{"numero_id": "bm-bmtnaaq-1916-12-02-01", "volume": "bmtnaaq_1916-12-02_01", "ocr_sha256": "b25d9a4bb766ebe9902afe85f35c4fbd883623fdb1f212a2f566db61e9738072", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaaq/issues/1916/12/02_01/bmtnaaq_1916-12-02_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaaq/issues/1916/12/02_01/bmtnaaq_1916-12-02_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01", "articles": [{"article_id": "bm-bmtnaaq-1916-12-02-01-c001", "article_bluemountain": "bmtnaaq_1916-12-02_01#c001", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.1", "titre_corps": "THE POSEUR by Dav Josephson", "titre_sommaire": "THE POSEUR by Dav Josephson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.1", "debut_caractere": 127, "fin_caractere_exclue": 154, "texte": "THE POSEUR by Dav Josephson"}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c002", "article_bluemountain": "bmtnaaq_1916-12-02_01#c002", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.2", "titre_corps": "The contents include:", "titre_sommaire": "The contents include:", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.1", "debut_caractere": 156, "fin_caractere_exclue": 264, "texte": "The contents include:\nA Musical Comedy by O. Henry.\nOn Book Stall Row.\nAustrian Culture and Austrian Poetry."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c003", "article_bluemountain": "bmtnaaq_1916-12-02_01#c003", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[1212]", "page_fin": "[1212]", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.3", "titre_corps": "Thanksgiving", "titre_sommaire": "Thanksgiving", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "[1212]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.2", "debut_caractere": 105, "fin_caractere_exclue": 1639, "texte": "Thanksgiving\nI Give Thanks:\nBecause I am strong and healthy enough to eat dry bread\nwhile others are so weak that they must become the victims of\ngreedy cold storage people and of pork packer barons.\nBecause I have so much physical strength that I can prevent my\ncreditors from tearing the clothes from my back, because my\nmuscular power is in such good shape that certain editorial\nwriters and other mud-throwers dare to write lies about me\nanonymously only.\nBecause I have eyes to see and ears to hear, a mouth to keep\nsilent and a pen to write with.\nAnd then I feel grateful because the sun is shinning for me,\nbecause the stars are twinkling and glimmering right into my\nroom, and the moon throws occasionally big chunks of her silver\nat my feet; the children that play in the yard which I pass\nevery morning, hail me with a sincere welcome and walk with\nme playfully down to the next corner to the car station;\nThe old conductor with gray mustache and kind blue eyes in his\nwrinkled face smiles at me when I enter his car and does not\nobject to my cigarette, even waits for me a half-minute or so if\nhe sees me coming down the street.\nBecause the newspaper boy hands me my paper with a broad\nfriendly grin . . .\nI give thanks because everybody seems kind and full of compas-\nsion, everyone of the fellow sufferers.\nI give thanks because I have been able to dry tears here and\nthere, to evoke a smile on faces that seemed to have forgotten\nhow to smile....\nAnd then . . .\nher blue eyes . . .\nI am glad there is a Thanksgiving Day."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c004", "article_bluemountain": "bmtnaaq_1916-12-02_01#c004", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[1212]", "page_fin": "1213", "image_debut": 2, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.4", "titre_corps": "On Book Stall Row", "titre_sommaire": "On Book Stall Row", "signature_source": "Guido Bruno", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "[1212]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.2", "debut_caractere": 1641, "fin_caractere_exclue": 7232, "texte": "On Book Stall Row\n\nA ND so this, the first number after my removal to Fourth Ave-\nnue, is the fitting occasion, dear reader, to invite you to\ntake a walk through that part of the city which starts on the\nextremest boundaries of our village and whose important\navenue leads to the Public Library—that supreme mausoleum\nof the citizens of the republic of letters; where are laid away,\nside by side, the remains of those who were worshipped during\nlife and forgotten after their death and of those whom no one\nknew while they were among us and whose real life began\nafter they had written the last page of their message to the\nworld, a world which has ears now for the dead man's words.\nWill you come with me and walk for half an hour on that\nVia Appia of New York where great men's work is put on\nshelves and can be viewed by those who feel like worshipping;\nwhere artists and writers found a friend who would plead\ntheir cause better than the newspaper critic, literary writer and\nthe art editor. Let us go where the old worshipful building\nof the Astor Library still stands and whose closed shutters,\ndeserted door-ways and stair-cases remind one of that eternal\ntruth—sic transit gloria mundi! And not long ago—scarcely\neight years—all intellect of New York assembled here on old\nAstor Place, in the midst of the old landmarks of a New York\nof by-gone days. There they worked diligently, and like in a\nbee-hive, gathered the honey to give it to the world. And the\nworld came to take the honey and carried it to newspaper\noffices and to magazine editors and used it for nourishing and\nfor luxurious, dandy dishes and served it to millions as bread\nand as dessert.\nAnd then the palace was built on Fifth Avenue, right in the\nheart of the city, to receive the remains of the august man of\nthe world. The literary free-market, whose centre for barter\nand exchange had been on Astor Place, moved up to the new\ncomfortable quarters. Marble and big spaces, lackies in livery\nand modern commercial office devices took the places of the\ngood old home-like library rooms. Railings did not separate\nthere the reader from the book-shelves and the tables were\nworn and ink-spotted; and where the authors of the books, in\ntheir old-fashioned attire, with their grandfather's manners,\nwith their elegance and their \"I don't care what you think of\nme, world!\" seemed so near to us who leaned over their books.\nBut those booksellers—no less lovers of books because they\nsold them—remained in their shops on Fourth Avenue, in their\nbasements and their little shacks with queer displays of book\nstalls and advertisements in old hand-writing tacked to their\ndoors which seem to belong to another age, which seem to be\nthe remnants of another school of men. A good many of those\nold friends of the frequenters of the library are gone. High\nbuildings are erected where they used to read books and sell\nthem to you—if you managed to get into their good graces.\nDon't shake your head incredibly! Yes, such were those old\nbooksellers, who treated their books as you would treat your\nfriends, and who would introduce you to their friends only if\nyou were one with their spirit—if they found in you ''that cer-\ntain something\" which invites lovers of books into a society of\nlovers of men.\nTempora mutantur et nos mutamur in illis! Mr. Edison put\nthe candle out of use. His electric rails brought space and\ntime into relations which enable the individual to live a life of\nmany interests.\nGreek and Latin, the old essayists of yore, and the art of\nwriting letters are foreign to most of us. To have read your\nCaesar and scanned your Homer makes you a scholar for life-\ntime to-day. And to have really read Horace and to have\ndived into Plato and Aeschylus entitles you to the highest hon-\nors newspapers, magazines and the country-at-large have to\naward. If you know how to write about these things and how\nto apply your knowledge so that the magazine editor can have\nit illustrated by some imitators of Bruneleschie or Bakst that\nyour work can appear serially in an unobjectionable family\npaper which is sold in two million copies by boys and girls\nwho earn in such a way a \"liberal education in business col-\nleges;\"—that it can be printed in book form to be bought by\nall public libraries and Carnegie and college and university\nlibraries, and if it has such merits that the music of a Viennese\noperetta composer can be harmoniously combined with the\nwords, making for a season's Broadway success.\nOtherwise you have the best chance to starve and to be looked\nupon as a queer sort of a chap.\nA few are left of those old book-dealers who used to dwell\non Fourth Avenue and whom book-worms used to persuade to\npart with this or that precious tome. How those book-sellers\ndiffered from those of our own times; they knew their Latin\nand their Greek, they knew not only first editions and standard\neditions from the catalogs of auction sales and \"Book Prices\nCurrent\" but they knew the contents of the books; they would\ngive an equal chance to the well-known author whom they liked\nand to the unknown man whose pamphlet they discovered;\nreading and \"discovering\" was their chief occupation, selling\nbooks a mere incident—a very necessary orl?, of course, but\nstill an incident only. They all had their hobbies. One would\nbe interested in Mark Twain and would have stored away in\nsome obscure corner of his book-shelves, as the kohinoor of his\npossessions, a rare pamphlet unknown to the world, and per-\nhaps autographed by the author himself. Another one would\nbe an enthusist of Poe and would carefully gather precious"}, {"page_pdf": 3, "page_imprimee": "1213", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.3", "debut_caractere": 16, "fin_caractere_exclue": 5533, "texte": "items and show them to those he really liked—like a king who\nbestows upon the subject he wishes to honor a high order.\nAuthors and would-be authors found in these dingy shops\nlit by a flickering gas jet, in the atmosphere of dust and of old\npaper, congenial gathering-places. O. Henry was a well-known\nhabitue of the book-shops on Fourth Avenue, and especially\none situated in a basement to which led rickety wooden stairs\nwas his favorite one. He used to rummage around the French\nbooks its proprietor kept and ask for translations and explana-\ntions, but he rarely bought.\nDid I say a few of those shops are still preserved?—and did\nI invite you to come along and take a walk on Book Stall\nRow? They are, but don't be disappointed. They all have\nelectric lights and cash registers and only far back behind the\ndust-covered desk of the proprietor—if you succeed in lifting\nthe business mask from his face—will you find the book-dealer\nafter your heart, whose face beams because he has succeeded\nin getting this or that rare item. And if you have that \"certain\nsomething\" of the book-worm which finds a response in his\nheart, he will forget his \"Book Prices Current\" and he will talk\nto you just to your heart's delight. And his hands and your\nhands will rest on the mutual friend—the book.\nHere, I said, in these shops, which, if the proprietor has busi-\nness genius and progresses with the spirit of the time, will be-\ncome types of the ready-to-order, department-store-like-con-\nducted book-stores, are the temporary interment places of lit-\ner ateurs who are either dead and not yet discovered or who\nare alive and therefore not apt to be discovered, or who are\nboth dead and discovered. But their works have not yet suc-\nceeded in bringing high auction prices and therefore are not\npjrchased by tne libraries in their palacial mausoleums where\nthey will find their final resting-place some day. To these\nshops the literateur pilgrimages if he wishes to dispose of his\nbooks—not because his shelves or his library are too crowded\nbut because he has decided that a meal once in a while will\nbe highly appreciated by his physical body. Down here to\nthese basements or to these shacks crowded in by big business\nbuildings he creeps stealthily and sells the books of his friends,\ngiven him in his better days with their inscriptions of friend-\nship. He is ashamed of his act, but landladies have to get\nrent and Child's has a cash register which'must record every\nsale of the day, even the most insignificant cup of coffee and\nthe thinnest cheese sandwich.\nHere to these shops the literateur, who ventured into the\nfield of being his own publisher and editor of a short-lived\nmagazine brings bundles of unsold numbers of his publication\nwhich were returned to him with many regrets and the bill for\n\"return charges by the pound\" from news-dealers and from\nnews companies. The book-store buys them, and a dollar is a\ndollar—even if you have to procure it with five hundred or a\nthousand copies of something you put your greatest hopes upon.\nNo reflection is made upon the bookseller! He gives you\nmore than you could get anywhere else. What other book-\ndealer in this city would buy old paper—and it is nothing but\nold paper so long as \"Book Prices Current\" doesn't mention\nthe magazine's name and its rarity, and therefore, the goodness\nof its contents.\nHere, to these shops, landladies bring the trunks which they\ndid not permit to leave their premises because the unfortunate\nowner failed to pay his three dollars per week, and his literary\nfuture was too ample a security for her to continue to trust.\nAnd how many rejected manuscripts—often rejected because\nof their merit—will be found in that baggage hastily thrown\ntogether by her after she has locked the door upon him! How\nmany letters will they contain showing the man in the light\nothers saw him and wrote to him what to do and what not\nto do!\nHere, to these shops, the unfortunate woman travels if her\nhusband—the writer or the artist—is sick and doctor bills have\nto be paid, and again, that curse of everybody's life—rent bills\nand board bills.\nAnd here finally are sold the wordly possessions of him who\nhas laid away his pen forever, whom the rent collector for the\ntypewriter will not bother again. His most-cherished books\nand letters from fellow-sufferers on the hard road to literary\nsuccess and those benevolent lines of those who \"got there,\" his\nscrap book and perhaps his diary, to contribute to the receipts\nof undertaker and cemetery company.\nREADER, we live in an age where figures are staring\nin your face wherever you turn. Churches pass the bas-\nkets ! Charity is standardized after the most efficient business\nmethods of the country.\n\"Money, I want money!\" is written in big, black broad letters\nover men and things. Therefore, it is up to you to eliminate\nmoney wherever you feel it a disturbing element. It is up\nto you to be the magician who charms away the things that\ncan never \"disappear\" as everybody knows. Don't think of the\nrent and of the bills and of the pay rolls to clerks that these\nbooksellers have to pay, but see them as I do back there in the\ndark corner of their shops—unlighted by electricity, back of a\npaper-and-dust-covered desk, reading on quiet afternoons and\nevenings when business is at a standstill and book-buyers do\nnot require their services—reading their favorites, those books\nthey will not sell if you are not lucky and strike them at a\ntime when bills are due, when rent has to be paid.\n\nGuido Bruno."