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Abstract
This study will trace the way shifts in performance and textual function reshaped the zaju from its late thirteenth-century appearance to the early seventeenth-century publication of the Yuanqu xuan by Zang Maoxun. Whereas the Yuanqu xuan offered literary texts for readers, the earliest printings from the fourteenth century were most likely based on lead performers' role texts, printed as aids for the audience. The author will also compare changes introduced into the texts by Ming theatrical agencies and their court performances, with the editorial policy of Li Kaixian, among the first to reprint Yuan zaju as the representative literary genre of that era. Long the major source for Western translations of early Chinese drama, the Yuanqu xuan has been selectively drawn on, according to the different aims of its translators: the plays have been used for language study, observation of Chinese daily life, and appreciation of Chinese literature. The author concludes by noting the growing interest in both Japan and the English-speaking world of scholars and translators, in earlier editions of Yuan drama.

The English Short Title Catalogue and Early English Books Online both miscatalogue the miscellany, printed in 1657, in which the closet drama Cupid's Grand Polititian appears. Unsurprisingly, given this mislabelling, Cupid's Grand Polititian has passed virtually unnoticed by scholars of the early modern English theatre. Only two critics appear to have been aware of the play's existence, neither of whom offers substantial commentary on it. This note aims to stimulate interest in the play (and the verse miscellany in which it is found) by expounding some of its key features.

"The noble Cavendishes were one of the most influential families in the politics and culture of early modern England and beyond. A Companion to the Cavendishes offers a comprehensive account of the Cavendish family's creative output and cultural significance in the seventeenth century. It discusses the writings of individuals including William and Margaret Cavendish, and William's daughters Jane and Elizabeth; family members' work and patronage in other media such as music, architecture, and the visual arts; their participation in contemporary developments in politics, philosophy, and horsemanship; and the networks in which they moved both in England and in continental Europe. It also covers the work of less well-known family members such as the poet and biographer George Cavendish and the composer Michael Cavendish. This volume combines path-breaking scholarship with discussion of existing research, making it an invaluable resource for all those interested in this fascinating and diverse group of men and women."

Drama, Theatre, and Identity in the American New Republic investigates the way in which theatre both reflects and shapes the question of identity in post-revolutionary American culture. In this 2005 book Richards examines a variety of phenomena connected to the stage, including closet Revolutionary political plays, British drama on American boards, American-authored stage plays, and poetry and fiction by early Republican writers. American theatre is viewed by Richards as a transatlantic hybrid in which British theatrical traditions in writing and acting provide material and templates by which Americans see and express themselves and their relationship to others. Through intensive analyses of plays both inside and outside of the early American 'canon', this book confronts matters of political, ethnic and cultural identity by moving from play text to theatrical context and from historical event to audience demography

Intro -- Chapter One -- "Let's Talk About Homos!" -- "What Do They Mean By Lesbian?" -- The Man Behind The Potted Plant -- Homosexuality And The Prime Time Medical Drama -- Homosexual Panic (And The Panicky Homosexual) -- The Doctor Is In (And Out) -- He Is A She (And Vice Versa) -- A Disease Of Our Own -- Aids In The Not-So-Gay 90s -- Code Pink: Doctors And Patients In The 90s -- Children And Gender Identity Confusion -- Chapter Two -- "Everybody Run! Miss Brant's Got A Gun!" -- Shakedown And Breakdown -- Attack Of The Killer Gays! -- Our Girls In Blue -- Our Boys In Pink -- The Supportive Supporting Players -- Don't Ask, Don't Tell, Don't Bash -- Live And Let Live -- Killer Aids -- Discrimination Suits -- Chapter Three -- That Certain Made-For-Tv Movie -- Lathering Up -- The Dynasty Decade -- Lather, Rinse, Repeat -- 4616 Melrose Place -- Keeping It Real -- Off The Beaten Path -- Public (Including Homosexuals) Television -- Gay For Pay -- It's Not Hetero, It's Hbo -- Showtime: No Limits (No Kidding) -- Gay Tv Teens (And Queens And Witches, Oh My!) -- Maybe, Maybe Not -- Curious And Confused -- Made-For-Tv Teens -- Gay Teens And The Teen Drama -- My So-Called Life's Enrique "Rickie" Vasquez -- Dawson'S Creek'S Jack Mcphee -- Buffy'S Willow Rosenberg -- Chapter Four -- Plotline #1: The "Coming Out" Episode -- Plotline #2: The "Mistaken Identity" Episode -- Plot #3: The "Pretend" Episode -- Plotline #4: "A Very Special Episode ..." -- The Gay Teacher -- The Aids Story -- Recurring And Regular Gay Characters -- The Gay Assistant -- Crystal Does Dallas -- The Gay Co-Worker -- The Gaycom Breaks Out -- A Little Variety: Comedy-Variety And Sketch Comedy Shows.

