The Project Gutenberg eBook ofPipefuls

The Project Gutenberg eBook ofPipefulsThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: PipefulsAuthor: Christopher MorleyIllustrator: Walter Jack DuncanRelease date: September 21, 2007 [eBook #22699]Language: EnglishCredits: E-text prepared by Audrey Longhurst, Marcia Brooks, and the Project Gutenberg Online Distributed Proofreading Team*** START OF THE PROJECT GUTENBERG EBOOK PIPEFULS ***

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: PipefulsAuthor: Christopher MorleyIllustrator: Walter Jack DuncanRelease date: September 21, 2007 [eBook #22699]Language: EnglishCredits: E-text prepared by Audrey Longhurst, Marcia Brooks, and the Project Gutenberg Online Distributed Proofreading Team

Title: Pipefuls

Author: Christopher MorleyIllustrator: Walter Jack Duncan

Author: Christopher Morley

Illustrator: Walter Jack Duncan

Release date: September 21, 2007 [eBook #22699]

Language: English

Credits: E-text prepared by Audrey Longhurst, Marcia Brooks, and the Project Gutenberg Online Distributed Proofreading Team

*** START OF THE PROJECT GUTENBERG EBOOK PIPEFULS ***

E-text prepared by Audrey Longhurst, Marcia Brooks,and the Project Gutenberg Online Distributed Proofreading Team(http://www.pgdp.net)

Original Cover

Other Books by the AuthorParnassus on WheelsThe Haunted BookshopShandygaffMince PieKathleenSongs for a Little HouseThe Rocking HorseHide and SeekTravels in Philadelphia

title page

GARDEN CITY NEW YORKDOUBLEDAY, PAGE & COMPANY1920

THIS BOOK IS DEDICATEDTOTHREE MENHULBERT FOOTNEREUGENE SAXTONWILLIAM ROSE BENÉTBECAUSE, IF I MENTIONED ONLY ONEOF THEM, I WOULD HAVE TOWRITE BOOKSTO INSCRIBE TO THE OTHER TWO

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Sir Thomas Browne said that Eve was “edified out of the rib of Adam.” This little book was edified (for the most part) out of the ribs of two friendly newspapers, The New YorkEvening Postand The PhiladelphiaEvening Public Ledger. To them, and toThe Bookman,Everybody's, andThe Publishers' Weekly, I am grateful for permission to reprint.

Tristram Shandy said, “When a man is hemm'd in by two indecorums, and must commit one of 'em let him chuse which he will, the world will blame him.” Now it is one indecorum to let this collection of small sketches go out (as they do) unrevised and just as they assaulted the defenceless reader of the daily prints; and the other indecorum would be to take fragments of this kind too gravely, and attempt by more careful disposition of their pallid members to arrange them into some appearance of painless decease. As Gilbert Chesterton said (I wish I could say, on a similar occasion): “Their vices are too vital to be improved with a blue pencil, or with anything I can think of, except dynamite.”

These sketches gave me pain to write; they will give the judicious patron pain to read; therefore we are quits. I think, as I look over their slattern paragraphs, of that most tragic hour—it falls about 4p. m.in the office of an evening newspaper—when the unhappy compiler tries to round up the broodings of the day and still get home in time for supper. And yet perhaps the will-to-live is in them, for are they not a naked exhibit of the antics a man will commit in order to earn a living? In extenuation it may be pleaded that none of them are so long that they may not be mitigated by an accompanying pipe of tobacco.

THE AUTHOR.

Roslyn, Long Island,July, 1920.

PAGEPrefaceviiOn Making Friends3Thoughts on Cider10One-Night Stands18The Owl Train25Safety Pins29Confessions of a “Colyumist”34Moving42Surf Fishing48“Idolatry”52The First Commencement Address60The Downfall of George Snipe63Meditations of a Bookseller66If Buying a Meal Were Like Buying a House71Adventures in High Finance74On Visiting Bookshops78A Discovery83Silas Orrin Howes91Joyce Kilmer97Tales of Two Cities109I.Philadelphia:An Early TrainRidge AvenueThe University and the UrchinPine StreetPershing in PhiladelphiaFall FeverTwo Days Before ChristmasIn West PhiladelphiaHorace TraubelII.New York:163The Anatomy of ManhattanVesey StreetBrooklyn BridgeThree Hours for LunchPassage from Some MemoirsFirst Lessons in ClowningHouse HuntingLong Island RevisitedOn Being in a HurryConfessions of a Human GlobuleNotes on a Fifth Avenue BusSunday MorningVenison PastyGrand Avenue, BrooklynOn Waiting for the Curtain to Go Up236Musings of John Mistletoe240The World's Most Famous Oration242On Laziness244Teaching the Prince to Take Notes249A City Notebook253On Going to Bed270

