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to-morrow before eleven o'clock," I tells
him. He hung on my neck for joy when I ut tered them words. "What's your dope?" he asks me. "Are you willin' to stop a runaway don key if it'll save the life of your future mother in law?" I asks him. "Not on your life!" says he. "But if savin' the life of my future mother in law by stopping a runaway donkey will give me Aileen," says he, "I'm your man!" says he. "All right," I says. "You be walkin' along Main-st. about five minutes after eight to-morrow mornin' an' stop the first run away donkey you see. I'll do the rest." You see, Mumsy and Aileen were booked for a donkey ride at eight o'clock, an' Mumsy was stuck on a donkey called Dick Croker an' didn't ride any other at Assuan. I handed the donkey boy who took care of Dick a ten-spot to let me give the brute a dmg that would make him wild. I fixed it to give him the dope just before he left the stable. VTT'ELL. Son. it all worked to the tick of the clock. The next momin', when Mumsy mounted Dick, he leaped for joy an' set off at a flying pace from the Cataract vard. sendin' his boy spinnin' and frighten in' six years' growth out of all concerned. He was good an' gay, an' down the hill he galloped, making the trees look like the teeth in a comb. I hurried across lots over the hill down into the main street of Assuan just in time to see Dick go tearin' down the street. Mumsy was hangin' on for dear life. She'd lost her hat. Her hair was streamin', her skirts was blowin', an' Dick Croker was goin' for all he was worth, when suddenly a little sawed-off runt of a man saw what was up an' as quick as chain lightnin' he runs towards the boltin' donkey, grabs the reins, and ties his feet in a knot around Dick's neck. Deck stopped in his own length, he was so surprised. Poor Mumsy was very near all in an' scared almost to death. An' when she saw that the man who had saved her was Bunny, she grabbed him round the neck an' kissed him like a long lost son. "There!" says she. "I'll not object to you and Aileen any more. Now I'm satis fied, and if Aileen is willing you may get married right away." So she an' Bunny starts back to the Cat aract an' meets me?an' I sees by Bunny's smile that my ruse has worked as sure as a Black Hand bomb. Bunny invites me to witness the splicin' up at the Cataract, an' they were made one forever an' ever. Mumsy came over to them kids hand somely. She gave 'em five thousand dol lars for honeymoon expenses, an' ordered an automobile for them, an' besides gave Aileen the dough for a mansion in Cairo. When all this was over they started on their honeymoon. "Where are you goin'?" says I. "Back to the moonbeams of Karnak," savs thev. Antonio Parisi, Extemporaneous Dramatist By George Jean Nathan COME years ago Oscar Hammsrstein ^ gained ? columns of notoriety through having written a musical comedy in twenty four hours. The feat was accomplished as the result of a wager, the product having been given the title of "The Koh-i-Noor." Within the last year Paul Armstrong in similar fashion gained considerable press chronicle by completing the dramatization of a short detective story in four days. Both of these playwriting records have been re garded as unique and unassailable?until now. For. in New York city, there has come to light a dramatist who makes up his plays while his audiences wait; who, moreover, extemporaneously presents a different play every week night in the year, and finally in vests those plays with a certain element of historical accuracy that forbids their being dismissed with doubting sneer. This extemporaneous dramatist is An tonio Parisi, owner, operator, and dramatist in chief of the Sicilian Marionette Theater, a little playhouse on East llth-st.. New York, which boasts a clientele of more regular at tendants than probably any other theater in the United States. This clientele is com posed nine-tenths of Sicilians, who visit the theater almost every night to watch the completion of a cycle of drama that takes exactly a year to run its course. Under the manipulations of Parisi and an assistant, and to the words of the dramas from Parisi's mind and mouth, the marion ettes night in and night out for a year enact the story of "The Paladins of France." The cycle starts anew on the first of January of each year with the death of Charlemagne, and one dramatic chapter is presented each night. Parisi has made a deep and careful study of the Carolingian legend and has read widely in literature of the period in which his dramas ar * laid. Just previous to the beginning of a per formance by his puppet actors, the drama tist reads that part of the long story that is due for presentation the evening in question. When the curtain rises, he begins his play extemporaneously, and thus, with an inborn knowledge of climax building, he drives his drama in a telling manner to its conclusion. He never hesitates. He never mumbles his words or seeks a phrase vainly. Under his improvising hand, his puppets work their way to the denouement and thence to the curtain which carries a sequel with it. Although the theater has been in existence for several years, and although the Paladin cycle has been presented twice, it is a matter for record that in each presentation the im provised dramas differed radically in ex ploitation; although, to be sure, the final evolution was the same. The best judgment of the comparative merit of Parisi's extemporaneous plays may be had from the way in which the Sicilian audiences greet them. These people cheer and laugh and cry during the dramas just as if they were being affected, like their Ameri can brothers and sisters, by living actors and finished plays on Broadway. It is no un common sight to see women break down and weep during one of Parisi's improvised pres entations, and nightly laughter may be heard mingling with loud Silician bravos. Parisi is a great believer in red and ram pant melodrama. "Melodrama," he says, "is the playwright's surest key to an audi ence's heart." Accordingly, he makes up his dramas as he goes along in a high pitch of dramatic tension. In other words, Parisi is a "blood and thunder" dramatist. To this, as well as to the fact that an audience appreciates dramatic situations a hundred per cent, more than it does mere talk, does he attribute his success. "I work up my play for the evening from a quiet note to one that strikes loud and long, and I carry my hearers with me," he explains. Although Antonio Parisi knows little about dramatic construction, i. e., dramatic construction as it is viewed by his English speaking contemporaries, he seems to have a knack of infusing into his improvised plays a quality that wins his auditors. Perhaps this quality is crescendo treatment, perhaps it consists of dramatic rapidity that flirts with constructive logic. At any rate, it gains its point and thus accomplishes what it sets out to accomplish. Parisi uses about five hundred marion ettes to enact his cycle of plays, although obviously, only a small proportion of them occupy the stage at one time. He usually begins his drama for the evening by a mono logue delivered through one of the puppets representing a historical character in the particular part of the tale to be unfolded. The cast of characters for the evening, inci dentally, is selected half an hour before the time scheduled for the curtain to rise and, in lieu of a printed program, Parisi announces the dramatis personae subsequently from the stage. Following the monologue, in which a suggestion of the plot is revealed, Parisi brings forth a second puppet character, and the drama quickly gets under way. Duels follow love scenes and battle scenes follow plotting in rapid order. In these battle scenes Parisi reveals himself at his best. He succeeds in investing them with sufficient realism, from the marionette viewpoint, to bring his audiences to their feet in excite ment. Possessing a voice of much variety, Parisi is, moreover, able to improvise his love scenes as tenderly as, in an opposite way, he improvises his battle scenes. In each of Parisi's historical dramas, he relies chiefly on five characters to further his action. These, however, are supple mented by at least thirty of lesser signifi cance. Roughly speaking, the five may be graded as follows: Hero, heroine, friend of hero, villain, and assistant villain. These characterizations are the writer's. Parisi would frown at such an unhistorical cate goric treatment of his dramatis personae. Nevertheless, flippant or skeptic though those who have not visited his playhouse may be, the fact remains that Parisi is prob ably the only dramatist in America who im provises a different drama every night in the year and by his extemporaneous plays makes large audiences weep and laugh in a manner that might make Broadway's plodding dramatists jealous. HERE'S the place where H O AAA two egg-raisers make ^ WV CI J CClI ? A glimpse of the three great laying houses, with 4.500 pullets always at work. 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