Purpose
– The purpose of this paper is to consider how the drama space is a way of inquiry in its own right and as a complex "way of knowing" has a capacity to be a profitable location from which to artfully thread and critically interrogate the performances of lives-as-lived.


Design/methodology/approach
– The autoethnographic discussion has an overlay of histography as it brings the "real-life" word to the drama space and builds on naturalistic and experimental research moving the reader through transformational inquiry to what they name as drama as a post-foundational research method.


Findings
– In using drama as artful practices, intra-reflexivity – interior focused – felt as artistic "process" leads "psyche" to an empathic space for acceptance of the fugitive selves and demonstrates "queerness" through the narratives as monologues.


Research limitations/implications
– The vignettes presented as monologue attest to the authors' life histories and their "fugitive" ways of being as gay men.


Practical implications
– The authors consider how drama as methodological practice can re work the notion of text-to-life or life-to-text, as an expression of a will to knowledge, of the authors working dramatically with their participants and students to find a way to articulate experience and place at the centre of research an agentic voice in relation to psychological, socio-cultural and historical interpretations.


Originality/value
– Drama, as a methodological approach, has, the authors suggest, the potential to move beyond disembodied and abstract mental processes and to draw out of the closets the interpersonal relationships that have historically been seen as dangerous or disturbing.

Cover -- Halftitle page -- Series page -- Title page -- Copyright page -- CONTENTS -- ILLUSTRATIONS -- GENERAL EDITORS' PREFACE -- Introduction What Were Emotions? Definitions and Understandings, 1780-1920 -- NEW WORDS, NEW MEANINGS -- EMOTIONS IN POLITICS AND ECONOMY -- ROMANTIC REACTIONS -- EMOTIONS AND DIFFERENCE -- CHAPTER ONE Medical and Scientific Understandings -- EMOTIONAL UPHEAVAL, OR THE LOST SENSE OF HUMOR -- THE SCIENCE (AND POLITICS) OF EXPRESSION -- MENTAL EVOLUTION AND EARLY COMPARATIVE PSYCHOLOGY -- MEASURED MEASURING, OR PHYSIOLOGICAL EMOTIONS -- CHAPTER TWO Religion and Spirituality -- THE SOCIOLOGY OF RELIGION AND EMOTIONS: RELIGIOUS MELANCHOLY AND PROTESTANTISM -- RELIGIOUS ECSTASY AND SPIRITUALITY: METHODISM, HOLINESS, AND AFRICAN AMERICAN RELIGIOUS EXPERIENCE -- A TYPOLOGY OF PROTESTANT IDENTITY AND RELIGIOUS EXPERIENCE: SELECTED CASE HISTORIES IN ANTEBELLUM AMERICA -- THE BUSINESSMAN'S REVIVAL AND EVANGELICAL RELIGION IN THE CIVIL WAR -- "NATURE RELIGION," MIND-CURE, AND THE SECULARIZATION OF SPIRITUALITY -- CHAPTER THREE Music and Dance -- ART, MUSIC, EMOTION, AND MORAL EDUCATION -- LISTENING TO MUSIC -- MUSIC ANALYSIS -- ENGAGING WITH MUSIC -- EPILOGUE: SUBLIMATING NARRATIVE-SUBLIMATING THE VOICE -- CHAPTER FOUR Drama -- MELODRAMA -- ROMANTIC TRAGEDY -- CLOSET DRAMA -- MENTAL THEATER -- CHAPTER FIVE The Visual Arts -- THE PRE-HISTORY OF ROMANTIC EMOTIONS -- SENTIMENT -- ROMANTICISM AND EMOTIONS -- STRONG FEELINGS -- INNER AND OUTER WORLD IN LATE NINETEENTH-CENTURY ART -- SYNTHESIS -- CHAPTER SIX Literature -- INTRODUCTION -- SENTIMENTALISM -- SENTIMENTALISM'S LEGACIES -- ROMANTICISM AND REVOLUTIONARY EMOTIONS -- REALISM, DARWIN, NATURALISM -- TRANSITION TO MODERNISM -- CHAPTER SEVEN In Private The Individual and the Domestic Community -- THE BASELINE FOR CHANGE -- CAUSES OF CHANGE -- COMPLEXITIES -- THE KEY CHANGES.