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c005", "article_bluemountain": "bmtnaaq_1916-12-02_01#c005", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1213", "page_fin": "1213", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.5", "titre_corps": "Love in Magazine Stories", "titre_sommaire": "Love in Magazine Stories", "signature_source": "Alexander Harvey in his \"Bang", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "1213", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.3", "debut_caractere": 5535, "fin_caractere_exclue": 8962, "texte": "Love in Magazine Stories\n(Alexander Harvey in his \"Bang\")\nthe melancholy consequences of the commercializa-\ntion of the short story must be included the degradation\nof love. Love in its fine and fervent fury is alien to the edi-\ntorial formulas of New York. Love in all its glory is a\nmiracle, love is fantastic. The formula of the New York\nperiodical tolerates neither the miraculous nor the fantastic.\nThis of itself betrays the imbecility of those who in editorial\nchairs now lay down law to writers of the short story. I am\nnot aware that the editor of any important periodical in this\ncountry today is himself the author of any significant short\nstory on the theme of love.\nOne may read the short stories in every New York periodical\nindefinitely without getting evidence that one editor has the\nleast idea of the nature of love.\nKnowing his own limitations, although he would not admit\nthem for the world, the editor usually turns the short stories\nover to some woman whose knowledge of love and the human\nheart is taken for granted because she does not believe in mar-\nriage or repeats the catch words of a jargon caught from some\nman who in her eyes is a great genius. This woman is almost\nalways the slave of the British literary superstition and has\nnever the least doubt of the \"greatness\" of the \"great\" Wells\nor the \"great\" Shaw or the great, great Kipling. She thinks\nshe is \"in literature\" because she \"makes up\" pages, telephones\nthe printer and, when there is nothing else to do, looks over\nthe manuscripts that are accumulating about the place.\nEven when all the short stories are not read by someone of\nthis type, they come into the ken of a member of the staff who\nmust apply the editorial formula supplied by another. It oc-\ncasionally happens that a member of the staff will have to\napply the formula with a disregard of literary standards. The\nexcuse for this is that the people do not care for literature.\nMany a swaggering editor here in New York draws a fat\nsalary on the strength of the fact that he despises literature!\nWhile the lady I have mentioned in muddling over the\nmanuscripts of the common herd, the editor himself is in com-\nmunication with the \"great\" short story writers of America.\nThere are ever so many of these, and identity of the greatest\namong them depending upon the application of a formula by\na man who can't write a short story. The professional short\nstory writers know well that the editors they deal with are\nincompetent to pronounce judgment on the merits of any lit-\nerary performance. Writers also know what formulas are.\nFormulas exclude all that is characteristic of love in its\nsupreme manifestations.\nI do not refer at all to an appeal to sex in the physical\nsense. I have in mind the element of the fantastic and super-\nnatural in the ecstasy of love itself, the thing the poet means\nwhen he talks of passion's essence. A tale of love deals with\nwhat is so remote from the experience of the editor! Love is\nthe supreme adventure of which no detail can be too extrava-\ngant, no hero too intoxicated and no heroine too dramatic. The\nbeauty of love's adventure resides often in its tragedy yet no\nNew York editor can see that a tale in which hero and heroine\ndie in each other's arms can have a happy ending. It is not\nnecessarily a happy ending, but is such an ending necessarily\nunhappy?\nShort stories of love are not published, then, because no\nformula allows love."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c006", "article_bluemountain": "bmtnaaq_1916-12-02_01#c006", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1214", "page_fin": "1214", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.6", "titre_corps": "Caramba", "titre_sommaire": "Caramba", "signature_source": "Lyrics by O. Henry ; Franklin P. Adams ; Music by A. Baldwin Sloane", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "1214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.4", "debut_caractere": 16, "fin_caractere_exclue": 6238, "texte": "Caramba\nLyrics by O. Henry and Franklin P. Adams\nMusic by A. Baldwin Sloane\n\n£ HAVE not yet read Professor Smith's recently published bio-\ngraphy of O. Henry and therefore I cannot know if he had\nknowledge of the existence of a musical comedy libretto by O.\nHenry, or better with O. Henry as collaborator. Many friends\nof the dead author whom I have asked about his musical comedy\nseemed surprised and even the best informed collectors of O.\nHenry material had heard nothing of his theatrical venture.\nSome days ago I strolled into Harry Stone's bookshop on\nFourth Avenue and he showed me several musical parts, evi-\ndently orchestra voices, all of which bore O. Henry's name in\nbig red letters, featuring it as composer of the lyrics. Stone\nalways has a surpise in store. He is not only a bookseller, but\nhe has outside of his well-developed merchant's instinct an in-\nclination for research and for discovery. Even in our times of\nstrict business he has preserved within himself a love for ad-\nventures in the life of an \"old book merchant.\"\nMany discoveries has he made in the course of his career\nthat have thrown a new light upon some authors and their\nworks.\nAmong old music sheets in a rag picker's shop he happened\nto find the parts of \"Carramba.\" He acquired them for a few\npennies and started instantly his inquiries at the music pub-\nlishers Harris, who owned the copyrights of the verses re-\nproduced below.\n\"Yes,\" they said, \"this musical comedy, was not only written\nbut really rehearsed and O. Henry himself was present at a\ngood many of the rehearsals. The backers of the show were too\nslow in securing a playhouse for the opening night. They\nhesitated to sign a contract with the playhouse in which they\nrehearsed and one day, shortly before their opening night, they\nwere notified that the house had been taken and paid for by an-\nother company for a whole season. It seems that they could not\nfind another theatre suitable for their requirements so it hap-\npened to them, what has wrecked the hopes of a good many\nother theatrical companies since: scenery and costumes went into\na storage house, actors and chorus dispersed into all directions\nof the compass, the musical parts were sold for old paper....\nthe end of a dream.\nMrs. Cesare, daughter of O. Henry, knew that her father had\nbeen engaged for a time with the lyrics of a musical comedy and\nshe also recollected that he had placed considerable hopes upon\nits success; but she had never seen the work, nor did she know\ndetails concerning it.\nI tried repeatedly to reach Franklin P. Adams, who has be-\ncome since the famous F. P. A. of the Coning Tower, who as\ncollaborator with O. Henry must know all about this venture.\nBut I was unsuccessful in my attempts. And therefore it will\nbe up to him to give to the world the real story of O. Henry's\nmusical comedy and its undoubtedly interesting origin, develop-\nment and prenatal death. He will do this in the graceful way so\ncharacteristic of his pen (if he feels inclined to do it at all.)\nEveryone acquainted with O. Henry's stories will find it an\neasy task to recognize which of the lyrics are to be attributed\nto O. Henry. I am sorry for Franklin P. Adams. There are\nfifteen songs in all and I doubt that any one of them would\nmake a hit even today. And that is a good deal of condemna-\ntion if one considers the really modest requirements of a song\nlyric.\nBut O. Henry knew what Broadway would like. LITTLE\nOLD MAIN STREET, for instance, seems to be the key to the\nheart of the average American, the key to O. Henry's success.\nThere are reminiscences of his short stories in these lyrics and his\nall-winning humor in almost every line. But poor Franklin P.\nAdams! How he must chuckle to himself when he reads his\nverses again, and when he thinks that he really hoped to \"get\naway\" with them.\n\nCaramba\nPeruna Mendoo\nBologna, Cologna, Vannillio\nNorth Western and \"C. B. and Q\"\nO, Chile con Carne and Piccolo\nMazeppa di Buffalo Bill\nSo hurry and drop your nickelo\nCaramba di Sarsaparill.\n\nLove is all that Matters\nI\nJjji audience is generally clamorous\nFor something in the nature of a waltz,\nBe it ne'er so senseless\nIVhere-fore-less and whence-less\nBe its logic ne'er so full of faults\nJust let its theme and melody be amorous,\nAnd let the honey sentiment be plain,\nIf the music's tuneful\nIf the words are spoonful,\nLove is all you need in a refrain.\nII\nNow I might sing a song of high society\nOr I might sing about a lot of things,\nI might spend the time\nOn warbling you a rhyme\nOn any old thing from Cabbages to Kings.\nBut through an infinite variety\nOf themes that I might sing about to you\nThere is only one thing\nThough an overdone thing\nLove, the olden theme, that's always new.\n\nChorus\nA lilt that softly patters like a summer rain,\nFor love is all that matters in a waltz refrain,\nA theme that is worn to tatters and an ancient refrain\nYet love is all that matters in a Waltz refrain.\n\nLittle Old Main Street\nI\nCJINGERS may boast about Broadway\nAnd they most generally do\nSpring all that flowery stuff on the Bowery\nTake it, I'll stake it to you.\nCall me a yap if you care to\nSay I'm a rube or a shine,\nBut give me the street\nThat has got them all beat\nLittle Old Main Street for mine.\nII\nSing if you must of your State Street,\nSing of the Bois and the Strand,\nIf you have a new song of The Avenue,\nSing it to beat the old band.\nSing of the street of the old City.\nNot for yours truly, Uh, uh!\nBut give me the street\nOf the village elite,\nLittle Old Main Street for muh!\nIII\nLittle Old Main Street for mine\nTake a look at the lovers in line,\nThree village charmers\nAnd twenty-eight farmers\nAll meeting the six-twenty-nine.\nLittle Old Main Street, for mine\nWhen you are back with the pigs and the kine,\nBroadway and such\nFor your uncle—not much:\nFor its Little Old Main Street for mine.\n\nChorus\nLittle Old Main Street for mine\nRight down by the Post Office sign\nHear 'em say, \"Well,\nWhat a long rainy spell,\nBut it looks like tomorrow'd be fine.\"\nLittle Old Main Street for mine\nWhere its dead at quarter past nine,\nSee the folks flock\nPast the Opera House Block\nOh, its Little Old Main Street for mine!\n\nThe servants of God give away Heaven and Hell\nand keep for themselves the Earth."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c007", "article_bluemountain": "bmtnaaq_1916-12-02_01#c007", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1214", "page_fin": "1214", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.6.1", "titre_corps": "£ HAVE not yet read Professor Smith's recently published", "titre_sommaire": "£ HAVE not yet read Professor Smith's recently published", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "1214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.4", "debut_caractere": 93, "fin_caractere_exclue": 3838, "texte": "£ HAVE not yet read Professor Smith's recently published bio-\ngraphy of O. Henry and therefore I cannot know if he had\nknowledge of the existence of a musical comedy libretto by O.\nHenry, or better with O. Henry as collaborator. Many friends\nof the dead author whom I have asked about his musical comedy\nseemed surprised and even the best informed collectors of O.\nHenry material had heard nothing of his theatrical venture.\nSome days ago I strolled into Harry Stone's bookshop on\nFourth Avenue and he showed me several musical parts, evi-\ndently orchestra voices, all of which bore O. Henry's name in\nbig red letters, featuring it as composer of the lyrics. Stone\nalways has a surpise in store. He is not only a bookseller, but\nhe has outside of his well-developed merchant's instinct an in-\nclination for research and for discovery. Even in our times of\nstrict business he has preserved within himself a love for ad-\nventures in the life of an \"old book merchant.\"\nMany discoveries has he made in the course of his career\nthat have thrown a new light upon some authors and their\nworks.\nAmong old music sheets in a rag picker's shop he happened\nto find the parts of \"Carramba.\" He acquired them for a few\npennies and started instantly his inquiries at the music pub-\nlishers Harris, who owned the copyrights of the verses re-\nproduced below.\n\"Yes,\" they said, \"this musical comedy, was not only written\nbut really rehearsed and O. Henry himself was present at a\ngood many of the rehearsals. The backers of the show were too\nslow in securing a playhouse for the opening night. They\nhesitated to sign a contract with the playhouse in which they\nrehearsed and one day, shortly before their opening night, they\nwere notified that the house had been taken and paid for by an-\nother company for a whole season. It seems that they could not\nfind another theatre suitable for their requirements so it hap-\npened to them, what has wrecked the hopes of a good many\nother theatrical companies since: scenery and costumes went into\na storage house, actors and chorus dispersed into all directions\nof the compass, the musical parts were sold for old paper....\nthe end of a dream.\nMrs. Cesare, daughter of O. Henry, knew that her father had\nbeen engaged for a time with the lyrics of a musical comedy and\nshe also recollected that he had placed considerable hopes upon\nits success; but she had never seen the work, nor did she know\ndetails concerning it.\nI tried repeatedly to reach Franklin P. Adams, who has be-\ncome since the famous F. P. A. of the Coning Tower, who as\ncollaborator with O. Henry must know all about this venture.\nBut I was unsuccessful in my attempts. And therefore it will\nbe up to him to give to the world the real story of O. Henry's\nmusical comedy and its undoubtedly interesting origin, develop-\nment and prenatal death. He will do this in the graceful way so\ncharacteristic of his pen (if he feels inclined to do it at all.)\nEveryone acquainted with O. Henry's stories will find it an\neasy task to recognize which of the lyrics are to be attributed\nto O. Henry. I am sorry for Franklin P. Adams. There are\nfifteen songs in all and I doubt that any one of them would\nmake a hit even today. And that is a good deal of condemna-\ntion if one considers the really modest requirements of a song\nlyric.\nBut O. Henry knew what Broadway would like. LITTLE\nOLD MAIN STREET, for instance, seems to be the key to the\nheart of the average American, the key to O. Henry's success.\nThere are reminiscences of his short stories in these lyrics and his\nall-winning humor in almost every line. But poor Franklin P.\nAdams! How he must chuckle to himself when he reads his\nverses again, and when he thinks that he really hoped to \"get\naway\" with them."