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Considering that most friendships are made by mere hazard, how is it that men find themselves equipped and fortified with just the friends they need? We have heard of men who asserted that they would like to have more money, or more books, or more pairs of pyjamas; but we have never heard of a man saying that he did not have enough friends. For, while one can never have too many friends, yet those one has are always enough. They satisfy us completely. One has never met a man who would say, “I wish I had a friend whowould combine the good humour of A, the mystical enthusiasm of B, the love of doughnuts which is such an endearing quality in C, and who would also have the habit of giving Sunday evening suppers like D, and the well-stocked cellar which is so deplorably lacking in E.” No; the curious thing is that at any time and in any settled way of life a man is generally provided with friends far in excess of his desert, and also in excess of his capacity to absorb their wisdom and affectionate attentions.

There is some pleasant secret behind this, a secret that none is wise enough to fathom. The infinite fund of disinterested humane kindliness that is adrift in the world is part of the riddle, the insoluble riddle of life that is born in our blood and tissue. It is agreeable to think that no man, save by his own gross fault, ever went through life unfriended, without companions to whom he could stammer his momentary impulses of sagacity, to whom he could turn in hours of loneliness. It is not even necessary to know a man to be his friend. One can sit at a lunch counter, observing the moods and whims of the white-coated pie-passer, and by the time you have juggled a couple of fried eggs you will have caught some grasp of his philosophy of life, seen the quick edge and tang of his humour, memorized the shrewdness of his worldly insight and been as truly stimulated as if you had spent an evening with your favourite parson.

If there were no such thing as friendship existing to-day, it would perhaps be difficult to understand what it is like from those who have written about it. We have tried, from time to time, to read Emerson's enigmatic and rather frigid essay. It seems that Emerson must have put his cronies to a severe test before admitting them to the high-vaulted and rather draughty halls of his intellect. There are fine passages in his essay, but it is intellectualized, bloodless, heedless of the trifling oddities of human intercourse that make friendship so satisfying. He seems to insist upon a sterile ceremony of mutual self-improvement, a kind of religious ritual, a profound interchange of doctrines between soul and soul. His friends (one gathers) are to be antisepticated, all the poisons and pestilence of their faulty humours are to be drained away before they may approach the white and icy operating table of his heart. “Why insist,” he says, “on rash personal relations with your friend? Why go to his house, or know his wife and family?” And yet does not the botanist like to study the flower in the soil where it grows?

Polonius, too, is another ancient supposed to be an authority on friendship. The Polonius family must have been a thoroughly dreary one to live with; we have often thought that poor Ophelia would have gone mad anyway, even if there had been no Hamlet. Laertes preaches to Ophelia; Polonius preaches toLaertes. Laertes escaped by going abroad, but the girl had to stay at home. Hamlet saw that pithy old Polonius was a preposterous and orotund ass. Polonius's doctrine of friendship—“The friends thou hast, and their adoption tried, grapple them to thy soul with hoops of steel”—was, we trow, a necessary one in his case. It would need a hoop of steel to keep them near such a dismal old sawmonger.

Friendships, we think, do not grow up in any such carefully tended and contemplated fashion as Messrs. Emerson and Polonius suggest. They begin haphazard. As we look back on the first time we saw our friends we find that generally our original impression was curiously astray. We have worked along beside them, have consorted with them drunk or sober, have grown to cherish their delicious absurdities, have outrageously imposed on each other's patience—and suddenly we awoke to realize what had happened. We had, without knowing it, gained a new friend. In some curious way the unseen border line had been passed. We had reached the final culmination of Anglo-Saxon regard when two men rarely look each other straight in the eyes because they are ashamed to show each other how fond they are. We had reached the fine flower and the ultimate test of comradeship—that is, when you get a letter from one of your “best friends,” you know you don't need to answer it until you get ready to.