In Sex Lives, Joseph Gamble draws from literature, art, and personal testimonies from sixteenth- and seventeenth-century Europe to uncover how early moderns learned to have sex. In the early modern period, Gamble contends, everyone from pornographers to Shakespeare recognized that sex requires knowledge of both logistics (how to do it) and affect (how to feel about it). And knowledge, of course, takes practice.Gamble turns to a wide range of early modern texts and images from England, France, and Italy, ranging from personal accounts to closet dramas to visual art in order to excavate and analyze a variety of sexual practices in early modernity. Using an intersectional, phenomenological approach to bring historical light to the "idian sexual experiences of early modern subjects, the book develops the critical concept of the "sex life"-a colloquialism that opens up methodological avenues for understanding daily lived experience in granular detail, both in the distant past and today. Through this lens, Gamble explores how sex organized and permeated everyday life and experiences of gender and race in early modernity. He shows how affects around sex structure the plays of Shakespeare and his contemporaries, revealing the role of sexual feeling and sexual racism in early modern English drama.Sex Lives reshapes how we understand Renaissance literature, the history of sexuality, and the meaning of sex in both early modern Europe and our own moment

No skeletons were rattling in his closet, Thomas Eagleton assured George McGovern's political director. But only eighteen days later-after a series of damaging public revelations and feverish behind-the-scenes maneuverings-McGovern rescinded his endorsement of his Democratic vice-presidential running mate, and Eagleton withdrew from the ticket. This fascinating book is the first to uncover the full story behind Eagleton's rise and precipitous fall as a national candidate. Within days of Eagleton's nomination, a pair of anonymous phone calls brought to light his history of hospitalizations for "nervous exhaustion and depression" and past treatment with electroshock therapy. The revelation rattled the campaign and placed McGovern's organization under intense public and media scrutiny. Joshua Glasser investigates a campaign in disarray and explores the perspectives of the campaign's key players, how decisions were made and who made them, how cultural attitudes toward mental illness informed the crisis, and how Eagleton's and McGovern's personal ambitions shaped the course of events. Drawing on personal interviews with McGovern, campaign manager Gary Hart, political director Frank Mankiewicz, and dozens of other participants inside and outside the McGovern and Eagleton camps-as well as extensive unpublished campaign records-Glasser captures the political and human drama of Eagleton's brief candidacy. Glasser also offers sharp insights into the America of 1972-mired in war, anxious about the economy, ambivalent about civil rights.