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c008", "article_bluemountain": "bmtnaaq_1916-12-02_01#c008", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1214", "page_fin": "1214", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.6.2", "titre_corps": "Caramba", "titre_sommaire": "Caramba", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "1214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.4", "debut_caractere": 3840, "fin_caractere_exclue": 4031, "texte": "Caramba\nPeruna Mendoo\nBologna, Cologna, Vannillio\nNorth Western and \"C. B. and Q\"\nO, Chile con Carne and Piccolo\nMazeppa di Buffalo Bill\nSo hurry and drop your nickelo\nCaramba di Sarsaparill."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c009", "article_bluemountain": "bmtnaaq_1916-12-02_01#c009", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1214", "page_fin": "1214", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.6.3", "titre_corps": "Love is all that Matters", "titre_sommaire": "Love is all that Matters", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "1214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.4", "debut_caractere": 4033, "fin_caractere_exclue": 4730, "texte": "Love is all that Matters\nI\nJjji audience is generally clamorous\nFor something in the nature of a waltz,\nBe it ne'er so senseless\nIVhere-fore-less and whence-less\nBe its logic ne'er so full of faults\nJust let its theme and melody be amorous,\nAnd let the honey sentiment be plain,\nIf the music's tuneful\nIf the words are spoonful,\nLove is all you need in a refrain.\nII\nNow I might sing a song of high society\nOr I might sing about a lot of things,\nI might spend the time\nOn warbling you a rhyme\nOn any old thing from Cabbages to Kings.\nBut through an infinite variety\nOf themes that I might sing about to you\nThere is only one thing\nThough an overdone thing\nLove, the olden theme, that's always new."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c010", "article_bluemountain": "bmtnaaq_1916-12-02_01#c010", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1214", "page_fin": "1214", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.6.4", "titre_corps": "Chorus", "titre_sommaire": "Chorus", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "1214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.4", "debut_caractere": 4732, "fin_caractere_exclue": 4938, "texte": "Chorus\nA lilt that softly patters like a summer rain,\nFor love is all that matters in a waltz refrain,\nA theme that is worn to tatters and an ancient refrain\nYet love is all that matters in a Waltz refrain."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c011", "article_bluemountain": "bmtnaaq_1916-12-02_01#c011", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1214", "page_fin": "1214", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.6.5", "titre_corps": "Little Old Main Street", "titre_sommaire": "Little Old Main Street", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "1214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.4", "debut_caractere": 4940, "fin_caractere_exclue": 5839, "texte": "Little Old Main Street\nI\nCJINGERS may boast about Broadway\nAnd they most generally do\nSpring all that flowery stuff on the Bowery\nTake it, I'll stake it to you.\nCall me a yap if you care to\nSay I'm a rube or a shine,\nBut give me the street\nThat has got them all beat\nLittle Old Main Street for mine.\nII\nSing if you must of your State Street,\nSing of the Bois and the Strand,\nIf you have a new song of The Avenue,\nSing it to beat the old band.\nSing of the street of the old City.\nNot for yours truly, Uh, uh!\nBut give me the street\nOf the village elite,\nLittle Old Main Street for muh!\nIII\nLittle Old Main Street for mine\nTake a look at the lovers in line,\nThree village charmers\nAnd twenty-eight farmers\nAll meeting the six-twenty-nine.\nLittle Old Main Street, for mine\nWhen you are back with the pigs and the kine,\nBroadway and such\nFor your uncle—not much:\nFor its Little Old Main Street for mine."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c012", "article_bluemountain": "bmtnaaq_1916-12-02_01#c012", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1214", "page_fin": "1214", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.6.6", "titre_corps": "Chorus", "titre_sommaire": "Chorus", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "1214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.4", "debut_caractere": 5841, "fin_caractere_exclue": 6156, "texte": "Chorus\nLittle Old Main Street for mine\nRight down by the Post Office sign\nHear 'em say, \"Well,\nWhat a long rainy spell,\nBut it looks like tomorrow'd be fine.\"\nLittle Old Main Street for mine\nWhere its dead at quarter past nine,\nSee the folks flock\nPast the Opera House Block\nOh, its Little Old Main Street for mine!"}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c013", "article_bluemountain": "bmtnaaq_1916-12-02_01#c013", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1214", "page_fin": "1214", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.6.7", "titre_corps": "The servants of God give away Heaven and Hell", "titre_sommaire": "The servants of God give away Heaven and Hell", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "1214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.4", "debut_caractere": 6158, "fin_caractere_exclue": 6238, "texte": "The servants of God give away Heaven and Hell\nand keep for themselves the Earth."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c014", "article_bluemountain": "bmtnaaq_1916-12-02_01#c014", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1215", "page_fin": "1215", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.7", "titre_corps": "The Pearl Necklace", "titre_sommaire": "The Pearl Necklace", "signature_source": "After the German, author unknown, by Guido Bruno", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.5", "debut_caractere": 16, "fin_caractere_exclue": 2992, "texte": "The Pearl Necklace\nAfter the German, author unknown, by Guido Bruno.\nLAUGHING and dancing had she hurried through life; hur-\nried out of this world—only twenty-six years old.\nAnd now everyone should choose a souvenir of the dead Irene,\nwho had died so suddenly. You should have seen the eyes of\nIrene's mother and of her sisters-in-law as Miss Smith asked\nfor the pearl necklace.\nWho was this girl? Was she a relative? How could she\ndare? Who was she anyhow? A friend. No more. Such\nan audacity, an unheard of audacity. Perhaps she didn't know\nthe value of such a necklace. Ten thousand dollars had been\npaid for it. And that was some time ago, and pearls are al-\nmost worth twice as much now.\nWhy did she want it? Maybe Irene . . . .? No, Irene\nhad never mentioned it to her.\nBut she would like so very much to have it as a souvenir.\nShe said so very hesitatingly. She flushed as she felt the eyes\nof all directed at her. Why should it be just the most precious\nthing left by the deceased, especially not very suitable for a\nsouvenir because Irene had worn it scarcely once or twice dur-\ning the past year. Wouldn't she prefer the ring which had\nbeen taken from the dead hand or the earrings. . . .?\n\"Well, Miss Smith,\" said the husband, /'could I offer you the\nring with the emerald?\" And she replied almost inaudibly,\n\"It is very nice, indeed, but please, could I have the pearl\nnecklace?\" Was she crazy? Something must be the matter\nwith her. Irene's husband slipped his arm through Miss\nSmith's and led her to the adjoining room.\n\"Please, Miss Smith, do tell me, she left it to you?\" he asked\nsadly and imploringly.\nBig tears came into her eyes. She looked like a frightened\nchild and she raised her folded hands.\n\"Please do let me have it. Please do.\"\nBefore he could prevent it she was kneeling on her knees:\n\"Please, please do give it to me.\"\n\"For mercy's sake, what are you doing? Please get up.\nQuick, Miss Smith.\"\nThere was a deep emotion in his very sad voice. They were\nso angry, they couldn't speak a word, as he reasoned with Miss\nSmith and said: \"Very well, then I shall send the pearls to\nyour home to-morrow.\"\n\"I thank you, but perhaps I could take them just as well im-\nmediately. . .\n\"No, you can't, because there are certain formalities that\nhave to be looked after.\"\n\"I thank you,\" said Miss Smith, and left.\nThe next day, at noon, the husband of dead Irene called on\nMiss Smith and delivered to her the pearl necklace.\n\"It is imitation and you know it.\"\n\"Yes, she had lost the genuine one and she never had the\ncourage \"\n\"No, my dear Miss Smith, there is no use to try any longer.\nI found this too among her papers.\" And he showed her a\nletter.\nMiss Smith knows what it contains. It is the thanks of\nIrene's friend, whom she had saved from disgrace and jail,\nthe purchase money of her necklace.\n\"Yes, thanks for that and for more. . . . Yes, ves. Miss\nSmith.\"\nThe husband of dead Irene laughed, but his laughter sounded\nsadder than his crying yesterday."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c015", "article_bluemountain": "bmtnaaq_1916-12-02_01#c015", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1215", "page_fin": "1215", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.8", "titre_corps": "Night on the Beach", "titre_sommaire": "Night on the Beach", "signature_source": "Stephen J. O'Hara", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.5", "debut_caractere": 2994, "fin_caractere_exclue": 3281, "texte": "Night on the Beach\nStephen J. O'Hara\nthrobbing on the sallow sands;\nA full moon and Love.\nRed Love,\nPassionately thrilling,\nLike wine in which a hundred summers sleep.\n* * * * *\nStars die, and dawn\nMounts from an ashen sea.\nPassion\nIs spent .... and in my arms reclining,\nIllusion wakes."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c016", "article_bluemountain": "bmtnaaq_1916-12-02_01#c016", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1215", "page_fin": "1215", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.9", "titre_corps": "To Lucasta", "titre_sommaire": "To Lucasta", "signature_source": "Richard Lovelace (1618-1658", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.5", "debut_caractere": 3283, "fin_caractere_exclue": 4141, "texte": "To Lucasta\nBy Richard Lovelace (1618-1658)\n\nGoing to the Warres\nI\n'P'ELL me not, (Sweet,) that I am unkinde,\nThat from the Nunnerie\nOf thy chaste breast and quite minde\nTo Warre and Armes I flie.\nII\nTrue: a new Mistresse now I chase,\nThe first Foe in the Field ;\nAnd with a stronger Faith embrace\nA Sword, a Horse, a Shield.\nIII\nYet this Inconstancy is such\nAs you too shall adore;\nI could not love thee (Dear) so much,\nLov'd I not Honour more.\n\nSonnet\nI\nyour finger of that Ring,\nAnd Crowne mine with' awhile;\nNow I restore't—Pray, do's it bring\nBack with it more of soile?\nOr shines it not as innocent,\nAs honest, as before 'twas lent?\nII\nSo then inrich me with that Treasure,\n'Twill but increase your store,\nAnd please me (fair one) with that pleasure\nMust please you still the more.\nNot to save others is a curse\nThe blackest, when y'are ne're the worse."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c017", "article_bluemountain": "bmtnaaq_1916-12-02_01#c017", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1215", "page_fin": "1215", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.9.1", "titre_corps": "Going to the Warres", "titre_sommaire": "Going to the Warres", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.5", "debut_caractere": 3327, "fin_caractere_exclue": 3727, "texte": "Going to the Warres\nI\n'P'ELL me not, (Sweet,) that I am unkinde,\nThat from the Nunnerie\nOf thy chaste breast and quite minde\nTo Warre and Armes I flie.\nII\nTrue: a new Mistresse now I chase,\nThe first Foe in the Field ;\nAnd with a stronger Faith embrace\nA Sword, a Horse, a Shield.\nIII\nYet this Inconstancy is such\nAs you too shall adore;\nI could not love thee (Dear) so much,\nLov'd I not Honour more."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c018", "article_bluemountain": "bmtnaaq_1916-12-02_01#c018", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1215", "page_fin": "1215", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.9.2", "titre_corps": "Sonnet", "titre_sommaire": "Sonnet", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.5", "debut_caractere": 3729, "fin_caractere_exclue": 4141, "texte": "Sonnet\nI\nyour finger of that Ring,\nAnd Crowne mine with' awhile;\nNow I restore't—Pray, do's it bring\nBack with it more of soile?\nOr shines it not as innocent,\nAs honest, as before 'twas lent?\nII\nSo then inrich me with that Treasure,\n'Twill but increase your store,\nAnd please me (fair one) with that pleasure\nMust please you still the more.\nNot to save others is a curse\nThe blackest, when y'are ne're the worse."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c019", "article_bluemountain": "bmtnaaq_1916-12-02_01#c019", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1215", "page_fin": "1216", "image_debut": 5, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.10", "titre_corps": "Austrian Culture and Austrian Poetry", "titre_sommaire": "Austrian Culture and Austrian Poetry", "signature_source": "A. W. G. Randall", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.5", "debut_caractere": 4143, "fin_caractere_exclue": 6679, "texte": "Austrian Culture and Austrian Poetry\n\npeople, I imagine, who think carefully about the mat-\nter, have a good deal of secret affection for Austria. The\nAustro-Hungarian Empire may be an intolerable hotch-potch of\nnationalities, and the Hapsburg the most oppressive of all\nrulers, but the Austrians, the gay Vienennese or the men of the\nTyrol—these are really leisurely, attractive people. There is,\nof course, an Austrian \"culture\" much more than there is a\nGerman \"culture.\" Modern Germany is an upstart nation com-\npared with Austria, and like an upstart she is excessively in-\ndustrious, anxious, feverish—and boorish. She is like a man\nwho has made a deal of money out of soap; Austria is rather\nthe finished aristocrat among nations. Let one of Arthur\nSchnitzler's little \"Anatol\" plays represent Vienna to you; you\nget the impression of a gay, unconcerned people, loose and\nwicked perhaps, but with polish and not too much feverish\nindustry or seriousness. No one outside France knows how to\nturn a compliment so neatly as the characters of these little\nplays—which, by the way, should be read, if possible, in the\noriginal and not in Granville Barker's adaptation. You will\nhave the impression that in Austria there is a sense of form and\nstyle which Germany has indeed begun to acquire, but only in\na very external and artificial fashion. Viennese pastries are a\nsymbol, perhaps, of a spiritual fact!