Emerson is right in saying that friendship can't be hurried. It takes time to ripen. It needs a background of humorous, wearisome, or even tragic events shared together, a certain tract of memories shared in common, so that you know that your own life and your companion's have really moved for some time in the same channel. It needs interchange of books, meals together, discussion of one another's whims with mutual friends, to gain a proper perspective. It is set in a rich haze of half-remembered occasions, sudden glimpses, ludicrous pranks, unsuspected observations, midnight confidences when heart spoke to candid heart.

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The soul preaches humility to itself when itrealizes, startled, that it has won a new friend. Knowing what a posset of contradictions we all are, it feels a symptom of shame at the thought that our friend knows all our frailties and yet thinks us worth affection. We all have cause to be shamefast indeed; for whereas we love ourselves in spite of our faults, our friends often love us even on account of our faults, the highest level to which attachment can go. And what an infinite appeal there is in their faces! How we grow to cherish those curious little fleshy cages—so oddly sculptured—which inclose the spirit within. To see those faces, bent unconsciously over their tasks—each different, each unique, each so richly and queerly expressive of the lively and perverse enigma of man, is a full education in human tolerance. Privately, one studies his own ill-modeled visnomy to see if by any chance it bespeaks the emotions he inwardly feels. We know—as Hamlet did—the vicious mole of nature in us, the o'ergrowth of some complexion that mars the purity of our secret resolutions. Yet—our friends have passed it over, have shown their willingness to take us as we are. Can we do less than hope to deserve their generous tenderness, granted before it was earned?

The problem of education, said R. L. S., is two-fold—“first to know, then to utter.” Every man knows what friendship means, but few can utter that complete frankness of communion, based upon fullcomprehension of mutual weakness, enlivened by a happy understanding of honourable intentions generously shared. When we first met our friends we met with bandaged eyes. We did not know what journeys they had been on, what winding roads their spirits had travelled, what ingenious shifts they had devised to circumvent the walls and barriers of the world. We know these now, for some of them they have told us; others we have guessed. We have watched them when they little dreamed it; just as they (we suppose) have done with us. Every gesture and method of their daily movement have become part of our enjoyment of life. Not until a time comes for saying good-bye will we ever know how much we would like to have said. At those times one has to fall back on shrewder tongues. You remember Hilaire Belloc:

From quiet homes and first beginningOut to the undiscovered ends,There's nothing worth the wear of winningBut laughter, and the love of friends.

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Our friend Dove Dulcet, the poet, came into our kennel and found us arm in arm with a deep demijohn of Chester County cider. We poured him out a beaker of the cloudy amber juice. It was just in prime condition, sharpened with a blithe tingle, beaded with a pleasing bubble of froth. Dove looked upon it with a kindled eye. His arm raised the tumbler in a manner that showed this gesture to be one that he had compassed before. The orchard nectar began to sluice down his throat.

Dove is one who has faced many and grievouswoes. His Celtic soul peers from behind cloudy curtains of alarm. Old unhappy far-off things and battles long ago fume in the smoke of his pipe. His girded spirit sees agrarian unrest in the daffodil and industrial riot in a tin of preserved prunes. He sees the world moving on the brink of horror and despair. Sweet dalliance with a baked bloater on a restaurant platter moves him to grief over the hard lot of the Newfoundland fishing fleet. Six cups of tea warm him to anguish over the peonage of Sir Thomas Lipton's coolies in Ceylon. Souls in perplexity cluster round him like Canadian dimes in a cash register in Plattsburgh, N. Y. He is a human sympathy trust. When we are on our deathbed we shall send for him. The perfection of his gentle sorrow will send us roaring out into the dark, and will set a valuable example to the members of our family.

But it is the rack of clouds that makes the sunset lovely. The bosomy vapours of Dove's soul are the palette upon which the decumbent sun of his spirit casts its vivid orange and scarlet colours. His joy is the more perfect to behold because it bursts goldenly through the pangs of his tender heart. His soul is like the infant Moses, cradled among dark and prickly bullrushes; but anon it floats out upon the river and drifts merrily downward on a sparkling spate.

It has nothing to do with Dove, but we will here interject the remark that a pessimist overtaken byliquor is the cheeriest sight in the world. Who is so extravagantly, gloriously, and irresponsibly gay?