[cat] Introducció El comportament de la Medea clàssica d'Euripides que, abandonada per Jasón mata als seus fills i fuig impunement, continua essent un misteri inescrutable. Després de trair a la seva família a Còlquida amb l'objectiu d'ajudar a Jason en la seva empres d'obtenir el preuat velló d'or, tots dos fugen a Corint lloc en el qual Medea és una estranya. Refusada pel seu marit i per una societat grega patriarcal i xenòfoba, li anuncien que serà privada dels seus fills i desterrada. Malgrat tot, aquesta situació precària, no sembla ser suficient per justificar els seus crims execrables. Cal cercar la raó dels seus assassinats en l'àmbit del diví: Medea és una semi deessa, sempre acompanyada dels sanguinolents deus bàrbars, que executen la seva justícia divina. En la seva aplicació Jason, en rompre els seus juraments, ha de ser sentenciat a viure sense descendència. El filicidi és, per tant, una conseqüència inevitable del comportament de Jason. La present tesi analitza mitopoeias victorianes que reprenen la història per a refigurar un nou relat del infanticidi que demostra la versatilitat i l'interès que despertava el mite de Medea per a debatre candents qüestions socials que afectaven a la societat victoriana. . Contingut de la investigació La meva tesi es concentra en quatre reescriptures victorianes de la Medea d'Euripides: la tragèdia Medea (1855) d'Ernest Legouvé, que interpret a la llum de la crítica del feminisme jurisprudencial; la burlesque Medea (1856) de Robert Brough, que explor com a heterotopia; el monòleg dramàtic "Medea in Athens" (1870) d'Augusta Webster, que estudi a l'empara de teories de gènere; i el drama curt d'Amy Levy Medea (1882), que analitz a través de teories postcolonials. El meu argument central és que els /les quatre escriptors/res victorians utilitzen el seu capital cultural per a crear noves versions que recreen espais de lluita literaris per a qüestionar les estructures de poder i les convencions socials que operaven en la societat victoriana. A l'època, Gran Bretanya va experimentar múltiples canvis deguts a la creixent industrialització i a les noves idees lliberals que es propagaven pel món occidental. El Marxisme, les revolucions europees de 1848 i l'emergent moviment feminista varen incentivar les iniciatives sociopolítiques d'aquests escriptors victorians. . Conclusions En aquestes obres, l'alteritat de l'heroïna es manifesta en la seva triple condició de subalterna com a dona discriminada, estrangera i pobre, mare abandonada sense recursos, la qual cosa posa de relleu la precària situació de moltes dones victorianes, així com la lluita dels escriptors contra les desigualtats que afectaven a moltes dones i fins i tot a ell/es mateix/xes. Donat que aquestes Medeas Victorianes es discriminen per raons convergents, la meva lectura dels textos primaris combina un marc teòric multidisciplinar que abasta la mitocrítica, els estudis culturals i les teories postcolonials i de gènere. El meu objectiu és elucidar la manera en que les Medeas Victorianes lluiten contra les múltiples formes de dominació que les afecten. La meva interpretació dels textos tracta de desentranyar la potencial pressa de poder dels marginats en la societat victoriana i en particular d'aquestes dones, en una societat subjecte a una ràpida transformació. ; [spa] . Introducción El comportamiento de la Medea clásica de Eurípides que, abandonada por Jason, mata a sus hijos y escapa impune, continúa siendo un misterio inescrutable. Tras traicionar a su familia en Cólquida con el objetivo de ayudar a Jasón en su empresa de obtener el preciado vellocino de oro, ambos huyen a Corinto, donde Medea es una extraña. Rechazada por su marido y por una sociedad griega patriarcal y xenófoba, le amenazan con privarla de sus hijos y desterrarla. Esta precaria situación, sin embargo, no parece suficiente para justificar sus execrables crímenes. La razón de sus asesinatos debe buscarse en el ámbito divino: Medea es una semidiosa, siempre acompañada de sus sanguinolentos dioses bárbaros, que ejecutan su justicia divina. En aplicación de esta, Jasón, al quebrantar sus juramentos, debe ser sentenciado a vivir sin descendencia. El filicidio es, por tanto, una consecuencia inevitable del comportamiento de Jasón. . Contenido de la investigación La presente tesis analiza mitopoeias victorianas que retoman la historia para refigurar un nuevo relato del infanticidio que demuestra la versatilidad y el interés que despertaba el mito de Medea para debatir candentes cuestiones sociales que afectaban a la sociedad victoriana. Mi tesis se concentra en cuatro reescrituras victorianas de la Medea de Eurípides: la tragedia Medea (1855) de Ernest Legouvé, que interpreto a la luz de la crítica del feminismo jurisprudencial; la burlesque Medea (1856) de Robert Brough, que exploro como heterotopia; el monólogo dramático "Medea in Athens" (1870) de Augusta Webster, que estudio al