\nBut, seriously, Austria can make a very good show in cul-\nture and the arts. Schubert and Liszt were Austrian subjects\nby birth; so were Smetana and Dvorak. Beethoven and Brahms\ndid most of their best work in Vienna. So, in literature, did\nFriedrich Hebbel. Grillparzer, Anzengruber, Henrich Laube,\nHamerling, Ferdinand von Saar, Lenau, Marie von Ebner-\nEschenbach—all these considerable poets and dramatists of the\nnineteenth century were Austrian. So, by the way, was the\nfamous novelist Peter Rosegger, who would have received the\nNobel Prize had he not been passed over in favor of Rabin-\ndranath Tagore. In recent years a great number of the most\nprominent German-writing poets and dramatists have been\nAustrian. There is the \"Prague group,\" with Rainer Maria\nRilke at its head, of whom much more must be said later. There\nis the \"Jung-Wien group\"—Schnitzler, for example, who has\nwritten such fine prose that the title bestowed on him of \"the\nGerman Maupassant\" is scarcely overpraise. He has also\nwritten one or two little dramatic masterpieces-; you may think\nof him as another Barrie, though he is much more intense and"}, {"page_pdf": 6, "page_imprimee": "1216", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.6", "debut_caractere": 16, "fin_caractere_exclue": 3096, "texte": "infinitely less sentimental than the author of \"The Twelve\nPound Look.\" There is also Hermann Bahr, who has written\nattractive comedies; his \"Concert\" was seen in London about\nfour years ago, I think. There is lastly Hugo von Hofmanns-\nthal, wnom every one knows of at least as Richard Strauss's\nlibrettist. He should be known, too, for his versions of classical\ndrama such as \"King CEdipus and the Sphinx,\" for his lyrical\ndramas such as \"The Death of Titian\" (1892), \"The White\nFan\" (1897), and\"The Fool of Death\" (1893), where the\ntradition is mostly Stefan Georg's carried over into a loose\ndramatic form, and for his poems, which are full of symbolist\ninfluence conveyed from Mallarme through Georg and the\n\"Blatter fur die Kunst\" pioneers. Except for the \"GEdipus\" and\n''Electra\" there is very little energy and vigor in Hofmannsthal.\nHis dramas are really strings of spoken lyrics; there is very\nlittle action, only meditation and brooding. His poems are\nchiefly poems of mood, with an air of mystery, melancholy and\nincompleteness. He is very nearly related to Maeterlinck.\nHis most noteworthy influence has been the setting of a fashion\n—in both form and mood—by his \"Ballade of Outer Life.\" It\nbegins:\nAnd children grow up with deep eyes;\nThey know nothing, they grow up and they die,\nAnd all men go their ways.\nAnd sour fruits grow into sweet,\nAnd fall like dead birds,\nAnd lie a few days and then rot.\nThat is all very characteristic; it is too well known to need\nfurther translation. The fragment, \"The Death of Titian,\" is\nnot so well known. This is a speech near the end:\nHe has waked us from our night\nAnd given light and riches to our souls;\nAnd shown us how every day's life and movement\nShould be enjoyed as if it were a play;\nAnd taught us to understand the beauty of all forms,\nAnd to look into our own lives.\nWomen and flowers and waves of the sea\nAnd silk, and gold and the glow of bright stones,\nLofty bridges and springlike valleys\nWith fair nymphs by crystal streams;\nAll the things we love to dream\nAnd all the glories of our waking hours—\nHave first received their great beauty\nAs they passed through his soul.\n\"Our life is only a shadow-play,\" is a line from another\nplay. \"The three are one: a man, a thing, a dream\" is the last\nline of the terza rima lines \"Of Transitoriness.\" These sen-\ntences sum up Hofmannsthal's mood in his poems and lyrical\ndramas. His style I am unable, and have not attempted, to\nconvey. Perfect smoothness and evenness of rhythm is, I should\nsay, his chief characteristic. There are no jerks, no great in-\ntensities of idea or expression. Practically all the plays, with\nthe exception of the librettos, were written for performance in\na theatre intime or, some of them, not for performance at all.\nSeveral are \"Puppenspiele\"—plays for marionettes which may\nbe compared with, say, \"Interior\" or \"The Death of Tinta-\ngiles.\" In the same way Hoymannsthal's verse should be read\nsoftly in a small, dimly-lighted room. Hugo von Hofmanns-\nthal is the Maeterlinck of German literature.\nFrom the Egoist, London.\n\nA. W. G. Randall."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c020", "article_bluemountain": "bmtnaaq_1916-12-02_01#c020", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1216", "page_fin": "1217", "image_debut": 6, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.11", "titre_corps": "Books and Magazines of the Week", "titre_sommaire": "Books and Magazines of the Week", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "1216", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.6", "debut_caractere": 3098, "fin_caractere_exclue": 7947, "texte": "Books and Magazines of the Week\nA word to the buyer of \"Christmas-Books\"\nTHAT books mean really more to the average individual than\nhis newspaper or his magazine means to him is indisput-\nably evident in these days before Christmas. Reading papers\nand magazines is a habit and to buy those papers and to look\nfor those names which are featured on the covers or on sub-\nway advertisements is accessory to the habit. But habits are\nnot friendship. I have always wondered for whom the lists\nof \"the three hundred best Christmas books\" or \"books mostly\nappropriate for Christmas gifts\" are compiled. A walk to oui\nbook stores or through the book rooms of our department stores\nwill prove that men and women are actually selecting books\nfrom these lists as gifts for their beloved.\nNo better gift and no gift that is more intimate can we give\nas a token of friendship than a book; but it reminds me of the\nman who is living in Cairo and leaves his order in Tiffany's to\nsend presents at Christmas to a list of his friends not to exceed\nsuch and such an amount, when I think of the man who sends\nto his friend a book upon the recommendation of a professional\ncompiler of holiday book lists or of the clerk in the store who\n\"knows.\" To forward to your sweetheart a book which you\nhave not read, or to lay it under the Christmas tree for your\nwife or for your child is synonimous with introducing a stranger\nas a friend to those who will take him in as your friend ; who\nwill open to him heart and home, because of the love and\nesteem they have for you. You are so careful not to identify\nyourself in business with the man whom you have not \"looked\nup,\" you would not dream of signing a note upon the recom-\nmendation of an unknown or of cashing the cheque which bears\nas signature—a mere name, you will not hesitate to select a book\nfrom one of those lists or take for granted the word of the book-\nstore clerk. And how discriminating you are before signing the\nguest card for a new acquaintance in your club! but a b00k....\nanything in goodlooking leather binding or with an author's\nname which you have heard somewhere, even if you do not\nknow where, you will accept readily and pass on to those whom\nyou love besto\nOur grand fathers were old-fashioned conservatives. Friend-\nships in their days were not closed as easily as today. But\nneither were they dissolved as mere incidents. Publishers seventy\nyears ago were discriminating in their acceptance of new authors\nand in the material they printed. They knew that their readers\nwould use even more discrimination. To read a new book was\nthen an event in a man's life. If a pleasant event, he would\nmake a mental note and when Christmas came or a birthday, he\nwould purchase another copy and mark pages or passages, he\nwould express his sentiments on the flyleaf, he would wrap it\ncarefully and bring it, if possible, himself to its new possessor.\nWe are not living in an age of hand-knitted stockings. Our girls\nwould laugh at the idea of sewing shirts for their men friends.\nEven embroidered handkerchiefs are out of fashion. But a book\nshould not and cannot lose its soul. It is a live thing that the\nclerk wraps up for us or sends with a gift card to an indicated\naddress. It was part of a man before he wrote it and it will be\npart of another man after he has read it. You or I who bestow\nthe gift will be responsible for whatever it may mean to our\nfriend.\nTherefore: read the books that you will send as gifts to\nyour friends. Read them as acquaintances until you know you\nwish them for your friends. Compare these book-friends with\nyour friends to whom you wish to introduce them and if you\nthink that they can be friends too, take upoL you the pleasures\nbut also the responsibilities of an introduction.\nThey are right here on my desk, these stepchildren of our\nprofessional reviewers of magazines and of books: periodicals\npublished by individuals and not by great companies. The\nfalling leaves of the Autumn have buried a few of those I\nliked the best; others are coming out regularly and the high\ncost of paper makes them struggle harder than ever for their\nexistence.\nThe Little Review\nMargaret C. Anderson, the courageous and never weary\nfighter for freedom in mind and letters in Chicago, who had\ntried her publisher's luck for a while in California, announces\nher approaching advent into New York. Her \"Little Review\"\nfor November prints mostly English contributions. Is it because\nthey come in without trouble, or can't she really find equally\ngood things in our own country? Individual magazines have\nno right to exist when they have abandoned their original pur-\npose.\nPoetry, the Magazine of Verse\nHarriet Monroe elaborates in her editorial, \"Truth and the\nParadox\" on Mystery, \"not the greatness but the littleness of\nlife.\" This Paradox of truth is so mysterious in its well-chosen"}, {"page_pdf": 7, "page_imprimee": "1217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.7", "debut_caractere": 35, "fin_caractere_exclue": 915, "texte": "wording that we hope that one of her endowed prize poets will\nwrite a commentary in free verse upon her theme. Amy Low-\nell ! Harriet Monroe has thrown three hundred beautiful\nwords in your face as a glove of challenge. Do mount your\nPegasus and return blow for blow. Defeat her with the imag-\nery of your colors. Give her one of your fragile creations of\nthat particular brand so strong it would move an elephant and\nso harmless it would not harm a child.\nInwhich\nThe November number is rilled with beautiful impressions\nof the Autumn in California whence the editor moved recently\nfrom Detroit. So much enthusiasm is upon its small pages; it\nis like a draught from that miraculously rejuvenating fountain.\nContemporary Verse\nIts poetry is as bad as a year ago. But the paper, both cover\nand body of the attractive looking pamphlet continues to be as\ngood as in its first number."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c021", "article_bluemountain": "bmtnaaq_1916-12-02_01#c021", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1217", "page_fin": "1217", "image_debut": 7, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.12", "titre_corps": "Coleman's Drawings and Paintings", "titre_sommaire": "Coleman's Drawings and Paintings", "signature_source": "Guido Bruno", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "1217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.7", "debut_caractere": 917, "fin_caractere_exclue": 4429, "texte": "Coleman's Drawings and Paintings\nGuido Bruno.\nXAC IL\\ two years did it take Glenn 0. Coleman to journey\nfrom Greenwich Village and its humble so much attacked\nGarret to the splendor of an Exhibition Gallery on 47th Street\nand Fifth Avenue. His work, characteristic sketches of New\nYork buildings, streets and thoroughfares, which appeared\nin the first issues of ''Greenwich Village\" and subsequently very\nfrequently in Bruno's Weekly has received the most gracious\napproval of the uptown galleries. It is hung on walls de luxe\nsurrounded by the paraphernalia of the uptown picture dealer\nand guarded by flunkies.\nI met Coleman some years ago in one of the Village restaur-\nants. I had not seen his work then, but I liked the man. He\nspoke in terms of utmost disgust of people who make it their\nbusiness to encourage art and the endeavors of artists. He was\nfilled with the desire to work, to do just those things which he\ncalled his art. And he had only a sneer for the suggestions of\nart editors and magazine editors that he succumb to their ideas\nand fill their needs.\n\"If they do not appreciate my own work,\" I remember him\nsaying, \"I don't want their money. I am earning my livelihood/'\n(and he mentioned some work, very realistic work that has noth-\ning whatever to do with art which he was doing for a small\nsalary in one of the big department stores.) \"And I shall con-\ntinue to do so until some one will understand at what I am aim-\ning.\"\nColeman had contributed frequently to The Masses, then the\nonly journal affording opportunities for self-expression. But\nhe abandoned this small group for some reason of his own.\nOf all the artists that I have met during the past years Cole-\nman is the only one who has passed the experimental stage,\nwhose art has a positive and dignified individuality. His pic-\ntures of Greenwich Village, both his pen and ink sketches and\nhis oil paintings, are the creations of a settled and ripened mind\ninspired by dreams, dreams that seem to come true in your heart\nand in mine.\nHis houses have souls, his trees temperament, his people are\nindividuals detached from all the rest of the world. His paint-\nings seem to us delightful companions at the grate fire, in the\ntwilight of a holiday through which we have rested from the\ndaily struggles of life and have thrust far away the uglinesses\nof small annoyances.\nColeman's \"Rainy Day\" reminds us of some rainy afternoon\nthat we have loved for some reason or other. His portrayal of\nthe poorer sections of the city embrace us with the pictures\nqueness of the old and with the great beauty that may be found\neven in the life of ragged men and women.\nA quietness hovers over all his paintings. The room in the\nDaniell Galleries that is given over to Coleman is like a chapel\nof reverence, of love, of most holy art, amidst the fanciful\ncreations of morbid imagination, of sensation-lusting color\nschemes and of the inane insincere imitations that fill most of the\nArt Galleries on the Avenue; galleries that are the vestibule to\nnotoriety, where millionaires dip their pens into the picture\ndealer's ink-wells before they sign their checks.\nColeman has the modesty of the great artist.\nHis pictures have nothing whatever to do with their present\nsurroundings. They could hang on the walls of a dungeon\nhole as well as in the picture gallery of a mansion: They are\nlike pictures of the saints'. They give to whomsoever wishes to\nreceive.\nColeman is one of the few artists who are truly American\nand of whom America may be proud."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c022", "article_bluemountain": "bmtnaaq_1916-12-02_01#c022", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1217", "page_fin": "1217", "image_debut": 7, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.13", "titre_corps": "The Last Hour", "titre_sommaire": "The Last Hour", "signature_source": "Gustave Flaubert", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "1217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.7", "debut_caractere": 4431, "fin_caractere_exclue": 7996, "texte": "The Last Hour\nBy Gustave Flaubert\n{Found among his posthumous papers was this unfinished\nstory written 20th January, 1837. Flaubert was then fif-\nteen years old.)\nHAD looked at my watch and calculated how much time\nthere still was left for me to live. I realized I had hardly\none more hour. There is plenty of paper on my desk; plenty\nto write down hastily all the reminiscences of my life, and to\nsummarize the circumstances which have influenced this foolish\nand illogical intercogging of days and nights; of tears and of\nlaughter; commonly called the existence of man.