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' 3 THE a UN,
SUNDAY, NOVEMBER 15, 1U14. 15 nini r i "i -i & A BUSY WEEK IN THE I ' HT .V sr- 1 ..1 lir MHHHB : ill. p- iMjwf ' 4i y iih -h "-t i. miri !v ik-the big idea:. S-B. 11 IBBV ? ' t'l M NEW PLAYS OF THE WEEK l! " fll s3SS VJ . ' f SS Novelties of Many Kinds to Bo Seen Here This Week. MONDAY Hudson Theatre "The Big Idea." farce by A. E. Thomas and Clayton Hamil ton. Century Lyceum Opening of the season of French drama with Romain Coolus's "Une Femme Passa." Madison Square Garden Theatre "Pilate's Daughter," a Bibli cal play with only women char acters by F. L. Kenzel. Thirty-ninth Street Theatre "The High Cost of Loving." Lyric Theatre "The Only Girl." Republic Theatre "Kick In." THURSDAY Longacre Theatre "What It Means to a Woman," a comedy in four acts by E. H. Gould and Francis Whitehouse. FRIDAY Paries Theatre "The Garden of Paradise," dramatic spectacle made by Edward Sheldon from Hans Christian Andersen's story "The Little Mermaid." SATURDAY The Princess The atre Three short plays. n- i.awiikxci: iti:..Mi:ii. IT is tho painful lack of logic In the work of tho younger writers for the stage thnt explains tho ephemeral .lopularliy of so many plays that omo from this source. How could Mr. HastlngH when he not to work on "That Sort" believe that bin audience would ake the least Interest In a woman wht -eventeen years a tier she had been sep irated trom her daughter suddenly le . idea that sho must seo her again nnd hat no law could separate her any onger from the child for whom In a lor.lon hotel, suddenly rescued from ho effects of a debauch, she conceives he most uncontrollable longing, It U altogether conceivable that under more normal circumstanced thorn might lave been in her breast no such niater iil panes. The audience which made he aciiuamtaoce of tho lady when she aad rolled out of bed In a lit of remorse r some other emotion superinduced by irr nxoes&es of one kind or another was .ot Just In tho mood to listen to tho T irotestatlona or llie fauy h griei over ma iong too long lost daughter, um Mr. HastlnBH bellevo that tho audience would tako the least interest In this woman'a protestations)? After seven een eara or keeping up tho houp-la It s not miriirUIng that sho should have ielt the need of a certain change In the nature of her diversion!). Sho needed It mor that inornInK on tho floor of tho London hotei than uno did ufter a ho lourn in tho countrj'. That was clearly proved by the willingness, with which she lit out once sho had paved her laughter from tho hateful murrlago pro oosed for her. It ia easy to see, however, the means y which the amateur playwright may onvlnco himself of the value of his work, Jt seemed to him perfectly eom ureljenRlblo that a woman need only say she must have her daughter, beat her ungotn and talk about tho nJentlessnesM if maternal lovo and then In some suit -f gray or brown, or both combined, enter tho hc'tisn nnd keep closo to tho Tin sho wanted to see. Thin may de elvo tho author who does not know. IJut It cannot or ut least It should not derelvo tho manager who has een .liamas enough to know that one of tho faults in a play which nn uudlenco will lot forgive Is a departure from what It knows to bo the rule and conduct of or 'iinary human lll'o-tho only life that nost men actl women have n.v oppor- iniiy to obsetve. Yet playwrights UHua'.ly ynung ones go on year after year, jnaWnii Junt the lulsiukuH iii the motives of their characters fts are shown In tho play f tho brilliant Mr. Hastings. And no amount of brilliancy is going to com pensate for the lack of logic which the dramatist cheerfully overlooks in order that he may carry out his play ns ho i planned It. There are, of course, means by which an apparent lack of proba bility in the motives of men nnd women may be overcome, but that Is tho power of only the skilful playwright. Kvon ho Is bold to depart altogether from the motives which are usually sup posed from experience to govern human conduct, ltut there aro cases In which the skill of tho playwright may bo made, or ut all events may mem, to over come such departures from reasonable human experience. There Is flmllar defiance from the i rules of life in "Tho Marriage of Colum bine." the little play which Harold