Dove's eyes beaconed as the cider went its way. The sweet lingering tang filled the arch of his palate with a soft mellow cheer. His gaze fell upon us as his head tilted gently backward. We wish there had been a painter there—someone like F. Walter Taylor—to rush onto canvas the gorgeous benignity of his aspect. It would have been a portrait of the rich Flemish school. Dove's eyes were full of a tender emotion, mingled with a charmed and wistful surprise. It was as though the poet was saying he had not realized there was anything so good left on earth. His bearing was devout, religious, mystical. In one moment of revelation (so it appeared to us as we watched) Dove looked upon all the profiles and aspects of life, and found them of noble outline. Not since the grandest of Grand Old Parties went out of power has Dove looked less as though he felt the world were on the verge of an abyss. For several moments revolution and anarchy receded, profiteers were tamed, capital and labour purred together on a mattress of catnip, and the cosmos became a free verse poem. He did not even utter the customary and ungracious remark of those to whom cider potations are given: “That'll be at its best in about a week.” We apologized for the cider being a little warmish from standing (discreetly hidden) under our desk. Douce man, he said: “I thinkcider, like ale, ought not to be drunk too cold. I like it just this way.” He stood for a moment, filled with theology and metaphysics. “By gracious,” he said, “it makes all the other stuff taste like poison.” Still he stood for a brief instant, transfixed with complete bliss. It was apparent to us that his mind was busy with apple orchards and autumn sunshine. Perhaps he was wondering whether he could make a poem out of it. Then he turned softly and went back to his job in a life insurance office.

As for ourself, we then poured out another tumbler, lit a corncob pipe, and meditated. Falstaff once said that he had forgotten what the inside of a church looked like. There will come a time when many of us will perhaps have forgotten what the inside of a saloon looked like, but there will still be the consolation of the cider jug. Like the smell of roasting chestnuts and the comfortable equatorial warmth of an oyster stew, it is a consolation hard to put into words. It calls irresistibly for tobacco; in fact the true cider toper always pulls a long puff at his pipe before each drink, and blows some of the smoke into the glass so that he gulps down some of the blue reek with his draught. Just why this should be, we know not. Also some enthusiasts insist on having small sugared cookies with their cider; others cry loudly for Reading pretzels. Some have ingenious theories about letting the jug stand, either tightly stoppered or else unstoppered, untilit becomes “hard.” In our experience hard cider is distressingly like drinking vinegar. We prefer it soft, with all its sweetness and the transfusing savour of the fruit animating it. At the peak of its deliciousness it has a small, airy sparkle against the roof of the mouth, a delicate tactile sensation like the feet of dancing flies. This, we presume, is the 4½ to 7 per cent of sin with which fermented cider is credited by works of reference. There are pedants and bigots who insist that the jug must be stoppered with a corncob. For our own part, the stopper does not stay in the neck long enough after the demijohn reaches us to make it worth while worrying about this matter. Yet a nice attention to detail may prove that the cob has some secret affinity with cider, for a Missouri meerschaum never tastes so well as after three glasses of this rustic elixir.

That ingenious student of social niceties, John Mistletoe, in his famous Dictionary of Deplorable Facts—a book which we heartily commend to the curious, for he includes a long and most informing article on cider, tracing its etymology from the old Hebrew wordshakermeaning “to quaff deeply”—maintains that cider should only be drunk beside an open fire of applewood logs:

And preferably on an evening of storm and wetness, when the swish and sudden pattering of rain against the panes lend an added agreeable snugness to the cheerful scene within, where master anddame sit by the rosy hearth frying sausages in a pan laid on the embers.

This reminds one of the anecdote related by ex-Senator Beveridge in his Life of John Marshall. Justice Story told his wife that the justices of the Supreme Court were of a self-denying habit, never taking wine except in wet weather. “But it does sometimes happen that the Chief Justice will say to me, when the cloth is removed, 'Brother Story, step to the window and see if it does not look like rain.' And if I tell him that the sun is shining brightly, Judge Marshall will sometimes reply, 'All the better, for our jurisdiction extends over so large a territory that the doctrine of chances makes it certain that it must be raining somewhere.'”

Our own theory about cider is that the time to drink it is when it reaches you; and if it hails from Chester County, so much the better.