\nMy room is small and its ceiling is low. My windows are\nshut tightly. I have carefully filled the keyhole with bread.\nThe coals are starting to kindle; death is approaching. I can\nexpect it quietly and calmly while I am keeping my eyes all\nthe time upon the life which vanishes and upon the eternity\nwhich approaches.\nI\nThey call that man happy who has at his disposal an income\nof twenty-five thousand francs; who is well built, tall and\nhandsome, who lives amidst his family, who visits the theatre\nevery evening, and laughs, drinks, sleeps and eats and digests\nwell. This opinion is old but therefore not less wrong.\nAs far as I was concerned I had more than twenty-five thou-\nsand francs income. My family was kind to me; I have been\nin almost all the theatres of Europe; I have drunk; I have\nslept. Since my birth I never knew the slightest indisposition.\nI have not a glass eye. I am not lame and I am not hunch-\nbacked .... and I am so happy that I am taking my\nlife to-day at the age of nineteen.\nII\nOne day—l was as I remember, ten years old—my mother\nembraced mc weeping and told me to go out and play under\nthe chestnut trees that bordered the lawn of the castle. . : .\n(Oh! how they must have grown since those days!) I went,\nbut as my Lelia did not join me there, I feared she was sick\nand I went back to the house. Everything was deserted. Big\nblack drapery was stretched over the portal of the house; I\nwent up to the room of my sister, and then I remembered she\nhad not been down to play for eight days.\nI went up to her room. There I met two women who fre-\nquently had begged at the door of the Castle ; they had some-\nthing lifeless in their arms covered with a white sheet. . . .\nthat was her!\nThey have often asked me since why I was sad.\nIII\nThat was her! My sister! Oh, how long and bitter it was!\nThe two black-coated women laid the body in my sister's bed.\nThey strewed flowers over it; sprinkled it with holy water, and\nlater, while the sun was throwing his last reddish rays into the\nroom, which were lustreless like the eyes of a corpse and after\nthe day had expired. At the window panes thev lighted two\nsmall candles on a little table next to the bed. They knelt\ndown and asked me to pray as they did.\nI prayed; oh! so sincerely and as ardently as I could. But\nnothing happened—Lelia did not move! I knelt there for a\nlong time, m> head resting upon the moist cold sheet of the\nbed. I cried, but quietly and without fear. I believed that if\nI could mediate, if I could cry, if I could rend my soul with\nprayer and wTith vows, there would be granted to me a look or\na motion of this body of misty form, where was indicated a\nhead and farther down, the feet. I poor believing child, had\nfaith enough to think that my prayers would bring to life a\ncorpse, so gieat was my belief and so great was my harmless-\nness.\nThere is a certain kind of damned educated\nbeasts who think that the soul begins to have a right\nto endure pain where the struggles for daily bread\nend."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c023", "article_bluemountain": "bmtnaaq_1916-12-02_01#c023", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1218", "page_fin": "1218", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.14", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "1218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.8", "debut_caractere": 295, "fin_caractere_exclue": 519, "texte": "At the Sign of the Green Witch\nMeals of Peculiar Excellency Served a La\nCarte and Table D'Hote\nLuncheon from 11 to 3. Dinner, 6p. m.to\n8 p. m. Afternoon Tea Service.\nManaged by Ella Whitney Gould\n49 East 10th Street New York"}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c024", "article_bluemountain": "bmtnaaq_1916-12-02_01#c024", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1218", "page_fin": "1218", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.15", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "1218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.8", "debut_caractere": 521, "fin_caractere_exclue": 578, "texte": "Readers of Bruno's Weekly\nare asked\nto become Subscribers"}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c025", "article_bluemountain": "bmtnaaq_1916-12-02_01#c025", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1218", "page_fin": "1218", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.16", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "1218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.8", "debut_caractere": 580, "fin_caractere_exclue": 658, "texte": "6340 SPRING 80 WASHINGTON SQUARE\nNEWTON MERRILL\nEXPERT IN INTERIOR DECORATIONS"}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c026", "article_bluemountain": "bmtnaaq_1916-12-02_01#c026", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1218", "page_fin": "1218", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.17", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "1218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.8", "debut_caractere": 660, "fin_caractere_exclue": 1543, "texte": "Bernard Shaw, the sincerest and most brutally frank\ncritic of English letters, wrote after reading Frank\nHarris* OSCAR WILDE'S LIFE AND CONFESSIONS\na profuse letter of appreciation to Frank Harris, and\nput his own reminiscences of Oscar Wilde, a story of\nthe length of thirty thousand words, at the author's\ndisposal.\nBernard Shaw closes his letter to Frank Harris:\nThis biography of yours has wiped out all other bio-\ngraphies.\nFrank Harris has only a very few copies left of the\ntwo editions of his book.\nBook collectors and admirers of Oscar Wilde realized\nquickly the significance of the work and this book,\nonce out of print, will be counted among the priceless\ndreams of a book-lover.\nWrite for a prospectus and you may yet have a\nchance to buy it for the publisher's original price of\nten or twenty dollars respectively.\nBRUNO'S WEEKLY, Inc.\nNo. 10 Fifth Ave., New York, N. Y."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c027", "article_bluemountain": "bmtnaaq_1916-12-02_01#c027", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1218", "page_fin": "1218", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.18", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "1218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.8", "debut_caractere": 1545, "fin_caractere_exclue": 1989, "texte": "At THE NEW ROMA RESTAURANT of health where\nyou eat first class and quality of Italian and American cook-\ning at moderate prices, a la Carte, run by the well known\nPETER ROMA, nothing will be neglected with the bedt\nattention to everybody. Everything is brand new and sani-\ntary. Dancing every Saturday and Sunday. Grand Hall for\nBanquets, Weddings, etc.\nP. ROMA, Manager\n87-89 Macdougal St., cor. Bleecker St., first floor\nTelephone Spring 1324"}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c028", "article_bluemountain": "bmtnaaq_1916-12-02_01#c028", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1218", "page_fin": "1218", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.19", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "1218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.8", "debut_caractere": 1991, "fin_caractere_exclue": 2395, "texte": "Bruno Chap Books.\nTwenty-eight booklets containing the most interesting work of the most unique writers of the past twenty-\nfive years.\nPrices ranging from fifteen cents to fifty cents.\nfor catalgoue and send one-cent stamp. It contains the story of Bruno's Garrett from a public grave\ndigger's tool house to the exhibition gallery of modern artists' work.\nBruno's Weekly, 10 Fifth Avenue, New York City."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c029", "article_bluemountain": "bmtnaaq_1916-12-02_01#c029", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1218", "page_fin": "1218", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.20", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "1218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.8", "debut_caractere": 2397, "fin_caractere_exclue": 3099, "texte": "14 Stories by Maupassant,\nF#r 35 cents postpaid\nStories of the Tragedy and Comedy of Life, with\nan introduction by Paul Bourget. Prettily printed in\nlarge type on superior paper, with illustrations in\ncolor by Clare Victor Dwiggins. 16mo, stiff dark\ngreen paper cover, rough edges. (196 pages.) New\nYork, M. Walter Dunne, 1914. (Pub. 50 cents.)\nComprises the following short stories: The False\nGems, Was it a Dream?; Simon's Paper; In the Moon-\nlight; The Old Maid; The Lancer's Wife; The Sequel\nto a Divorce; The Englishwoman; Sentiment; The\nFishermen; In his Sweetheart's Livery; Bertha; Dis-\ncovery; and A Message of Love.\nCONDOR'S BOOK STORE\n366 Fifth Ave.\nWrite for interesting catalogue of books."}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c030", "article_bluemountain": "bmtnaaq_1916-12-02_01#c030", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1218", "page_fin": "1218", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.21", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "1218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.8", "debut_caractere": 3101, "fin_caractere_exclue": 3767, "texte": "OSCAR WILDE'S\nImpressions of America\nedited with an introduction by Stuart Mason.\nOne •/ the original 500 copies printed.\nThis book, written by Oscar Wilde upon his return from\nthat memorable lecture tour through America, contains\nsome of the finest characterizations of America, as Wilde\nsaw it. He hits mercilessly and he praises effusively. In\nthe appendix is an interesting collection of newspaper\ninterviews with Wilde.\nIt is a rare Wilde item, published by one of Wilde's oldest\nfriends and his bibliographer.\nOnly a few copies left which will be sent to those whose orders\nreach us at first for $1.00 postpaid.\nSCHULTE'S BOOK STORE\n132 E. 23rd Street\nNew York"}]}, {"article_id": "bm-bmtnaaq-1916-12-02-01-c031", "article_bluemountain": "bmtnaaq_1916-12-02_01#c031", "volume": "bmtnaaq_1916-12-02_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1218", "page_fin": "1218", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.2.22", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "1218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.8", "debut_caractere": 3769, "fin_caractere_exclue": 3898, "texte": "R. EDERHEIMER\nPRINT CABINET\n366 FIFTH AVE., NEW YORK\nOriginal Drawings by Old Masters\nALL APPRECIATIVE VISITORS CORDIALLY INVITED"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.1", "texte": "BRUNO'S WEEKLY\nTen Cents\nLove in Magazine Stories.\nThe Pearl Necklace.\nColeman—American Artist.\nWeek Ending December 2d, 1916\n\nTHE POSEUR by Dav Josephson\n\nThe contents include:\nA Musical Comedy by O. Henry.\nOn Book Stall Row.\nAustrian Culture and Austrian Poetry."}, {"page_pdf": 2, "page_imprimee": "[1212]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.2", "texte": "BRUNO'S WEEKLY\nEdited by Guido Bruno\nNo. 24\nDECEMBER 2nd, MCMXVI\nVol. 11l\nCopyright 1916 by Guido Bruno\n\nThanksgiving\nI Give Thanks:\nBecause I am strong and healthy enough to eat dry bread\nwhile others are so weak that they must become the victims of\ngreedy cold storage people and of pork packer barons.\nBecause I have so much physical strength that I can prevent my\ncreditors from tearing the clothes from my back, because my\nmuscular power is in such good shape that certain editorial\nwriters and other mud-throwers dare to write lies about me\nanonymously only.\nBecause I have eyes to see and ears to hear, a mouth to keep\nsilent and a pen to write with.\nAnd then I feel grateful because the sun is shinning for me,\nbecause the stars are twinkling and glimmering right into my\nroom, and the moon throws occasionally big chunks of her silver\nat my feet; the children that play in the yard which I pass\nevery morning, hail me with a sincere welcome and walk with\nme playfully down to the next corner to the car station;\nThe old conductor with gray mustache and kind blue eyes in his\nwrinkled face smiles at me when I enter his car and does not\nobject to my cigarette, even waits for me a half-minute or so if\nhe sees me coming down the street.\nBecause the newspaper boy hands me my paper with a broad\nfriendly grin . . .\nI give thanks because everybody seems kind and full of compas-\nsion, everyone of the fellow sufferers.\nI give thanks because I have been able to dry tears here and\nthere, to evoke a smile on faces that seemed to have forgotten\nhow to smile....\nAnd then . . .\nher blue eyes . . .\nI am glad there is a Thanksgiving Day.\n\nOn Book Stall Row\n\nA ND so this, the first number after my removal to Fourth Ave-\nnue, is the fitting occasion, dear reader, to invite you to\ntake a walk through that part of the city which starts on the\nextremest boundaries of our village and whose important\navenue leads to the Public Library—that supreme mausoleum\nof the citizens of the republic of letters; where are laid away,\nside by side, the remains of those who were worshipped during\nlife and forgotten after their death and of those whom no one\nknew while they were among us and whose real life began\nafter they had written the last page of their message to the\nworld, a world which has ears now for the dead man's words.\nWill you come with me and walk for half an hour on that\nVia Appia of New York where great men's work is put on\nshelves and can be viewed by those who feel like worshipping;\nwhere artists and writers found a friend who would plead\ntheir cause better than the newspaper critic, literary writer and\nthe art editor. Let us go where the old worshipful building\nof the Astor Library still stands and whose closed shutters,\ndeserted door-ways and stair-cases remind one of that eternal\ntruth—sic transit gloria mundi! And not long ago—scarcely\neight years—all intellect of New York assembled here on old\nAstor Place, in the midst of the old landmarks of a New York\nof by-gone days. There they worked diligently, and like in a\nbee-hive, gathered the honey to give it to the world. And the\nworld came to take the honey and carried it to newspaper\noffices and to magazine editors and used it for nourishing and\nfor luxurious, dandy dishes and served it to millions as bread\nand as dessert.\nAnd then the palace was built on Fifth Avenue, right in the\nheart of the city, to receive the remains of the august man of\nthe world. The literary free-market, whose centre for barter\nand exchange had been on Astor Place, moved up to the new\ncomfortable quarters. Marble and big spaces, lackies in livery\nand modern commercial office devices took the places of the\ngood old home-like library rooms. Railings did not separate\nthere the reader from the book-shelves and the tables were\nworn and ink-spotted; and where the authors of the books, in\ntheir old-fashioned attire, with their grandfather's manners,\nwith their elegance and their \"I don't care what you think of\nme, world!\" seemed so near to us who leaned over their books.