Chupln wrote nnd Mr. Hopkins has mi artistically produced nt tho little ininch and Judy Theatre. When the Puritani cal sneak tells the heroine that she 1 living In fln because she Is not right Marie Tempest Tells About Comedy To the younger generation of theatre. I goers who from their orchestra chairs at the Comedy Theatre follow delight edly the cheerfully corrupt career of the heroine of "Mary Goes First" and Joy ously "egg" her on to tho very last ditch of moral turpitude, to theso beardless youths and giggling debu tantes Mario Tempest is merely the finished and delicious comedlenno that uhn Is. Most of them would bo sur prised, some of them perhaps indignant, If you told them that yeais auo, when they worn babies, this dear, funny Miss Tempest In the chic Ilond street frocks n wearlne "tlchts" and adding to the Joy of nations by singing and dancing In comic opera. Nor Is Miss Tempest, distinguished Kngllsh comedienne, the leas, bit ashiimed of Mniie Tempesl, comb- opera eiieen. On the contrary, as slK cs- i.'nlned to a reporter for Tun Sr.v, "h Is deeply grateful for every day of thow. yearn of tho '80s, and would recommend other aspiring actresses to take f. courun hi niitblc.il comedy as a preparation for the legitimate stage, "There Is no trnlnlng In the world like thnt which ono gets by having to nut on n Pair of tlglltf, uancitig uowii to the foottlnhlK and singing, Kinging, singing, Whether n girl nsplres to play ,nrj .1nrliefi or Ingenue rolei I would presciilM! the same training, "indeed, o i,'reat an ndvoc.itr am of the musical einiedy school that I will tro so far ns to say that It Is an excel- i..nt Hiibstltutn for the now moribund stock company system, tho passing of which Is being lamented rpd'o 08 much In England as It Is here In certain respects musical comedy offers greater and better opportunities In a season or n to master a technique, or rather I uliould say tho big essentials of a tech nlque, which might require years of stock company apprenucesnip. "While 1 hvo msnUoned MthU' and " -I2v-. wire . H fully married to her clown sho does not ;.ppeal as any wife would to her hus band nor even mention the niattet to hhn. She uusht nt least haw given her husband a chance before she, lov ing us faithfully as she Is mado to In the play, committed an act contrary to her own wishes, to her character and to all common sense us to marry a stranger merely because ho asked her. It may not be right to have more com mon sense in a fairy story. It must be an udvniitUKC to any play, however, to be founded on common sense, however It may stray In the way of extravagance afterward. .NEW PLAYS OF MANY KINDS. To He Seen nt the Mel repot I Inn TUr- nlrei TIiIn Week. ,, ,i, ii.. i .. ti , ,, , At Hie Hudson Theatre on Monday m....i.. r-n ii . --i .ii ' la.... ,i..o,...ti,..a u M... i ..i - from the pens of A II Thomas and Clayton I Hamilton. It will lie produced und-r the' "Pilatn's Daughter," a modern iiiiraclo direcilon ot Coliuii ,V Harris Tho cast I play by Francis L. Kenzel, will be pro Inchides Mrnest filendinning, lllchard j duced at tho Madison Snuare (iardeii Sterling, William Courtleigh, Forest Hob- I on Monday, Tho drama Is In five acts dancing tlrat and singing last, I did i To hear inc. I auppoco, to hear me pant so becnuso tho latter Is the big factor. I Ing, was enough. Anyway, what did ho The great lack of our Kngllsh speaking stage, anil this applies to America as well nB England, la women who havo good voices and know how to use them speaking voices, I mean. It Is Im possible to make young women under stand tho necessity for volco culture and that they have in business apply ing at any stage door unless they have hud the bcncllt of a thorough coirsa In singing ujider the tuition of a first rlusH singing teacher. as lor iiiyHcii. i spem years wun Manuel Ouiclu. He was the greatest singing teacher of his generation, and when I first canio under his Instruction It Wits to prepare for concert work. Little did I dream when I went to him that I should never seo the concert stage but would mako my debut hi the comparatively humble rolo of Fiametta In a revival of 'Hoccacclo.' " Hero .Miss Tempest turned a grease daubed fuce hi tho process of "mak ing up" and smiled the mocking Temp er! smile, n living mask of