to arouse the sleeping world after the day, which is not of his making, shall have dawned. He will be steadfast to his lesser task, even though it cost him the Pheasant's love. Thus the moral of the play: Find through trial and disappointment your rightful place In the economy of life. Be faithful to your duty even though It be less Important than. In the Illusion of your Inexperience, you had first supposed. PRIDE GOETH BEFORE FA Li What Happened to the Superintendent Who Helped the Teacher. ' Do not sneer at the Juvenile Intellect," said John J. Chlckerlng, district superln ; ndent of schools of Cincinnati. "Some times a boy can a.Kk questions that a man can't answer." And he went on to tell of an experience he had when he was prin cipal of uno of the New York schools. He was called on by a teacher to come to her aid. " 'It's all right,' taid she, 'until natural history hour comes. Sammy Jones lived on a farm, and he thinks he knows more about natuial history than the man that invented It. He keeps asking me questions and It I answer them Sammy laughs, and If I don't the children d . Discipline Is simply gone to pot. The children would give up their teceas If I would lengthen the natural history hour by five minutes.' "So," said Mr. t'hickering, "In the pride of my manhood I told her I would come to her rescue. 'One short, sharp answer will denote to Sammy that the matinee is over.' The teacher welcomed my aid. That afternoon I dropped in and took charge of the exercises. 1 told the children I would allow Just one question each. And Sammy stumped me. I had hardly made the an nouncement before his hand was up. "'What is it, Biiramyr I asked. " 'Has a duck eyebrows?' asked Sammy." Cincinnati Times-Star. ftcalded by Mean or scorched by a fire, apply Bucklen'a Arnica Salve. Cures plies, too, and the worst aores. Guaranteed, &c for aale by iieaiou vius Cw Mansfield , , w 7 uio j. uuuui vj hj jh llll t 3 II I James O'Donnell Bennett writes thus of Oeorge Olbbs Mansfield, the son of the late Richard Mansfield: When a -boy of, 12 years, who has never Appeared before the public, Is given half a dozen pages In an Influential and Judici ously edited magazine his destiny mani festly is the stage. ' Such command at ao tender An age of the sources of publicity settles his fate. No manager will over look so precocious a practitioner in the dif ficult art of getting known. They used to say that Richard Mansfield had a genius for publicity. In the later years of his life he used to resent the Im putation. But, granting that he had a very keen appreciation of the value of headlines and half-tones and used them valiantly as a convenient means to his large ends, his most florid conception of publicity pales be fore the achievement that crowns the twelfth year of his son, George Olbbs Mans field. This youth, not long since a school boy at Vevcy.'the town In the canton of Vaud where Rousseau laid thV scene of 'La Nou velle Helolse,' is not in the least preoccu pied about what the world is thinking of him, though by all accounts he thinks a great deal about the world. He Is an ex ceptionally alert child, imaginative, highly gifted, quick to learn, willful, proud, tender, Impulsive and intensely temperamental. If he were the heir apparent to a throne the American Magazine could not present him more intimately or with more distin guished consideration than it does In the six pages Including a full-page portrait that it glvea him In lte number for Feb ruary. Glbbs' volunteer press agent Is Miss Anna H. Branch, an Intimate of the Mansfield family, who plainly loves the boy and has upon occasion been ruled and hectored and entranced by him Juat as his father ruled and hectored and entranced people he loved. Miss Branch has known Olbbs Mansfield since he waa a baby. When he was I years old this happened: "Must you go?" he said to her, when she, a guest at the Mansflelds', was about to leave what she calls "that enchanted threshold." "Then dear Anna, if you must go, I will throw this rug before you that your going may be easy." "This the 5-year-old Raleigh proceed to do, while 1 progressed In glory. Truly, this Child has the bearing of a Beau Brummel." And again: "Olbbs, what time doee the party begin?" "When you come, Anna, the party will