\nBut those booksellers—no less lovers of books because they\nsold them—remained in their shops on Fourth Avenue, in their\nbasements and their little shacks with queer displays of book\nstalls and advertisements in old hand-writing tacked to their\ndoors which seem to belong to another age, which seem to be\nthe remnants of another school of men. A good many of those\nold friends of the frequenters of the library are gone. High\nbuildings are erected where they used to read books and sell\nthem to you—if you managed to get into their good graces.\nDon't shake your head incredibly! Yes, such were those old\nbooksellers, who treated their books as you would treat your\nfriends, and who would introduce you to their friends only if\nyou were one with their spirit—if they found in you ''that cer-\ntain something\" which invites lovers of books into a society of\nlovers of men.\nTempora mutantur et nos mutamur in illis! Mr. Edison put\nthe candle out of use. His electric rails brought space and\ntime into relations which enable the individual to live a life of\nmany interests.\nGreek and Latin, the old essayists of yore, and the art of\nwriting letters are foreign to most of us. To have read your\nCaesar and scanned your Homer makes you a scholar for life-\ntime to-day. And to have really read Horace and to have\ndived into Plato and Aeschylus entitles you to the highest hon-\nors newspapers, magazines and the country-at-large have to\naward. If you know how to write about these things and how\nto apply your knowledge so that the magazine editor can have\nit illustrated by some imitators of Bruneleschie or Bakst that\nyour work can appear serially in an unobjectionable family\npaper which is sold in two million copies by boys and girls\nwho earn in such a way a \"liberal education in business col-\nleges;\"—that it can be printed in book form to be bought by\nall public libraries and Carnegie and college and university\nlibraries, and if it has such merits that the music of a Viennese\noperetta composer can be harmoniously combined with the\nwords, making for a season's Broadway success.\nOtherwise you have the best chance to starve and to be looked\nupon as a queer sort of a chap.\nA few are left of those old book-dealers who used to dwell\non Fourth Avenue and whom book-worms used to persuade to\npart with this or that precious tome. How those book-sellers\ndiffered from those of our own times; they knew their Latin\nand their Greek, they knew not only first editions and standard\neditions from the catalogs of auction sales and \"Book Prices\nCurrent\" but they knew the contents of the books; they would\ngive an equal chance to the well-known author whom they liked\nand to the unknown man whose pamphlet they discovered;\nreading and \"discovering\" was their chief occupation, selling\nbooks a mere incident—a very necessary orl?, of course, but\nstill an incident only. They all had their hobbies. One would\nbe interested in Mark Twain and would have stored away in\nsome obscure corner of his book-shelves, as the kohinoor of his\npossessions, a rare pamphlet unknown to the world, and per-\nhaps autographed by the author himself. Another one would\nbe an enthusist of Poe and would carefully gather precious"}, {"page_pdf": 3, "page_imprimee": "1213", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.3", "texte": "BRUNO'S WEEKLY\n\nitems and show them to those he really liked—like a king who\nbestows upon the subject he wishes to honor a high order.\nAuthors and would-be authors found in these dingy shops\nlit by a flickering gas jet, in the atmosphere of dust and of old\npaper, congenial gathering-places. O. Henry was a well-known\nhabitue of the book-shops on Fourth Avenue, and especially\none situated in a basement to which led rickety wooden stairs\nwas his favorite one. He used to rummage around the French\nbooks its proprietor kept and ask for translations and explana-\ntions, but he rarely bought.\nDid I say a few of those shops are still preserved?—and did\nI invite you to come along and take a walk on Book Stall\nRow? They are, but don't be disappointed. They all have\nelectric lights and cash registers and only far back behind the\ndust-covered desk of the proprietor—if you succeed in lifting\nthe business mask from his face—will you find the book-dealer\nafter your heart, whose face beams because he has succeeded\nin getting this or that rare item. And if you have that \"certain\nsomething\" of the book-worm which finds a response in his\nheart, he will forget his \"Book Prices Current\" and he will talk\nto you just to your heart's delight. And his hands and your\nhands will rest on the mutual friend—the book.\nHere, I said, in these shops, which, if the proprietor has busi-\nness genius and progresses with the spirit of the time, will be-\ncome types of the ready-to-order, department-store-like-con-\nducted book-stores, are the temporary interment places of lit-\ner ateurs who are either dead and not yet discovered or who\nare alive and therefore not apt to be discovered, or who are\nboth dead and discovered. But their works have not yet suc-\nceeded in bringing high auction prices and therefore are not\npjrchased by tne libraries in their palacial mausoleums where\nthey will find their final resting-place some day. To these\nshops the literateur pilgrimages if he wishes to dispose of his\nbooks—not because his shelves or his library are too crowded\nbut because he has decided that a meal once in a while will\nbe highly appreciated by his physical body. Down here to\nthese basements or to these shacks crowded in by big business\nbuildings he creeps stealthily and sells the books of his friends,\ngiven him in his better days with their inscriptions of friend-\nship. He is ashamed of his act, but landladies have to get\nrent and Child's has a cash register which'must record every\nsale of the day, even the most insignificant cup of coffee and\nthe thinnest cheese sandwich.\nHere to these shops the literateur, who ventured into the\nfield of being his own publisher and editor of a short-lived\nmagazine brings bundles of unsold numbers of his publication\nwhich were returned to him with many regrets and the bill for\n\"return charges by the pound\" from news-dealers and from\nnews companies. The book-store buys them, and a dollar is a\ndollar—even if you have to procure it with five hundred or a\nthousand copies of something you put your greatest hopes upon.\nNo reflection is made upon the bookseller! He gives you\nmore than you could get anywhere else. What other book-\ndealer in this city would buy old paper—and it is nothing but\nold paper so long as \"Book Prices Current\" doesn't mention\nthe magazine's name and its rarity, and therefore, the goodness\nof its contents.\nHere, to these shops, landladies bring the trunks which they\ndid not permit to leave their premises because the unfortunate\nowner failed to pay his three dollars per week, and his literary\nfuture was too ample a security for her to continue to trust.\nAnd how many rejected manuscripts—often rejected because\nof their merit—will be found in that baggage hastily thrown\ntogether by her after she has locked the door upon him! How\nmany letters will they contain showing the man in the light\nothers saw him and wrote to him what to do and what not\nto do!\nHere, to these shops, the unfortunate woman travels if her\nhusband—the writer or the artist—is sick and doctor bills have\nto be paid, and again, that curse of everybody's life—rent bills\nand board bills.\nAnd here finally are sold the wordly possessions of him who\nhas laid away his pen forever, whom the rent collector for the\ntypewriter will not bother again. His most-cherished books\nand letters from fellow-sufferers on the hard road to literary\nsuccess and those benevolent lines of those who \"got there,\" his\nscrap book and perhaps his diary, to contribute to the receipts\nof undertaker and cemetery company.\nREADER, we live in an age where figures are staring\nin your face wherever you turn. Churches pass the bas-\nkets ! Charity is standardized after the most efficient business\nmethods of the country.\n\"Money, I want money!\" is written in big, black broad letters\nover men and things. Therefore, it is up to you to eliminate\nmoney wherever you feel it a disturbing element. It is up\nto you to be the magician who charms away the things that\ncan never \"disappear\" as everybody knows. Don't think of the\nrent and of the bills and of the pay rolls to clerks that these\nbooksellers have to pay, but see them as I do back there in the\ndark corner of their shops—unlighted by electricity, back of a\npaper-and-dust-covered desk, reading on quiet afternoons and\nevenings when business is at a standstill and book-buyers do\nnot require their services—reading their favorites, those books\nthey will not sell if you are not lucky and strike them at a\ntime when bills are due, when rent has to be paid.\n\nGuido Bruno.\n\nLove in Magazine Stories\n(Alexander Harvey in his \"Bang\")\nthe melancholy consequences of the commercializa-\ntion of the short story must be included the degradation\nof love. Love in its fine and fervent fury is alien to the edi-\ntorial formulas of New York. Love in all its glory is a\nmiracle, love is fantastic. The formula of the New York\nperiodical tolerates neither the miraculous nor the fantastic.\nThis of itself betrays the imbecility of those who in editorial\nchairs now lay down law to writers of the short story. I am\nnot aware that the editor of any important periodical in this\ncountry today is himself the author of any significant short\nstory on the theme of love.\nOne may read the short stories in every New York periodical\nindefinitely without getting evidence that one editor has the\nleast idea of the nature of love.\nKnowing his own limitations, although he would not admit\nthem for the world, the editor usually turns the short stories\nover to some woman whose knowledge of love and the human\nheart is taken for granted because she does not believe in mar-\nriage or repeats the catch words of a jargon caught from some\nman who in her eyes is a great genius. This woman is almost\nalways the slave of the British literary superstition and has\nnever the least doubt of the \"greatness\" of the \"great\" Wells\nor the \"great\" Shaw or the great, great Kipling. She thinks\nshe is \"in literature\" because she \"makes up\" pages, telephones\nthe printer and, when there is nothing else to do, looks over\nthe manuscripts that are accumulating about the place.\nEven when all the short stories are not read by someone of\nthis type, they come into the ken of a member of the staff who\nmust apply the editorial formula supplied by another. It oc-\ncasionally happens that a member of the staff will have to\napply the formula with a disregard of literary standards. The\nexcuse for this is that the people do not care for literature.\nMany a swaggering editor here in New York draws a fat\nsalary on the strength of the fact that he despises literature!\nWhile the lady I have mentioned in muddling over the\nmanuscripts of the common herd, the editor himself is in com-\nmunication with the \"great\" short story writers of America.\nThere are ever so many of these, and identity of the greatest\namong them depending upon the application of a formula by\na man who can't write a short story. The professional short\nstory writers know well that the editors they deal with are\nincompetent to pronounce judgment on the merits of any lit-\nerary performance. Writers also know what formulas are.\nFormulas exclude all that is characteristic of love in its\nsupreme manifestations.\nI do not refer at all to an appeal to sex in the physical\nsense. I have in mind the element of the fantastic and super-\nnatural in the ecstasy of love itself, the thing the poet means\nwhen he talks of passion's essence. A tale of love deals with\nwhat is so remote from the experience of the editor! Love is\nthe supreme adventure of which no detail can be too extrava-\ngant, no hero too intoxicated and no heroine too dramatic. The\nbeauty of love's adventure resides often in its tragedy yet no\nNew York editor can see that a tale in which hero and heroine\ndie in each other's arms can have a happy ending. It is not\nnecessarily a happy ending, but is such an ending necessarily\nunhappy?\nShort stories of love are not published, then, because no\nformula allows love."}, {"page_pdf": 4, "page_imprimee": "1214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.4", "texte": "BRUNO'S WEEKLY\n\nCaramba\nLyrics by O. Henry and Franklin P. Adams\nMusic by A. Baldwin Sloane\n\n£ HAVE not yet read Professor Smith's recently published bio-\ngraphy of O. Henry and therefore I cannot know if he had\nknowledge of the existence of a musical comedy libretto by O.\nHenry, or better with O. Henry as collaborator. Many friends\nof the dead author whom I have asked about his musical comedy\nseemed surprised and even the best informed collectors of O.\nHenry material had heard nothing of his theatrical venture.\nSome days ago I strolled into Harry Stone's bookshop on\nFourth Avenue and he showed me several musical parts, evi-\ndently orchestra voices, all of which bore O. Henry's name in\nbig red letters, featuring it as composer of the lyrics. Stone\nalways has a surpise in store. He is not only a bookseller, but\nhe has outside of his well-developed merchant's instinct an in-\nclination for research and for discovery. Even in our times of\nstrict business he has preserved within himself a love for ad-\nventures in the life of an \"old book merchant.\"\nMany discoveries has he made in the course of his career\nthat have thrown a new light upon some authors and their\nworks.\nAmong old music sheets in a rag picker's shop he happened\nto find the parts of \"Carramba.\" He acquired them for a few\npennies and started instantly his inquiries at the music pub-\nlishers Harris, who owned the copyrights of the verses re-\nproduced below.\n\"Yes,\" they said, \"this musical comedy, was not only written\nbut really rehearsed and O. Henry himself was present at a\ngood many of the rehearsals. The backers of the show were too\nslow in securing a playhouse for the opening night. They\nhesitated to sign a contract with the playhouse in which they\nrehearsed and one day, shortly before their opening night, they\nwere notified that the house had been taken and paid for by an-\nother company for a whole season. It seems that they could not\nfind another theatre suitable for their requirements so it hap-\npened to them, what has wrecked the hopes of a good many\nother theatrical companies since: scenery and costumes went into\na storage house, actors and chorus dispersed into all directions\nof the compass, the musical parts were sold for old paper....\nthe end of a dream.\nMrs. Cesare, daughter of O. Henry, knew that her father had\nbeen engaged for a time with the lyrics of a musical comedy and\nshe also recollected that he had placed considerable hopes upon\nits success; but she had never seen the work, nor did she know\ndetails concerning it.\nI tried repeatedly to reach Franklin P. Adams, who has be-\ncome since the famous F. P. A. of the Coning Tower, who as\ncollaborator with O. Henry must know all about this venture.\nBut I was unsuccessful in my attempts. And therefore it will\nbe up to him to give to the world the real story of O. Henry's\nmusical comedy and its undoubtedly interesting origin, develop-\nment and prenatal death. He will do this in the graceful way so\ncharacteristic of his pen (if he feels inclined to do it at all.)