the Comic Spirit. "Imaglno me," she said, bringing into service that sly Inimitable little gut tural which In .Marie Tempest's throat Is half laugh, half tear, and altogether infectious, "Iinnglno me a tightly lucid Kill of sixteen, fresh from school In Purls. Onod lord, how we did Uice In those days! I was frightened to death, of course, because an English girl Is verv shy at sixteen, nnd 1 more than most of them. 1 was dreadfully out or breath, due partly to my tight corsets and partly to having climbed a long fllcht of stairs to reach the (iiuela quarters, and of course to pernicious breathing, about which I knew no more than any other well brought up Ml.;. Hah girl. j t . "Well, when at lst I stood before tho great Oarciu he nover looked at fne, iiisoii, Hairold ItusAell, (ieorgo Wright, Jr., Uarrold Grau, Desmond hclley, Isabel (larrfson, Hazel Lowr' and Frances Wright. .. . . . . . ..... v.u.,.pa..j- '" e -rv... under tho auspices of tho French Drama Society hero during tho next ten weeks at Mm Century Lyceum Theatro Includes some comietent artists who have played at tho Fnincais, the Odoon, tho (lyinnaso and other Paris theatres. The first play of tho season which will bo given every I evening next week li "Uno Kemmo Passa," ,y Homain Coollls, There will also 1)0 i matineen of this play on Thursday nnd Saturday, Tho pocloty wl l also glvo a . , , , . 7 , special niatineo on lr i ay of Rostand s HomiinesqueH," which will I" ppvodod a short lecture. do (but tell mo In tho most brutal fashion to go down stulrs nnd tuko off thoso corsets, and that when I had done so and recovered my breath to roturii and ho would hear me sing. 1 mado tho most of my opportuni ties, with tho great Jiustcr, and us I look back now I renllzo moro and more how valu.ablo his trnlnlng has been and Is to me up to this very minute. 1 learned from Oarciu what every stu dent of singing learns or ought to learn and what every stage artist must pos sess as tho very keystone of his art, the mastery and control of the human voice, not as an aesthetic accomplish ment, though tho whol'! included the part, but as a physical, bodily func tion, To succeed on Mid dramatic stage or In the pulpit or on the platform It Is essential that one be able to project one's personality Into tho auditorium, nnd there In only one way of doing that, through tho human voice, No amount of genius, of charm or of physical beauty will uvull In tho nbsenco of a fiexlblo speaking volcn under perfect control. "Taught to sing properly ono learns how to speak properly; for to speak properly from behind tho footlights Into the auditorium Implies four great es sentials, breadth of voice, poise, pres ence, ease. One season In musical comedy will do wonders for any ordi narily conscientious young actor or actress In tho way of developing these necessary points, but throe or four sea sons Is still bettor. Indeed, I would advlso the cleverest of them to try a courso In this drastic school even If they can land no better Job than carry Irnr n Ki.e.ir nnd o nlnir n tne ononis, A mighty lot of tho essentials of acting can b'e learned by n girl In a pair of tights with a spear In her hand. For on thins ehe'll itarre to forget herself, and contains seven sivnes. Tlio pioco ie to bo richly mounted and tho sconory depleting Jerusalem and Home at the timo of Cluist is ssid lo li historically cor- I root. "Pilate's Daughter" is the near- (,s, Imr0.iell ,0 t10 p,,SHion Play lh.it has over been produced in this or any other country outside ol Olioramuicig.iii All the l.V) kioiis that aprar on the stage are women Another feature wil, li the U'lllet led by Douiina Minim, late of the li Scalii 0H-r.i Hoiiso, Milan The story of tho play lelates ioC'lnmliu, tie1 little daughlerof I'anliui I'ilatf l lie lii-sl scene shows a room in 'id' 's home As Clajilia goes lo the window she sees tho mob leading the Christiis through tho streets on the way to her lather's court As He (wsses she throws Illni a rose, which strikes Hi eminent and then falls to the ground to be trodden upon by hundreds of feet. Ailtr Iho crowd has passed she sees the rose lying in tho dust Picking it up, she Units With Music a lesson some actresses seem never to l beauty spot of black courtplustor south- ever has, Mr. Jolson is much younger