begin," he replied, in his deep and Ineffably courteous voice. "That grave and gracious bass! Did ever any child possess so marvelous an organ?" For seven years he has been cumKslng little dramas and acting In them. He can sketch well enough to make graceful illus trations for his letters, plays the violin and reads everything he can lay his hands on. Delicate as a little boy. he has grown tall and rugged. His countenance has the delicacy of his mother's, otherwise he Is all his father's boy. Detail after detail that Miss Branch glvea reads almost un cannily to those who knew that puissant and original genius. At the school in Vevey they called Glbbs Don Quixote be cause of his ardor in convincing himself that wholly fanciful adventures were ter ribly or beautifully real, a the case might be. Spies lurked In the shadows of the pastry shop and beneath the stones In the passageway beyond secret treasures was buried. He could not pass the place with out a shudder. He would sing the Jungle Book songs In "a deep, unchildlike voice," soiiks that he had set to "an eerie muslo of his own." In the evening he would dramatize the events of the d ly or aga.n would enact bits out of Shakespeare. "I remember," saya Miss Branch, "one strange drama composed and acted by him self when he was 5, in which he was a pil grim struggling to the promised land. I remember his lamentation and unchildlike cries to heaven. The room was dark with winter twiiight and it was really thrilling when, as he flung himself in prayer before La iate e till closed, ti cleverly turned en ' i !X . '1 CmH JACOBS-BOOT) .Atuthe -YW.C.A. the electric light and bathed himself In what he meant to be a redeeming splendor. He had never seen a play acted In his life, had been carefully guarded from all talk of the theater, and was still under the im pression that atage meant stage coach, and that dada drove it. I waa enormously Im pressed at the mental coolness indicated by his actions, when at the same moment he was displaying so much emptlon." Once he made a play about a witch, who, for her evil deeds, the gods punished by depriving her of her power to work spells. "Imagine her anguish," commented the author, then 6 years old, "when her mutter ing, that once had raised cities, called up only smoke!" Again, when the talk was running on every-day matters, he suddenly sank to his knees, raised his arms and with the wide gaze of one who saw unearthly splendors cried, "Beauty betides me." Miss Branch's article is a very curious document In child-psychology. It would be Interesting about any child, and, being about Richard Mansfield's child, it is trebly Interesting. In the passionate resentments of this Infant, the mingled grief and exas peration at being misunderstood, the yearn ing to be loved, and in the zest with which the incidents of every day are retouched j Into drama, the father seems to live again. Mr. Mansfield used to say that his son was one of three persons In the world who were not afraid of him. He did not want him to be an actor. Once he said to the writer that he would like to retire from the stage before "the boy" was old enough to see him with a painted face. Oibhs was so carefully kept out of the atmosphere of the theater that for a long time he had not the faintest idea of what his father's calling was. To Mr. Wllstach, writer of an excellent biography of the actor, Mr. Mansfield once -aid: "My boy will go fur. he grasps what many of his elders do not." It will be Interesting to sec In what dlree tlon the boy will go. Kdwln Booth was a greater actor than his father was, and, without being a greater actor, H. B. Irving Is a better actor than Henry Irving was. Taken at Ilia Word. Creditor Suppose I'll have to wait till the day of Judgment for what you owe? Debtor Yes, call late in the day, though. Fllegende Blatter. A Bachelor's itr flections. Vanity will dress up for blind people If there are no others. Self-interest will keep a man loyal where only duty will a woman. A woman wants to say her prayers when everything u all right; a man when it is all wrcng. A girl likes to have proposals so she won t have to lib so much about having them anyhow. If a man knew as much about his busi ness us his wile does about their refrlgsr alor he'd he a big success. I.i ts of men will rl.