amparo de teorías de género; y el drama corto de Amy Levy Medea (1882), que analizo a través de teorías postcoloniales. Mi argumento central es que lo/as cuatro escritore/as victorianos usan su capital cultural para crear nuevas versiones que recrean espacios de lucha literarios para cuestionar las estructuras de poder y las convenciones sociales que operaban en la sociedad victoriana. Gran Bretaña experimentó en la época múltiples cambios debido a la creciente industrialización y a las nuevas ideas liberales que se propagaban por el mundo occidental. El Marxismo, las revoluciones europeas de 1848 y el emergente movimiento feminista incentivaron las iniciativas sociopolíticas de estos escritores victorianos. . Conclusiones En estas obras, la otredad de la heroína se manifiesta en su triple condición de subalterna como mujer discriminada, extranjera y pobre, una madre abandonada sin recursos, lo que pone de relieve la precaria situación de muchas mujeres victorianas, así como la lucha de los escritores contra las desigualdades que afectaban tanto a muchas mujeres como incluso a ello/as mismo/as. Dado que estas Medeas Victorianas se discriminan por razones convergentes, mi lectura de los textos primarios combina un marco teórico multidisciplinar que abarca la mitocrítica, los estudios culturales y las teorías postcoloniales y de género. Mi objetivo es elucidar la manera en que las Medeas Victorianas luchan contra las múltiples formas de dominación que las afectan. Mi interpretación de los textos trata de desentrañar el potencial empoderamiento de los marginados en la sociedad victoriana y, en particular de tales mujeres, en una sociedad sujeta a una rápida transformación. ; [eng] Introduction The behaviour of the classical Euripidean Medea who, abandoned by Jason, kills her children and escapes unpunished remains a mystery to human understanding. After she betrays her Colchian family to help Jason to get the golden fleece and runs away with him to Corinth, Medea becomes an alien in Greece. Once shunned by Jason and by the Greek patriarchal and xenophobic society, she is to be deprived of her children too and left nowhere, as a vagrant. However, her status and her specific conditions do not seem to justify her appalling actions. The reasons for her murders must be searched for in the divine world: as a semi-goddess Medea is accompanied by the barbarian gory gods that exert the divine justice which rules that oath-breaker Jason must be punished and sentenced to live without descendance. Filicide is thus an inevitable consequence of Jason's behaviour. . Contents of the research This dissertation analyses Victorian mythopoeias which recapture the story to retell Medea's infanticidal episode proving the long-lasting fascination with the myth and its versatility to address the specific social preoccupations of the Victorian period. My dissertation looks at four Victorian rewritings of the myth of Medea: Ernest Legouvé's tragedy Medea (1855), which I analyse from the lens of feminist jurisprudence criticism; Robert Brough's burlesque Medea (1856), which I discuss considering the notion of heterotopia; Augusta Webster's dramatic monologue "Medea in Athens" (1870), which I study as an example of a feminist version of the myth; and Amy Levy's closet drama Medea (1882), a version which I explore through the perspective of postcolonial theories. My central argument is that the four Victorian writers use their respective cultural capital to create new versions which serve as literary sites of struggle to question power relations and social norms operating in Victorian society. Medea becomes the embodiment of those racial, class and gender struggles and her story is adapted by each author according to their own specific agendas. Victorian Britain was undergoing multiple changes due to the growing industrialization and the new liberal ideas spread across the western world. Marxism, the 1848 European revolutions, and the emerging feminist movements bolstered Victorian writers' socio-political initiatives. . Conclusions In these works, the otherness of the mythical woman is manifested in her triple subaltern condition as a marginalised woman, a foreigner and as poor abandoned mother, which highlights the situation of many Victorian women and the authors' struggle to fight against the inequalities affecting these women, and even themselves. Because these Victorian Medeas are discriminated under very different and intersecting grounds, I read my primary texts employing a multidisciplinary approach, which combines myth criticism, cultural studies, feminism and postcolonialism. My aim is to elucidate how these Medeas fight against the multiple forms of domination affecting them. My reading attempts to shed light on the potential power which is granted in these works to marginalised subjects, and most especially Victorian women, in a society which was changing rapidly.