learn, nnd Indeed frequently never do ' by-west of Mary Whlehello's rlquunl, j than the athletic comedian ut the Globe learn. While legs do not. I suppose, I tlp-tllted noso (Mary Whlchello Is tho i Theatre, but he Is not too young to real play tho Important rolo they use'', to I role sho pluys in the Henry Arthur Jonos ize the value of Increasing one's urtlstlo nlay In comic oneru. nevertheless wo still havo them, and a green actress 1 ing us tlio most lmpoi tant factor In the may be Just us conscious of them un-! art of acting. While specifically danc der a perfectly proper skirt ns though ng, u- sinning, has nothing necessarily sho were stalking across tho stage In n ,i v. 1th noting, tin- principle upon u pair of fleshings with u whole hippo- , wi,C, (,0 an of dancing Is based Is drome full of people watching lur. Inalienably allied to the histrionic nrt. "Unfortunately wo do not, either In j Indeed you cannot tell where one he England or America, regard this do- , utns and the other leaven off. partment of thu stngo with tho same! Juat as ,ll0 B,.mlt desideratum au respect. either moral or artistic, as do ,., tll . m,tm. flom his knowledge the French. For Instanco we speak i ,,,,.,,- nd mRic is nronortlon (by here of one "graduating' from the mu sical comedy stage and going Into tho "legitimate,' tho Inference being that tho urtlst bus thereby risen In artistic and social status, and thai there is something meretricious about comedy sung which ruined v sunken does not possess. In Franco all this Is dllf.-rent, and therein lies the secret of the gt out ness of tho French stage. The French valuo this school of entertainment ut its full worth, not only as nn Institu tion of tho supremest art but as u train ing school for French uctnsses und one from which thoso actresses never . "graduate" but to which they return . agnln and ngaln, The r.sult Is that the greatest living lM-ench uctresfes may be, S!en to-day creating distinguished , dramatic roles specially written for t"?..."rn,w! "v,nB 1 r'T'" will be pcrformm?, singing una ilunclm; perhaps, for all they ar worth ,V,, the Fame, gusto In some comparatively Uiconsoqiientlal musical farce. VU- la i,i.n la u unv imn.ini. w .1 - , leads tho world? Why. no French us- iress ever geis u ciiauce 10 grow inn (is her Joints creaky." On tho subject of dancing Mil's Tem- pest spoko with equal conviction. "Next to singing," tho said, un she applied u PLAYHOUSES xtzy-rs to that It has not boon destroyed, noithur has It lout itH fragrance Slio never loses thi sacred flower and in nflor years sho accomplishes many miracles with Its nlil in U'linlf of Christianity. I hose in tlic cam an) Marion llariioy. Constance Molincnux, Surn lllala. Agnes Mapos, Maigurot Vryllng, Klounor Itus K'l. Violet ile Diocari anil others "What it Means to a Woman" is the title or a new modern play in four nets which II II Fraee will incootit for the llrst tiiiK) in Now York in his Loiii'iicioTheutii) liiursday evening It was written by E, II Gould and 1". Wliitehouso. Tho iiinciul rolo will Ix) InterniV-teil by llita Jolivet. wlio IiivkIh (he kini of unis-iially notal)lo playetw inelndlng Kmnk Mills. Jceph Kilgoiir, l.'itim Xelson Hall. Alice John, Catharine Calhoun, .loan New- coinbe, Jtiilet .Shelby. Marion l.onl, Klorenee HI Lennaiil, Hoyden Keith, Arthur tlytuan and caher. The play Ii.-ih been ulaneil under the direction tif lli;ar MatCJregor. lMr Uibaii, who-e hcenie acliii'e inentM lit the Ifo-lon ()k'Iti Ho'rw have nindehini fntnoim in that city, wl.', prepaie the hpeetaeular hreneiy fur " The (laiden of I'.u-.idi-e," which the l.leVler coni).iny will pnxluce next l'riday at the Palk Theatre ThU Is a spectacle founded by Edward Sheldon on Ilium Christian Ander hch'm htory "The I.itllo Meimaid." 