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value. Qlothes must convey or tend
to convey the character one is playing. Imagine the absurd result if a woman who is portraying a dainty, fluffy, little ingenue should appear in an exaggerated, lowcut; -.clinging gown of black velvet, with ropes of jet weighing down her slim, young shoulders. Vampire garments have long been of a stereotyped cut. Dress a wom an in a long-trained gown that sug gests every line of her figure and un covers more of her back than con vention allows and she is immediately stamped as a person to be shunned. Tradition is a powerful ally. There fore that type of gown must be in every stage vampire's wardrobe. If I should tell you how many I have, I think you might doubt the number principally because you .could not imagine where I keep them all. There is one room in my home, a large room, too, that has a series of slender poles extending from wall to wall. On these poles are hangers, so closely packed, that in many cases, they overlap. Each one of these hangers contain a gown. It would be a tragedy to me if fire should destroy them. I have lived a character in every one of them. When my eye falls on a certain dress, hang ing irom its hanger, my mind travels back to the role I played in it. My dresses are like the shades of well loved friends. I have tried to depart, radically, from the tradition that the favorite breakfast costume, for a vampire, is the decollete chiffon, rosebudden tea gown. Vampires couldn't exist in that sort of garment Only the florid, rather mature blonde, whose dimples have begun to lengthen into suggest ed wrinkles, can munch toast and sip tea in a costume like that. I have made a specialty of the gown that covers the neck. Ultra high collars that approach the lobes of the ears. Collars of that sort sug gest the calyx, with the face and head 1 as the blossom. I have also used the very long sleeve that trails over my hand. I will tell you why. For years the high-necked gown has been banished by fashion. There fore the high collar will command at tention. Getting attention is score one. I learned the great value of sleeves in suggesting character, from Sarah Bernhardt, when I played in Paris. Berhardt has always clung to the long, tight-fitting sleeve that extends over her hand more than halfway. She gives this reason: A woman's hands can be expressive only when they are extremely beautiful. Truly beautiful hands are one of the rarest gifts in Nature's giving. Rather than attract attention to possible ugly points, Bernhardt says: "Cover them." I could find no doctrine that would lead more surely to artistic success. So, although I don't think my hands particularly unattractive, the long sleeve is an important factor in many of my gowns. The psychology of the long, cling ing, revealing robe, is to suggest the sinuosity of the serpent, the patron reptile of the human vampire! Most people loathe snakes. Anything that suggests the repels the average audience. So that, alas, is one more point that I Have to employ to make my people hate me! Oh, that they did not! And that brings me to this: What I -wish for above all else. But of that I will speak in this pa per tomorrow. o o THE RETORT MATRIMONIAL Notice From this date forth I will not be responsible for any debts con tracted by my wife W. C. Burgham. Notice I can prove that I have contracted any bills in the name of W. 0. Burgham and also that he bought me only one dress in 1"4 years. Mrs. N. J. Burgham. Adver tisements in E. Palestine. 0.. Leader.