The L Word: Generation Q is the reboot of The L Word, a long running series about a group of lesbians and bisexuals in Los Angeles in the early 2000s. Both programmes are unique in their positioning of lesbian characters and have been well received by audiences and critics alike. These programmes present a range of characters and narratives, previously excluded from mainstream film and television, bringing a refreshing change from the destructive images typically presented before. We argue that the reboot Generation Q now offers more meaningful representation of the broader lesbian and transgender communities, and discuss its relevance in the changing portrayals of gay representation. Gay visibility has never really been an issue in the movies. Gays have always been visible. It is how they have been visible that has remained offensive for almost a century. (Russo 66) In 2004 The L Word broke new ground as the very first television series written and directed by predominantly queer women. This set it apart from previous representations of lesbians by Hollywood because it portrayed a community rather than an isolated or lone lesbian character, that was extraneous to a cast of heterosexuals (Moore and Schilt). The series brought change, and where Hollywood was more often "reluctant to openly and non-stereotypically engage with gay subjects and gay characters" (Baker 41), the L Word offered an alternative to the norm in media representation. "The L Word's significance lies in its very existence" according to Chambers (83), and this article serves to consider this significance in conjunction with its 2019 reboot, the L Word: Generation Q, to ascertain if the enhanced visibility and gay representation influences the system of representation that has predominantly been excluding and misrepresentative of gay life. The exclusion of authentic representation of lesbians and gays in Hollywood film is not new. Over time, however, there has been an increased representation of gay characters in film and television. However, beneath the positive veneer remains a morally disapproving undertone (Yang), where lesbians and gays are displayed as the showpiece of the abnormal (Gross, "Out of the Mainstream"). Gross ("Out of the Mainstream") suggests that through the 'othering' of lesbians and gays within media, a means of maintaining the moral order is achieved, and where being 'straight' results in a happy ending. Lesbians and gays in film thus achieve what Gerbner referred to as symbolic annihilation, purposefully created in a bid to maintain the social inequity. This form of exclusion often saw controversial gay representation, with a history of portraying these characters in a false, excluding, and pejorative way (Russo; Gross, "What Is Wrong"; Hart). The history of gay representation in media had at times been monstrous, playing out the themes of gay sexuality as threatening to heterosexual persons and communities (Juárez). Gay people were incorrectly stereotyped, and gay lives were seen through the slimmest of windows. Walters (15) argued that it was "too often" that film and television images would narrowly portray gays "as either desexualized or over sexualized", framing their sexuality as the sole identity of the character. She also contested that gay characters were "shown as nonthreatening and campy 'others' or equally comforting and familiar boys (and they are usually boys, not girls) next door" (Walters 15). In Russo's seminal text, The Celluloid Closet, he demonstrated that gay characters were largely excluded from genuine and thoughtful presentation in film, while the only option given to them was how they died. Gay activists and film makers in the 1980s and beyond built on the momentum of AIDS activism (Streitmatter) to bring films that dealt with gay subject matter more fairly than before, with examples like The Birdcage, Philadelphia, To Wong Foo, Thanks for Everything! Julie Newmar, and In and Out. Walters argues that while "mainstream films like Brokeback Mountain and The Kids are Alright entertain moviegoers with their forthright gay themes and scenes" (12), often the roles have been more of tokenisation, representing the "surprisingly gay characters in a tedious romcom, the coyly queer older man in a star-studded indie hit, the incidentally gay sister of the lead in a serious drama" (Walters 12). This ambivalence towards the gay role model in the media has had real world effects on those who identify themselves as lesbian or gay, creating feelings of self-hatred or of being 