'I'lio plot of the fairy tale Ih iisel. but the lanntiagii ik that of Mr. Sheldon Ales sandro Saelli of Milan has supplied the " wen more Interesting if he sang with costumes, while O P. Hegmo will Iran-ler ' Ki'e.it. r nu.uice. he has a really scmvi tho drama to the stage. I., the coi,w,v , "'"' "Ifor. The comedy of the new p.ii.. .. f ...,. . ii. i. a ii , "i I operrl a has been much enlivened since an, hmily Stevens, (.eorge Italph . Lionel performance. The Imitation of 1 n.liam .ind a largo company of players, j , whcl m)W fomvi, tho doB I he Uehlor company promises that this lttrrXt ,.xmielatlnKly funny. Mme. will l it most linporlaiit sjuclacle MiiiiiM.urg and Miss Ktllng, seated on Hav Comstock's Princess Theatre. under the dliection of Hoibiook Hllnn. wll reopen on Saturday evcung An entirely new pi ograinino of one act plays will Is.1 pieoented. Although these will maUo a full evening's eiitertaiiimeiit there will bo but three plays. Tho most Impor tant of llie-e plays is in four scene, the changes ol widch will Ini made without lowering the curtain This play will occupy about mm hour. Theio will lie a new comedy by a world famous author and a tense drama To represent the four scene play a much larger number of playerswill lie reunited than hasappen red so fur at the Princess Theatre Most of tho Princess players us known to New York audiences will icmaln. THE MANAGER AS ACTOR. Wlllllilil llllliitl Tells el lis llltlleill lles NMl.illl s. William Elliott has returned lo the footlights alter four seasons away Irom tho htuge. lie is playing tho loading rule, Youth. In his own production, "Ex - peiimice," at. the lloolh Iheatrc Mr. F.lliott'H sensations on again iistuming grease paint he desoril.es as varied "Chiefly." h" snyx. "1 discover that 1 bnve trained a sixth sense, responsi bility lor etery one else on the stage 'stage to-day are ..t.U. to. Hut magnet I am not only playing mv own put but ; imii wUI not avail always. Mr. JoUon (i veiy one else i I am continually trv lug to 'Ktlance tho scene Where there and Without , drama), "nest to singing I place dano- of ringing and music is proportion (by tho way, I forgot to say that), and pro portion, or a sense of proportion. Is the very backbone of all art, so will ho de rive from his knowledge of and hMH in dancing the second gr-at Imperative of art, any art, grace. And with grace, "f ''"'"'S( It Is a toicgone couciusiou that he has easo of carriage und flexi bility of movement. "You will notice I say 'be, but I lite the masculine pronoun only out of re spect for the rultii of English grammar," lniiirhcd Miss i'eiiini'st. rising Iii nn- mVtr to a tap on the door warning her ,,,, htip cllH wi,H Rawing near. "For h(, r , (Jn!;.r Hngllsli 1 hive ,)0l,n HiylnK .,,. )ml , mea ilhc: rurtolIWy enough we neeik talented llnB ctn.w a grc.t deal more than young actors. I don't know how It Is .over lion-, but In KnuWiv.i l!:?re Is posiuve oeariu oi an .um. o .esi.aine : 'J1"" Wl"p ''"nilts for he stage vVb.' reus It in-cd to be a tradition that ' English actresses spoke better und were better prepared for their duties than ."' ' uno-. ...i.e lug gem ration, They need most or an to g't Into lights, grab u spear, dance .down to the footlights and -lug nnd I sing sing." in u vt'cuk rpot 1 cndcfivor to trong1hii It 1 hold my own chamulor dooondwry to the. Hcuno oh u whiilo. l'luylng VoulAi I havo never let o,' to Umt a colloquial ism, uh 1 oukl linvi) doliu tt few ne ootiM uno When I wiim un uctor who had not been u niunngur or u produert' I had a duliglitful nmmo of lrrcinonl billty uverywlieto wivo wlioro I nnd my own dnttuutlu InlerostH woto oononniod. I played my eciiea for Wllllutn Klllotl, nclor Now I play thorn with the In tcict of William Ulllott, maimgur, uppoi moat in my mind I nm Kind to bo acting agalu, every thing I'onildoi cd It le the profowilon I i'hoe It In wluit called forth my first eiithUHiawmt; It Is my beat moans of (er- oiiaI expremion Many u man finds It with .1 typewriter, borne find it In mu- Hie, home tind it in butldhiK brldgeM.sotnu in driving a tunnel through mountains; other men llnd It in directing tho uuiubb- inetit-t of u nation from behind their de'kn I enjoyed management, I en joyed linding playM and chnping pro ductions with mv own liandx; but ufter all aeiiiiKWas my origlu.il, Simon puic. nlhiisiasiii 'What I found mo-t objiH-tioimble upon my return lo a play In which I had to uppear every ulglil and at two iimtlncca each week'wus the m'Umj of coutliuiiielit. I may be dining with an author who Ih bringing the imi't wonderful play to my attention, yet at i.loo'clock, in the tnldxl of the third act, I miint bu up and awny! Inthevarloufsea'-oUHof production which have pacd over my head my timo lia been at my own dUpoNil. I havo workeil harder but I have hud none