-k their lives w hen they won't ric.i their dollars. A woman sneers at big shoes, no matter w hat the sh'.e of the f t t in them. What a girl likes about a man sending her flowers la Unit some other girl dldn t get them If a woman couldn't match ribbon to her hair she d Just as lit f match her hair to riljiHins. For a dUi'iue to get red hot It's only necessary tlul neither side should know what ll is talking about New fork Press. Tts Key to the bltuatlon Bee Want Ads! LOTTIE TIAYER At the AtrciucLvM ; About Shakespeare and Dramatic Music Felix BorowBkl takes a toplo that Is of passing Interest at present and treats of it' in this fashion: A reader interested In the subjects of art' discussed In these columns has written to this department to state that his attention was aroused by some assertions concerning the association of the plays of William Shakespeare with operatic compositions which were contained In a review of Verdi's "Othello," as performed by the Chicago opera company last Wednesday week. "I am," he says, "a lover of the works of Shakespeare and a lover of opera as well. In reading, your remarks about the fatality which has overtaken the operaa founded on dramas by the Immortal Eng lish writer it occurred to me that not only I, but a host of musical readers would be Interested to know why Shakespeare and music should have been so unsuccessful a combination, and also to what extent the plays have been used for operatic treat ment." While It would be a pleasure and to composers It would certainly be a boon to be able to point out precisely why so large a majority of all the operas founded upon Shakespearean dramas have failed to survive, or, in most cases, to obtain even a fair measure of success, an investigation would, we believe, leave the investigator at the end not much nearer a solution of the problem than he had been at the be ginning. Operas have often come to a disastrous end because their stories and their texts have been . childish. Schubert's "Itosa munde" and Weber's "Euryanthe" arc ex amples of these; but no such reason can be given for the failure of Shakespearean operas. There have been many operas which have left their hearers cold by rea son of a lack of dramatic vigor In their action; none will attribute such a thing to the action of Shakespeare's plays. Operas which have put forward characters thai are characterless have often Invited the oblivion which has been their eventual lot; but is Othello colorless, flaccid, per sonage? Or la I.ady 'Macbeth, or Fnlstaff. or Henry VIII, or Hamlet, or Cleopatra, or Corlolanus? Far easier is it to set forth tho associa tion between composers and the works of the great master of the stage than to ac count for the failure of their operas. Thcrj Is not, we believe, any production of the operatic stage with the exception of Nlco lal'B "The Merry Wives of Windsor" which, foundid on the adventures of Fal staff, la given practical proofs of enthu siasm by the public In general. We men tion this particular subject beoause Verdi's contribution to the FalstHffian literature Is, in the estimation of those who know, one of the most beautiful and one of the most masterly operas thut has been set down In the course of the lust 1"U years, yet It has been systematically rejected by tho opera going public, and when "Fal staff" was given by the Metropolitan Opera company at the Auditorium In I! with Toscanlnl as director, only a handfui of listeners were present to receive the woik. put Verdi's opera, despised as it would seem to be, has not yet marched as far down the road to oblivion as have tome other works concerned with the hero of "The Merry Wives of Windsor." Long buried has been the "Falsiaff" of Antonio Salierl he who was believed to have pois oned Mozart who brought out his opera at Vienna in 17. There were evea earlier contrlbu'iona than this. Peter Rltter produced his "Merry Wives of Windsor" at Mannheim in 1794 and Von Dlttorsdorf his 'at Vienna two years later. Both have been long forgotten, as also has been Papavoino's "Le Vleux Coquet," produced in Paris in 1770. Nor have the more modern Fal staffa clutched more successfully at life. Bnlfe put his "Fnh'taff ' on tho boards of Hor Majesty's Theater, London, In 1838, and fute