\nEveryone acquainted with O. Henry's stories will find it an\neasy task to recognize which of the lyrics are to be attributed\nto O. Henry. I am sorry for Franklin P. Adams. There are\nfifteen songs in all and I doubt that any one of them would\nmake a hit even today. And that is a good deal of condemna-\ntion if one considers the really modest requirements of a song\nlyric.\nBut O. Henry knew what Broadway would like. LITTLE\nOLD MAIN STREET, for instance, seems to be the key to the\nheart of the average American, the key to O. Henry's success.\nThere are reminiscences of his short stories in these lyrics and his\nall-winning humor in almost every line. But poor Franklin P.\nAdams! How he must chuckle to himself when he reads his\nverses again, and when he thinks that he really hoped to \"get\naway\" with them.\n\nCaramba\nPeruna Mendoo\nBologna, Cologna, Vannillio\nNorth Western and \"C. B. and Q\"\nO, Chile con Carne and Piccolo\nMazeppa di Buffalo Bill\nSo hurry and drop your nickelo\nCaramba di Sarsaparill.\n\nLove is all that Matters\nI\nJjji audience is generally clamorous\nFor something in the nature of a waltz,\nBe it ne'er so senseless\nIVhere-fore-less and whence-less\nBe its logic ne'er so full of faults\nJust let its theme and melody be amorous,\nAnd let the honey sentiment be plain,\nIf the music's tuneful\nIf the words are spoonful,\nLove is all you need in a refrain.\nII\nNow I might sing a song of high society\nOr I might sing about a lot of things,\nI might spend the time\nOn warbling you a rhyme\nOn any old thing from Cabbages to Kings.\nBut through an infinite variety\nOf themes that I might sing about to you\nThere is only one thing\nThough an overdone thing\nLove, the olden theme, that's always new.\n\nChorus\nA lilt that softly patters like a summer rain,\nFor love is all that matters in a waltz refrain,\nA theme that is worn to tatters and an ancient refrain\nYet love is all that matters in a Waltz refrain.\n\nLittle Old Main Street\nI\nCJINGERS may boast about Broadway\nAnd they most generally do\nSpring all that flowery stuff on the Bowery\nTake it, I'll stake it to you.\nCall me a yap if you care to\nSay I'm a rube or a shine,\nBut give me the street\nThat has got them all beat\nLittle Old Main Street for mine.\nII\nSing if you must of your State Street,\nSing of the Bois and the Strand,\nIf you have a new song of The Avenue,\nSing it to beat the old band.\nSing of the street of the old City.\nNot for yours truly, Uh, uh!\nBut give me the street\nOf the village elite,\nLittle Old Main Street for muh!\nIII\nLittle Old Main Street for mine\nTake a look at the lovers in line,\nThree village charmers\nAnd twenty-eight farmers\nAll meeting the six-twenty-nine.\nLittle Old Main Street, for mine\nWhen you are back with the pigs and the kine,\nBroadway and such\nFor your uncle—not much:\nFor its Little Old Main Street for mine.\n\nChorus\nLittle Old Main Street for mine\nRight down by the Post Office sign\nHear 'em say, \"Well,\nWhat a long rainy spell,\nBut it looks like tomorrow'd be fine.\"\nLittle Old Main Street for mine\nWhere its dead at quarter past nine,\nSee the folks flock\nPast the Opera House Block\nOh, its Little Old Main Street for mine!\n\nThe servants of God give away Heaven and Hell\nand keep for themselves the Earth."}, {"page_pdf": 5, "page_imprimee": "1215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.5", "texte": "BRUNO'S WEEKLY\n\nThe Pearl Necklace\nAfter the German, author unknown, by Guido Bruno.\nLAUGHING and dancing had she hurried through life; hur-\nried out of this world—only twenty-six years old.\nAnd now everyone should choose a souvenir of the dead Irene,\nwho had died so suddenly. You should have seen the eyes of\nIrene's mother and of her sisters-in-law as Miss Smith asked\nfor the pearl necklace.\nWho was this girl? Was she a relative? How could she\ndare? Who was she anyhow? A friend. No more. Such\nan audacity, an unheard of audacity. Perhaps she didn't know\nthe value of such a necklace. Ten thousand dollars had been\npaid for it. And that was some time ago, and pearls are al-\nmost worth twice as much now.\nWhy did she want it? Maybe Irene . . . .? No, Irene\nhad never mentioned it to her.\nBut she would like so very much to have it as a souvenir.\nShe said so very hesitatingly. She flushed as she felt the eyes\nof all directed at her. Why should it be just the most precious\nthing left by the deceased, especially not very suitable for a\nsouvenir because Irene had worn it scarcely once or twice dur-\ning the past year. Wouldn't she prefer the ring which had\nbeen taken from the dead hand or the earrings. . . .?\n\"Well, Miss Smith,\" said the husband, /'could I offer you the\nring with the emerald?\" And she replied almost inaudibly,\n\"It is very nice, indeed, but please, could I have the pearl\nnecklace?\" Was she crazy? Something must be the matter\nwith her. Irene's husband slipped his arm through Miss\nSmith's and led her to the adjoining room.\n\"Please, Miss Smith, do tell me, she left it to you?\" he asked\nsadly and imploringly.\nBig tears came into her eyes. She looked like a frightened\nchild and she raised her folded hands.\n\"Please do let me have it. Please do.\"\nBefore he could prevent it she was kneeling on her knees:\n\"Please, please do give it to me.\"\n\"For mercy's sake, what are you doing? Please get up.\nQuick, Miss Smith.\"\nThere was a deep emotion in his very sad voice. They were\nso angry, they couldn't speak a word, as he reasoned with Miss\nSmith and said: \"Very well, then I shall send the pearls to\nyour home to-morrow.\"\n\"I thank you, but perhaps I could take them just as well im-\nmediately. . .\n\"No, you can't, because there are certain formalities that\nhave to be looked after.\"\n\"I thank you,\" said Miss Smith, and left.\nThe next day, at noon, the husband of dead Irene called on\nMiss Smith and delivered to her the pearl necklace.\n\"It is imitation and you know it.\"\n\"Yes, she had lost the genuine one and she never had the\ncourage \"\n\"No, my dear Miss Smith, there is no use to try any longer.\nI found this too among her papers.\" And he showed her a\nletter.\nMiss Smith knows what it contains. It is the thanks of\nIrene's friend, whom she had saved from disgrace and jail,\nthe purchase money of her necklace.\n\"Yes, thanks for that and for more. . . . Yes, ves. Miss\nSmith.\"\nThe husband of dead Irene laughed, but his laughter sounded\nsadder than his crying yesterday.\n\nNight on the Beach\nStephen J. O'Hara\nthrobbing on the sallow sands;\nA full moon and Love.\nRed Love,\nPassionately thrilling,\nLike wine in which a hundred summers sleep.\n* * * * *\nStars die, and dawn\nMounts from an ashen sea.\nPassion\nIs spent .... and in my arms reclining,\nIllusion wakes.\n\nTo Lucasta\nBy Richard Lovelace (1618-1658)\n\nGoing to the Warres\nI\n'P'ELL me not, (Sweet,) that I am unkinde,\nThat from the Nunnerie\nOf thy chaste breast and quite minde\nTo Warre and Armes I flie.\nII\nTrue: a new Mistresse now I chase,\nThe first Foe in the Field ;\nAnd with a stronger Faith embrace\nA Sword, a Horse, a Shield.\nIII\nYet this Inconstancy is such\nAs you too shall adore;\nI could not love thee (Dear) so much,\nLov'd I not Honour more.\n\nSonnet\nI\nyour finger of that Ring,\nAnd Crowne mine with' awhile;\nNow I restore't—Pray, do's it bring\nBack with it more of soile?\nOr shines it not as innocent,\nAs honest, as before 'twas lent?\nII\nSo then inrich me with that Treasure,\n'Twill but increase your store,\nAnd please me (fair one) with that pleasure\nMust please you still the more.\nNot to save others is a curse\nThe blackest, when y'are ne're the worse.\n\nAustrian Culture and Austrian Poetry\n\npeople, I imagine, who think carefully about the mat-\nter, have a good deal of secret affection for Austria. The\nAustro-Hungarian Empire may be an intolerable hotch-potch of\nnationalities, and the Hapsburg the most oppressive of all\nrulers, but the Austrians, the gay Vienennese or the men of the\nTyrol—these are really leisurely, attractive people. There is,\nof course, an Austrian \"culture\" much more than there is a\nGerman \"culture.\" Modern Germany is an upstart nation com-\npared with Austria, and like an upstart she is excessively in-\ndustrious, anxious, feverish—and boorish. She is like a man\nwho has made a deal of money out of soap; Austria is rather\nthe finished aristocrat among nations. Let one of Arthur\nSchnitzler's little \"Anatol\" plays represent Vienna to you; you\nget the impression of a gay, unconcerned people, loose and\nwicked perhaps, but with polish and not too much feverish\nindustry or seriousness. No one outside France knows how to\nturn a compliment so neatly as the characters of these little\nplays—which, by the way, should be read, if possible, in the\noriginal and not in Granville Barker's adaptation. You will\nhave the impression that in Austria there is a sense of form and\nstyle which Germany has indeed begun to acquire, but only in\na very external and artificial fashion. Viennese pastries are a\nsymbol, perhaps, of a spiritual fact!\nBut, seriously, Austria can make a very good show in cul-\nture and the arts. Schubert and Liszt were Austrian subjects\nby birth; so were Smetana and Dvorak. Beethoven and Brahms\ndid most of their best work in Vienna. So, in literature, did\nFriedrich Hebbel. Grillparzer, Anzengruber, Henrich Laube,\nHamerling, Ferdinand von Saar, Lenau, Marie von Ebner-\nEschenbach—all these considerable poets and dramatists of the\nnineteenth century were Austrian. So, by the way, was the\nfamous novelist Peter Rosegger, who would have received the\nNobel Prize had he not been passed over in favor of Rabin-\ndranath Tagore. In recent years a great number of the most\nprominent German-writing poets and dramatists have been\nAustrian. There is the \"Prague group,\" with Rainer Maria\nRilke at its head, of whom much more must be said later. There\nis the \"Jung-Wien group\"—Schnitzler, for example, who has\nwritten such fine prose that the title bestowed on him of \"the\nGerman Maupassant\" is scarcely overpraise. He has also\nwritten one or two little dramatic masterpieces-; you may think\nof him as another Barrie, though he is much more intense and"}, {"page_pdf": 6, "page_imprimee": "1216", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.6", "texte": "BRUNO'S WEEKLY\n\ninfinitely less sentimental than the author of \"The Twelve\nPound Look.\" There is also Hermann Bahr, who has written\nattractive comedies; his \"Concert\" was seen in London about\nfour years ago, I think. There is lastly Hugo von Hofmanns-\nthal, wnom every one knows of at least as Richard Strauss's\nlibrettist. He should be known, too, for his versions of classical\ndrama such as \"King CEdipus and the Sphinx,\" for his lyrical\ndramas such as \"The Death of Titian\" (1892), \"The White\nFan\" (1897), and\"The Fool of Death\" (1893), where the\ntradition is mostly Stefan Georg's carried over into a loose\ndramatic form, and for his poems, which are full of symbolist\ninfluence conveyed from Mallarme through Georg and the\n\"Blatter fur die Kunst\" pioneers. Except for the \"GEdipus\" and\n''Electra\" there is very little energy and vigor in Hofmannsthal.\nHis dramas are really strings of spoken lyrics; there is very\nlittle action, only meditation and brooding. His poems are\nchiefly poems of mood, with an air of mystery, melancholy and\nincompleteness. He is very nearly related to Maeterlinck.\nHis most noteworthy influence has been the setting of a fashion\n—in both form and mood—by his \"Ballade of Outer Life.\" It\nbegins:\nAnd children grow up with deep eyes;\nThey know nothing, they grow up and they die,\nAnd all men go their ways.\nAnd sour fruits grow into sweet,\nAnd fall like dead birds,\nAnd lie a few days and then rot.\nThat is all very characteristic; it is too well known to need\nfurther translation. The fragment, \"The Death of Titian,\" is\nnot so well known. This is a speech near the end:\nHe has waked us from our night\nAnd given light and riches to our souls;\nAnd shown us how every day's life and movement\nShould be enjoyed as if it were a play;\nAnd taught us to understand the beauty of all forms,\nAnd to look into our own lives.\nWomen and flowers and waves of the sea\nAnd silk, and gold and the glow of bright stones,\nLofty bridges and springlike valleys\nWith fair nymphs by crystal streams;\nAll the things we love to dream\nAnd all the glories of our waking hours—\nHave first received their great beauty\nAs they passed through his soul.\n\"Our life is only a shadow-play,\" is a line from another\nplay. \"The three are one: a man, a thing, a dream\" is the last\nline of the terza rima lines \"Of Transitoriness.\" These sen-\ntences sum up Hofmannsthal's mood in his poems and lyrical\ndramas. His style I am unable, and have not attempted, to\nconvey. Perfect smoothness and evenness of rhythm is, I should\nsay, his chief characteristic. There are no jerks, no great in-\ntensities of idea or expression. Practically all the plays, with\nthe exception of the librettos, were written for performance in\na theatre intime or, some of them, not for performance at all.\nSeveral are \"Puppenspiele\"—plays for marionettes which may\nbe compared with, say, \"Interior\" or \"The Death of Tinta-\ngiles.\" In the same way Hoymannsthal's verse should be read\nsoftly in a small, dimly-lighted room. Hugo von Hofmanns-\nthal is the Maeterlinck of German literature.\nFrom the Egoist, London.\n\nA. W. G. Randall.\n\nBooks and Magazines of the Week\nA word to the buyer of \"Christmas-Books\"\nTHAT books mean really more to the average individual than\nhis newspaper or his magazine means to him is indisput-\nably evident in these days before Christmas. Reading papers\nand magazines is a habit and to buy those papers and to look\nfor those names which are featured on the covers or on sub-\nway advertisements is accessory to the habit. But habits are\nnot friendship. I have always wondered for whom the lists\nof \"the three hundred best Christmas books\" or \"books mostly\nappropriate for Christmas gifts\" are compiled. A walk to oui\nbook stores or through the book rooms of our department stores\nwill prove that men and women are actually selecting books\nfrom these lists as gifts for their beloved.\nNo better gift and no gift that is more intimate can we give\nas a token of friendship than a book; but it reminds me of the\nman who is living in Cairo and leaves his order in Tiffany's to\nsend presents at Christmas to a list of his friends not to exceed\nsuch and such an amount, when I think of the man who sends\nto his friend a book upon the recommendation of a professional\ncompiler of holiday book lists or of the clerk in the store who\n\"knows.\" To forward to your sweetheart a book which you\nhave not read, or to lay it under the Christmas tree for your\nwife or for your child is synonimous with introducing a stranger\nas a friend to those who will take him in as your friend ; who\nwill open to him heart and home, because of the love and\nesteem they have for you. You are so careful not to identify\nyourself in business with the man whom you have not \"looked\nup,\" you would not dream of signing a note upon the recom-\nmendation of an unknown or of cashing the cheque which bears\nas signature—a mere name, you will not hesitate to select a book\nfrom one of those lists or take for granted the word of the book-\nstore clerk. And how discriminating you are before signing the\nguest card for a new acquaintance in your club! but a b00k....