We remember with gusto a little soliloquy on cider delivered by another friend of ours, as we both stood in a decent ordinary on Fulton Street, going through all the motions of jocularity and cheer. Cider (he said) is our refuge and strength. Cider, he insisted, drawing from his pocket a clipping much tarnished with age, is a drink for men of reason and genteel nurture; a drink for such as desire to drink pleasantly, amiably, healthily, and with perseverance and yet retain the command and superintendence oftheir faculties. I have here (he continued) a clipping sent me by an eminent architect in the great city of Philadelphia (a city which it is a pleasure for me to contemplate by reason of the beauty and virtue of its women, the infinite vivacity and good temper of its men, the rectitudinal disposition of its highways)—I have here (he exclaimed) a clipping sent me by an architect of fame, charming parts, and infinite cellarage, explaining the virtues of cider. Cider, this clipping asserts, produces a clearness of the complexion. It brightens the eye, particularly in women, conducing to the composition of generous compliment and all the social suavity that endears the intercourse of the sexes. Longevity, this extract maintains, is the result of application to good cider. The Rev. Martin Johnson, vicar of Dilwyn, in Herefordshire, from 1651 to 1698 (he read from his clipping), wrote:

This parish, wherein sider is plentiful, hath many people that do enjoy this blessing of long life; neither are the aged bedridden or decrepit as elsewhere; next to God, wee ascribe it to our flourishing orchards, first that the bloomed trees in spring do not only sweeten but purify the ambient air; next, that they yield us plenty of rich and winy liquors, which do conduce very much to the constant health of our inhabitants. Their ordinary course is to breakfast and sup with toast and sider through the whole Lent; which heightens their appetites and creates in them durable strength to labour.

There was a pause, and our friend (he is a man of girth and with a brow bearing all the candor of a life of intense thought) leaned against the mahogany counter.

That is very fine, we said, draining our chalice, and feeling brightness of eye, length of years, and durable strength to labour added to our person. In the meantime (we said) why do you not drink the rich and winy liquor which your vessel contains?

He folded up his clipping and put it away with a sigh.

I always have to read that first, he said, to make the damned stuff palatable. It will be ten years, he said, before the friend who sent me that clipping will have to drink any cider.

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To those looking for an exhilarating vacation let us commend a week of “trouping” on one-night stands with a theatrical company, which mirthful experience has just been ours. We went along in the very lowly capacity of co-author, which placed us somewhat beneath the stage hands as far as dignity was concerned; and we flatter ourself that we have learned our station and observe it with due humility. The first task of the director who stages a play is to let the author know where he gets off. This was accomplished in our case by an argument concerning a speech in the play where one of thecharacters remarks, “I propose to send a mental message to Eliza.” This sounds (we contend) quite a harmless sentiment, but the director insisted that the person speaking, being an Englishman of studious disposition, would not say anything so inaccurate. “He would use much more correct language,” said the director. “He ought to say 'Ipurposeto send.'” We balked mildly at this. “All right,” said our mentor. “The trouble with you is you don't know any English. I'll send you a copy of the Century dictionary.”

This gentleman carried purism to almost extravagant lengths. He objected to the customary pronunciation of “jew's-harp,” insisting that the word should be “juice-harp,” and instructing the actor who mentioned this innocent instrument of melody to write it down so in his script. When the dress rehearsal came round, he was surveying the “set” for the first act with considerable complacence. This scenery was intended to represent a very ancient English inn at Stratford-on-Avon, and one of the authors was heard to remark softly that it looked more like a broker's office on Wall Street. But the director was unshaken. “There's an old English inn up at Larchmont,” said he, “and this looks a good deal like it, so I guess we're all right.”