soon took it off. Adolphe Adam also tempted tho gods with A "Falstaff," brcught out at Paris In 1860, but the death of the production was not even lingering. Under the namo of "La Oloventu dl Enrico V.," or of "La Jounese de Henri Quint" operas concerned, of course, with the youth of the monarch who sat for Shakespeare's picture of Falstaff there have boen written operaa by Mo sea. Ilerold, Carllnl, Pacini, Morlacchl, Del i Popolo, Garcia, Meroadante. All have descended into the tomb In which are laid at rest the works that have been for gotten and despised. It would seem that an opera on the Ad ventures of Macbeth should provide much that would be of power and Intensity. Tet although operas have been written on this eubject none have survived. The great Verdi, whose luck with "Othello," end "Falstaff was, ao far as popular ap proval Is concerned, not of obvious mag nitude, waa not more fortunato with his "Macbeth," brought out at Florence In 1847. The three-act opera "Macbeth" by Chelard, produced at the Grand Opera, Paris, In 1827 Its text by Rouget da l'lsle met as disastrous a fate, as also did the "Macbeth" of Taubert. There wag a "Macbeth" by the English writer of a former generutlon, W. 11. Ware, but tho opera Is as dead as Its creator. In reviewing the preformance of "Otello," previously referred to, we took occasion to say that Gounod's "Romeo et Julllette" was at least one Shakoe pearean opera that holds the stage. Hut where are the works on the same sub jects by Marcsiiialchl, Mercadel y Pons, Zlngarelll, VaccaJ, Stelhelt, Crescentlnl, Schwanborg, Von Rumllng, Garcia, Bellini, Uugllelml, Marchettl and not A few other writers? What has become of the "Otello" of Rossini, produced at the Fondo, Naples, In 1816? What will become of the "Otello" of Giuseppe VerdlT The lay public will perhaps be surprised that a drama so notable as "Hamlet" should not exist in operatlo form today. It has existed, for there waa a "Hamlet" composed as early as I7Xi by Gasparlnl, who Set It before the ears of all people at Home, and there have ben since then "Hamlets" bv Hcarlattl, Carcano, Caruso a distinguished name! Andreozzl, Mer cadante, Iluzzola, Moroni and Facclo. The text of the "Hamlet" by the last named writer was the work of Arrlgl Itolto, the author of the texts of Verdi's "Otello" and "Falstaff " These Italian "Hamlets" are dead and lonn foi;ottin: dead, too, are ?he "Hamlets" of HlKiiard, Mareczek, Stadtfeld. and almost lifeless Is the "Ham let" created by Ambrose. Thomas to A text foundi d on Shakespeare's play by Carre anil Parblcr. It would be Interesting to point out the efforts that have been made to wring suc cess out of the composition of operaa to other works by ShakoHpeare. Many have been the operas written to "Corlolanus," which even In the seventeenth century was popular with composers for the stage. Not even the names of their writers Are remem bered by people living now. Not a single setting of "Tho Tempest" has come down to modern days, nor are there any existing successful setlliif-'s of "King Lear," al though thut drama was treated operatlcally by Kreutzer, Cugnoul, Ueynaud, Semeladls, Solowli w and others. "A Winter's Tule," under this title or under the title of "Her mlone." ItaB Inspired even composer.'! of modern renown Flulow, the compoaur of "Mint ha," for exuinpl, and Max Kruch, who brought out his "llei tnlono" In Berlin In 1S72. Carl Ooldmark has also given to the world an oiiera. "A Winter's Tale," but neither In the case of his woik nor In that of his colleagues Just mentioned has tri umph waited upon their efforts. Not having hoped to ur. Ivc at the reason for all thcxe abortive attempts to make op eratic masterpieces out of Shakespeare's wonderful creations, we are not disappointed In discovering that this article has, after all, merely resolved Itself Into a summary of Interesting failures. Perhaps an opei a text may become bad by being over good. Last Words f I'aiuuua Men. "Well, ao long!" Metliutelah. "I have saved rny face, anyhow." with iliu Iron Mu-k. -Man "Here Is when- I yield up my last spH rk' Ken Jam I ii Franklin. "Ye, these am my last words." Noah. Webster. ii., swell, you can tell 'em." Dr. Samuel Johnson. -Chicago Tribune. The Key to the Situation Bee Want Ada, 1 1 J i to