\nanything in goodlooking leather binding or with an author's\nname which you have heard somewhere, even if you do not\nknow where, you will accept readily and pass on to those whom\nyou love besto\nOur grand fathers were old-fashioned conservatives. Friend-\nships in their days were not closed as easily as today. But\nneither were they dissolved as mere incidents. Publishers seventy\nyears ago were discriminating in their acceptance of new authors\nand in the material they printed. They knew that their readers\nwould use even more discrimination. To read a new book was\nthen an event in a man's life. If a pleasant event, he would\nmake a mental note and when Christmas came or a birthday, he\nwould purchase another copy and mark pages or passages, he\nwould express his sentiments on the flyleaf, he would wrap it\ncarefully and bring it, if possible, himself to its new possessor.\nWe are not living in an age of hand-knitted stockings. Our girls\nwould laugh at the idea of sewing shirts for their men friends.\nEven embroidered handkerchiefs are out of fashion. But a book\nshould not and cannot lose its soul. It is a live thing that the\nclerk wraps up for us or sends with a gift card to an indicated\naddress. It was part of a man before he wrote it and it will be\npart of another man after he has read it. You or I who bestow\nthe gift will be responsible for whatever it may mean to our\nfriend.\nTherefore: read the books that you will send as gifts to\nyour friends. Read them as acquaintances until you know you\nwish them for your friends. Compare these book-friends with\nyour friends to whom you wish to introduce them and if you\nthink that they can be friends too, take upoL you the pleasures\nbut also the responsibilities of an introduction.\nThey are right here on my desk, these stepchildren of our\nprofessional reviewers of magazines and of books: periodicals\npublished by individuals and not by great companies. The\nfalling leaves of the Autumn have buried a few of those I\nliked the best; others are coming out regularly and the high\ncost of paper makes them struggle harder than ever for their\nexistence.\nThe Little Review\nMargaret C. Anderson, the courageous and never weary\nfighter for freedom in mind and letters in Chicago, who had\ntried her publisher's luck for a while in California, announces\nher approaching advent into New York. Her \"Little Review\"\nfor November prints mostly English contributions. Is it because\nthey come in without trouble, or can't she really find equally\ngood things in our own country? Individual magazines have\nno right to exist when they have abandoned their original pur-\npose.\nPoetry, the Magazine of Verse\nHarriet Monroe elaborates in her editorial, \"Truth and the\nParadox\" on Mystery, \"not the greatness but the littleness of\nlife.\" This Paradox of truth is so mysterious in its well-chosen"}, {"page_pdf": 7, "page_imprimee": "1217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.7", "texte": "BRUNO'S WEEKLY\n(To be continued).\n\nwording that we hope that one of her endowed prize poets will\nwrite a commentary in free verse upon her theme. Amy Low-\nell ! Harriet Monroe has thrown three hundred beautiful\nwords in your face as a glove of challenge. Do mount your\nPegasus and return blow for blow. Defeat her with the imag-\nery of your colors. Give her one of your fragile creations of\nthat particular brand so strong it would move an elephant and\nso harmless it would not harm a child.\nInwhich\nThe November number is rilled with beautiful impressions\nof the Autumn in California whence the editor moved recently\nfrom Detroit. So much enthusiasm is upon its small pages; it\nis like a draught from that miraculously rejuvenating fountain.\nContemporary Verse\nIts poetry is as bad as a year ago. But the paper, both cover\nand body of the attractive looking pamphlet continues to be as\ngood as in its first number.\n\nColeman's Drawings and Paintings\nGuido Bruno.\nXAC IL\\ two years did it take Glenn 0. Coleman to journey\nfrom Greenwich Village and its humble so much attacked\nGarret to the splendor of an Exhibition Gallery on 47th Street\nand Fifth Avenue. His work, characteristic sketches of New\nYork buildings, streets and thoroughfares, which appeared\nin the first issues of ''Greenwich Village\" and subsequently very\nfrequently in Bruno's Weekly has received the most gracious\napproval of the uptown galleries. It is hung on walls de luxe\nsurrounded by the paraphernalia of the uptown picture dealer\nand guarded by flunkies.\nI met Coleman some years ago in one of the Village restaur-\nants. I had not seen his work then, but I liked the man. He\nspoke in terms of utmost disgust of people who make it their\nbusiness to encourage art and the endeavors of artists. He was\nfilled with the desire to work, to do just those things which he\ncalled his art. And he had only a sneer for the suggestions of\nart editors and magazine editors that he succumb to their ideas\nand fill their needs.\n\"If they do not appreciate my own work,\" I remember him\nsaying, \"I don't want their money. I am earning my livelihood/'\n(and he mentioned some work, very realistic work that has noth-\ning whatever to do with art which he was doing for a small\nsalary in one of the big department stores.) \"And I shall con-\ntinue to do so until some one will understand at what I am aim-\ning.\"\nColeman had contributed frequently to The Masses, then the\nonly journal affording opportunities for self-expression. But\nhe abandoned this small group for some reason of his own.\nOf all the artists that I have met during the past years Cole-\nman is the only one who has passed the experimental stage,\nwhose art has a positive and dignified individuality. His pic-\ntures of Greenwich Village, both his pen and ink sketches and\nhis oil paintings, are the creations of a settled and ripened mind\ninspired by dreams, dreams that seem to come true in your heart\nand in mine.\nHis houses have souls, his trees temperament, his people are\nindividuals detached from all the rest of the world. His paint-\nings seem to us delightful companions at the grate fire, in the\ntwilight of a holiday through which we have rested from the\ndaily struggles of life and have thrust far away the uglinesses\nof small annoyances.\nColeman's \"Rainy Day\" reminds us of some rainy afternoon\nthat we have loved for some reason or other. His portrayal of\nthe poorer sections of the city embrace us with the pictures\nqueness of the old and with the great beauty that may be found\neven in the life of ragged men and women.\nA quietness hovers over all his paintings. The room in the\nDaniell Galleries that is given over to Coleman is like a chapel\nof reverence, of love, of most holy art, amidst the fanciful\ncreations of morbid imagination, of sensation-lusting color\nschemes and of the inane insincere imitations that fill most of the\nArt Galleries on the Avenue; galleries that are the vestibule to\nnotoriety, where millionaires dip their pens into the picture\ndealer's ink-wells before they sign their checks.\nColeman has the modesty of the great artist.\nHis pictures have nothing whatever to do with their present\nsurroundings. They could hang on the walls of a dungeon\nhole as well as in the picture gallery of a mansion: They are\nlike pictures of the saints'. They give to whomsoever wishes to\nreceive.\nColeman is one of the few artists who are truly American\nand of whom America may be proud.\n\nThe Last Hour\nBy Gustave Flaubert\n{Found among his posthumous papers was this unfinished\nstory written 20th January, 1837. Flaubert was then fif-\nteen years old.)\nHAD looked at my watch and calculated how much time\nthere still was left for me to live. I realized I had hardly\none more hour. There is plenty of paper on my desk; plenty\nto write down hastily all the reminiscences of my life, and to\nsummarize the circumstances which have influenced this foolish\nand illogical intercogging of days and nights; of tears and of\nlaughter; commonly called the existence of man.\nMy room is small and its ceiling is low. My windows are\nshut tightly. I have carefully filled the keyhole with bread.\nThe coals are starting to kindle; death is approaching. I can\nexpect it quietly and calmly while I am keeping my eyes all\nthe time upon the life which vanishes and upon the eternity\nwhich approaches.\nI\nThey call that man happy who has at his disposal an income\nof twenty-five thousand francs; who is well built, tall and\nhandsome, who lives amidst his family, who visits the theatre\nevery evening, and laughs, drinks, sleeps and eats and digests\nwell. This opinion is old but therefore not less wrong.\nAs far as I was concerned I had more than twenty-five thou-\nsand francs income. My family was kind to me; I have been\nin almost all the theatres of Europe; I have drunk; I have\nslept. Since my birth I never knew the slightest indisposition.\nI have not a glass eye. I am not lame and I am not hunch-\nbacked .... and I am so happy that I am taking my\nlife to-day at the age of nineteen.\nII\nOne day—l was as I remember, ten years old—my mother\nembraced mc weeping and told me to go out and play under\nthe chestnut trees that bordered the lawn of the castle. . : .\n(Oh! how they must have grown since those days!) I went,\nbut as my Lelia did not join me there, I feared she was sick\nand I went back to the house. Everything was deserted. Big\nblack drapery was stretched over the portal of the house; I\nwent up to the room of my sister, and then I remembered she\nhad not been down to play for eight days.\nI went up to her room. There I met two women who fre-\nquently had begged at the door of the Castle ; they had some-\nthing lifeless in their arms covered with a white sheet. . . .\nthat was her!\nThey have often asked me since why I was sad.\nIII\nThat was her! My sister! Oh, how long and bitter it was!\nThe two black-coated women laid the body in my sister's bed.\nThey strewed flowers over it; sprinkled it with holy water, and\nlater, while the sun was throwing his last reddish rays into the\nroom, which were lustreless like the eyes of a corpse and after\nthe day had expired. At the window panes thev lighted two\nsmall candles on a little table next to the bed. They knelt\ndown and asked me to pray as they did.\nI prayed; oh! so sincerely and as ardently as I could. But\nnothing happened—Lelia did not move! I knelt there for a\nlong time, m> head resting upon the moist cold sheet of the\nbed. I cried, but quietly and without fear. I believed that if\nI could mediate, if I could cry, if I could rend my soul with\nprayer and wTith vows, there would be granted to me a look or\na motion of this body of misty form, where was indicated a\nhead and farther down, the feet. I poor believing child, had\nfaith enough to think that my prayers would bring to life a\ncorpse, so gieat was my belief and so great was my harmless-\nness.\nThere is a certain kind of damned educated\nbeasts who think that the soul begins to have a right\nto endure pain where the struggles for daily bread\nend."}, {"page_pdf": 8, "page_imprimee": "1218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaaq19161202-01.1.8", "texte": "BRUNO'S WEEKLY\nBruno's Weekly, published weekly by Bruno's Weeklyu Inc., at No. 10 Fifth Avenue, New York City. Edited\nand written by Guido Bruno. Subscription $2 a year.\nEntered as second class matter at the Post Office of New York, N. Y., October 14th, 1915, under the Act\nof March 3d, 1897.\n\nAt the Sign of the Green Witch\nMeals of Peculiar Excellency Served a La\nCarte and Table D'Hote\nLuncheon from 11 to 3. Dinner, 6p. m.to\n8 p. m. Afternoon Tea Service.\nManaged by Ella Whitney Gould\n49 East 10th Street New York\n\nReaders of Bruno's Weekly\nare asked\nto become Subscribers\n\n6340 SPRING 80 WASHINGTON SQUARE\nNEWTON MERRILL\nEXPERT IN INTERIOR DECORATIONS\n\nBernard Shaw, the sincerest and most brutally frank\ncritic of English letters, wrote after reading Frank\nHarris* OSCAR WILDE'S LIFE AND CONFESSIONS\na profuse letter of appreciation to Frank Harris, and\nput his own reminiscences of Oscar Wilde, a story of\nthe length of thirty thousand words, at the author's\ndisposal.\nBernard Shaw closes his letter to Frank Harris:\nThis biography of yours has wiped out all other bio-\ngraphies.\nFrank Harris has only a very few copies left of the\ntwo editions of his book.\nBook collectors and admirers of Oscar Wilde realized\nquickly the significance of the work and this book,\nonce out of print, will be counted among the priceless\ndreams of a book-lover.\nWrite for a prospectus and you may yet have a\nchance to buy it for the publisher's original price of\nten or twenty dollars respectively.\nBRUNO'S WEEKLY, Inc.\nNo. 10 Fifth Ave., New York, N. Y.\n\nAt THE NEW ROMA RESTAURANT of health where\nyou eat first class and quality of Italian and American cook-\ning at moderate prices, a la Carte, run by the well known\nPETER ROMA, nothing will be neglected with the bedt\nattention to everybody. Everything is brand new and sani-\ntary. Dancing every Saturday and Sunday. Grand Hall for\nBanquets, Weddings, etc.\nP. ROMA, Manager\n87-89 Macdougal St., cor. Bleecker St., first floor\nTelephone Spring 1324\n\nBruno Chap Books.\nTwenty-eight booklets containing the most interesting work of the most unique writers of the past twenty-\nfive years.\nPrices ranging from fifteen cents to fifty cents.\nfor catalgoue and send one-cent stamp. It contains the story of Bruno's Garrett from a public grave\ndigger's tool house to the exhibition gallery of modern artists' work.\nBruno's Weekly, 10 Fifth Avenue, New York City.\n\n14 Stories by Maupassant,\nF#r 35 cents postpaid\nStories of the Tragedy and Comedy of Life, with\nan introduction by Paul Bourget. Prettily printed in\nlarge type on superior paper, with illustrations in\ncolor by Clare Victor Dwiggins. 16mo, stiff dark\ngreen paper cover, rough edges. (196 pages.) New\nYork, M. Walter Dunne, 1914. (Pub. 50 cents.)\nComprises the following short stories: The False\nGems, Was it a Dream?; Simon's Paper; In the Moon-\nlight; The Old Maid; The Lancer's Wife; The Sequel\nto a Divorce; The Englishwoman; Sentiment; The\nFishermen; In his Sweetheart's Livery; Bertha; Dis-\ncovery; and A Message of Love.\nCONDOR'S BOOK STORE\n366 Fifth Ave.\nWrite for interesting catalogue of books.\n\nOSCAR WILDE'S\nImpressions of America\nedited with an introduction by Stuart Mason.\nOne •/ the original 500 copies printed.\nThis book, written by Oscar Wilde upon his return from\nthat memorable lecture tour through America, contains\nsome of the finest characterizations of America, as Wilde\nsaw it. He hits mercilessly and he praises effusively. In\nthe appendix is an interesting collection of newspaper\ninterviews with Wilde.\nIt is a rare Wilde item, published by one of Wilde's oldest\nfriends and his bibliographer.\nOnly a few copies left which will be sent to those whose orders\nreach us at first for $1.00 postpaid.\nSCHULTE'S BOOK STORE\n132 E. 23rd Street\nNew York\n\nR. EDERHEIMER\nPRINT CABINET\n366 FIFTH AVE., NEW YORK\nOriginal Drawings by Old Masters\nALL APPRECIATIVE VISITORS CORDIALLY INVITED"}]}