Let any one who imagines the actor's life is one of bevo and skittles sally along with a new play on its try-out in the one-night circuit. When one sees thedelightful humour, fortitude, and high spirits with which the players face their task he gains a new respect for the profession. It is with a sense of shame that the wincing author hears his lines repeated night after night—lines that seem to him to have grown so stale and disreputably stupid, and which the ingenuity of the players contrives to instill with life. With a sense of shame indeed does he reflect that because one day long ago he was struck with a preposterous idea, here are honest folk depending on it to earn daily bread and travelling on a rainy day on a local train on the Central New England Railway; here are 800 people in Saratoga Springs filing into a theatre with naïve expectation on their faces. Amusing things happen faster than he can stay to count them. A fire breaks out in a cigar store a few minutes before theatre time. It is extinguished immediately, but half the town has rushed down to see the excitement. The cigar store is almost next door to the theatre, and the crowd sees the lighted sign and drops in to give the show the once-over, thus giving one a capacity house. Then there are the amusing accidents that happen on the stage, due to the inevitable confusion of one-night stands with long jumps each day, when scenery and props arrive at the theatre barely in time to be set up. In the third act one of the characters has to take his trousers out of a handbag. He opens the bag, but by some error no garments arewithin. Heavens! has the stage manager mixed up the bags? He has only one hope. The girlish heroine's luggage is also on the stage, and our comedian dashes over and finds his trousers in her bag. This casts a most sinister imputation on the adorable heroine, but our friend (blessings on him) contrives it so delicately that the audience doesn't get wise. Then doors that are supposed to be locked have a habit of swinging open, and the luckless heroine, ready to say furiously to the hero, “Willyou unlock the door?” finds herself facing an open doorway and has to invent a line to get herself off the stage.

Going on the road is a very humanizing experience and one gathers a considerable respect for the small towns one visits. They are so brisk, so proud in their local achievements, so prosperous and so full of attractive shop-windows. When one finds in Johnstown, N. Y., for instance, a bookshop with almost as well-assorted a stock as one would see here in Philadelphia; or in Gloversville and Newburgh public libraries that would be a credit to any large city, one realizes the great tide of public intelligence that has risen perceptibly in recent years. At the hotel in Gloversville the proprietress assured us that “an English duke” had just left who told her that he preferred her hotel to the Biltmore in New York. We rather wondered about this English duke, but we looked him up on the register and found that he was Sir H. Urnick of Fownes Brothers, the glove manufacturers, who have a factory in Gloversville. But then, being a glove manufacturer, he may have been kidding her, as the low comedian of our troupe observed. But the local pride of the small town is a genial thing. It may always be noted in the barber shops. The small-town barber knows his customers and when a strange face appears to be shaved on the afternoon when the bills are announcing a play, he puts two and two together. “Are you with that show?” he asks; and being answered in the affirmative (one naturally would not admit that one is merely there in the frugal capacity of co-author, and hopes that he will imagine that such a face might conceivably belong to the low comedian) he proceeds to expound the favourite doctrine that this is a wise burg. “Yes,” he says, “folks here are pretty cagy. If your show can get by here you needn't worry about New York. Believe me, if you get a hand here you can go right down to Broadway. I always take in the shows, and I've heard lots of actors say this town is harder to please than any place they ever played.”

One gets a new viewpoint on many matters by a week of one-night stands. Theatrical billboards, for instance. We had always thought, in a vague kind of way, that they were a defacement to a town and cluttered up blank spaces in an unseemly way. But when you are trouping, the first thing you do, after registering at the hotel, is to go out and scoutround the town yearning for billboards and complaining because there aren't enough of them. You meet another member of the company on the same errand and say, “I don't see much paper out,” this being the technical phrase. You both agree that the advance agent must be loafing. Then you set out to see what opposition you are playing against, and emit groans on learning that “The Million Dollar Doll in Paris” is also in town, or “Harry Bulger's Girly Show” will be there the following evening, or Mack Sennett's Bathing Beauties in Person. “That's the kind of stuff they fall for,” said the other author mournfully, and you hustle around to the box office to see whether the ticket rack is still full of unsold pasteboard.

At this time of year, when all the metropolitan theatres are crowded and there are some thirty plays cruising round in the offing waiting for a chance to get into New York and praying that some show now there will “flop,” one crosses the trail of many other wandering troupes that are battering about from town to town. In remote Johnstown, N. Y., which can only be reached by trolley and where there is no hotel (but a very fine large theatre) one finds that Miss Grace George is to be the next attraction. On the train to Saratoga one rides on the same train with the Million Dollar Doll, and those who have seen her “paper” on the billboards in Newburgh or Poughkeepsie keep an attentiveoptic open for the lady herself to see how nearly she lives up to her lithographs. And if the passerby should see a lighted window in the hotel glimmering at two in the morning, he will probably aver that there are some of those light-hearted “show people” carousing over a flagon of Virginia Dare. Little does he suspect that long after the tranquil thespians have gone to their well-earned hay, the miserable authors of the trying-out piece may be vigiling together, trying to dope out a new scene for the third act. The saying is not new, but it comes frequently to the lips of the one-night stander—It's a great life if you don't weaken.

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