of this clock punching Tins featute, it seems to mo. miikeM tho task ot an aetor-manager more difficult than any other theatrical task which might be nsxigned. "My role, i'uuth, callH for u great diver sity ol enterprise, if not of talent. I've got to do ii lot or things, and the thin s that I've done bet ore help me to do tho collec tive thing that I'm doing now. Ibeganllfe as a ministn l in a singing company sent out by my uncle, ono Alexander WeemyH. I have played in stock. I liavo played character rls, juvenile character parts, with David Win field 1 havo played in u Klaw A- Krlanger musical comedy. In 'Experience' I liavcto sing a song, do u bit ot a society dance in the Primrose I'atfi' scene, bu a very real character in 'The House of List ltesort' and 'The House of Li-t SouN,' and convey a considerable bit of drama in other places. 'Kxporiencti' I n compendium of everything that I've done." NOTES OFTHEMUSIC PLAYS. Wluit I fJeeil III Thrill null Wlinl Well, V hut's I In- t'nef AmlruH Ulppel certainty knows how to silict artists. In the newcomers who are appearing in "The l.ilao Domino" lie has two young singers who have mad'- an Immediate success ' here. Kleanor Painter has a delightful voice of unusually appealing timbre, while In the voiinir Wilfred Douthltl, who would " "l" T. V, ' . H,sV.s and llnd it us im X l.t(tl f lm a,ullcIH. to pmUru, tncll. j ailglUcP jonn Hazz-ud's personal huiuor Is now best In tho Inst act. So much o? It seems the spontaneous. His desciiptlon of llv virtues of tho hot dog queen of Frankfort Is ns amusing bit of broad comedy as the local stage can supply. "The Lilac Domino" Is row full of fun and musically fur liner than any other musical pluy to be seen here. Al .lolson has censed to do the bur lesntio on "My Lady's Dress." which showed him for tho llrst time ns a white faced actor, to use the slang of tho profession. It was not by any means his most amusing effort, but it had merit. Hecause he did not happen to hit the mark nt the first effort the young cuniedi.in need not have been discouraged. It would have been much belter for him to have persevered and tried to do something with Ills material i ven If It was not possible for him to make an Impression In it at once. Ynung .Mr. Jolson needs vari' ty. Just at pres- , ent he Is doing exactly the same things he did fear years ago. He does them possibly with more nuthaut, nnd with no loss of his enthusiasm and with the strongly magnetic charm which he rx- erodes as few oilier comedians on the iambi to study the example of the won derful 1'rtderlck Ptone. Mr. Stone I funnier In '('bin Chin" than ho ever hiiH been. Hut It seemed before ho be gan to act in his present play ns If ho wore at last to find It Impossible to dls .over something new for his admirers. Hut he did .mil proved funnier than he possessions. In the meantime Mr. Jolson Is now singing the song which is published here. It is perhaps more dltllcult to sing than any of those trick songs. He inan.igiH it wonderfully, however, and the words arc put 011,11, printed screen leforo tho audience. They aro as fol lows; Sister Susie'? sewing In the kitchen on "Slnpir," Theru's inlks and miles of flannel on th' tlonr and up the stairs, And father says It's rotten getting mixed up with the cotton Ami nttlintr on tlio needles that sho leavts upon the chairs. Arid fcliuulil yon knock tit our str-t door ma whispers, "Come Inside," Then when you ask whern Huslo Is, fihj says with losing pride, Hlster Susie's sewing shirts for soldiers Such skill nt sowing shirts our shy youns Klslur Suite shows ! Some soldiers send rplstlcs, say they'd sooner .ii in thistles Than the s.iuey, ,iaft, short shirts for sol diers sister Susie se.ua. Plies and pllia anil piles of shirts she sends out to the soldiers, And sailors won't be Jealous when they h,.! tin in, not at till. Ann when we say her stlttlilne will set all tho soldiers ttcnl'iff. She is our soldiers light best wnea tin Ir back's against the wall. And little brother Ciussle, bo who llspl when he says "yts." Says wheivV the cotton gnrin from oft my l.ilr Cih, I can giltth ' ' II. F li.irewskl wrote the (ext nnd ' it 1 Wi stun the mu: i' of this sans. which has proved th mit successful of any of tho English war ronr An-I A1 Jolaon allies It luuniuuiy.