'unacceptable' citizens of society (Gamson), as media content "is an active component in the cultural process of shaping LGBT identities" (Sarkissian 147). The stigmatisation of gays was further identified by the respondents to a study on media and gay identity, where "the prevailing sentiment in these discussions was a sense of being excluded from traditional society" (Gomillion and Guiliano 343). Exclusion promotes segregation and isolation, and since television media are ever-present via conventional and web-based platforms, their messages are increasingly visible and powerful. The improved portrayal of gay characters was not just confined to the area of film and television however, and many publications produced major stories on bi-sexual chic, lesbian chic, the rise of gay political power and gay families. This process of greater inclusion, however, has not been linear, and in 2013 the media advocacy group known as the Gay and Lesbian Alliance against Defamation (GLAAD) mapped the quantity, quality, and diversity of LGBT people depicted in films, finding that there was still much work to be done to fairly include gay characters (GLAAD Studio Responsibility Index). In another report made in 2019, which examined cable and streaming media, GLAAD found that of the 879 regular characters expected to appear on broadcast scripted primetime programming, 10.2% were identified as gay, lesbian, bisexual, transgender and or queer (GLAAD Where Are We on TV). This was the highest number of queer characters recorded since the start of their reporting. In January 2004, Showtime launched The L Word, the first scripted cable television to focus chiefly on lesbians. Over the course of six seasons it explored the deep bonds that linked the members of an evolving lesbian friendship circle. The central themes of the programme were the love and friendship between the women, and it was a television programme structured by its own values and ideologies. The series offered a moral argument against the widespread sexism and anti-gay prejudice that was evident in media. The cast, however, were conventionally beautiful, gender normative, and expensively attired, leading to fears that the programme would appeal more to straight men, and that the sex in the programme would be exploitative and pornographic. The result, however, was that women's sex and connection were foregrounded, and appeared as a central theme of the drama. This was, however, ground-breaking television. The showrunner of the original L Word, Ilene Chaiken, was aware of the often-damning account of lesbians in Hollywood, and the programme managed to convey an indictment of Hollywood (Mcfadden). The L Word increased lesbian visibility on television and was revolutionary in countering some of the exclusionary and damaging representation that had taken place before. It portrayed variations of lesbians, showing new positive representations in the form of power lesbians, sports lesbians, singles, and couples. Broadly speaking, gay visibility and representation can be marked and measured by levels of their exclusion and inclusion. Sedgwick said that the L Word was particularly important as it created a "lesbian ecology—a visible world in which lesbians exist, go on existing, exist in forms beyond the solitary and the couple, sustain and develop relations among themselves of difference and commonality" (xix). However, as much as this programme challenged the previous representations it also enacted a "Faustian bargain because television is a genre which ultimately caters to the desires and expectations of mainstream audiences" (Wolfe and Roripaugh 76). The producers knew it was difficult to change the problematic and biased representation of queer women within the structures of commercial media and understood the history of queer representation and its effects. Therefore, they had to navigate between the legitimate desire to represent lesbians as well as being able to attract a large enough mainstream audience to keep the show commercially viable. The L Word: Generation Q is the reboot of the popular series, and includes some of the old cast, who have also become the executive producers. These characters include Bette Porter, who in 2019 is running for the office of the Mayor of Los Angeles. Shane McCutchen returns as the fast-talking womanising hairdresser, and Alice Pieszecki in this iteration is a talk show host. When interviewed, Jennifer Beals (executive producer and Bette Porter actor) said that the programme is important, because there have been no new lesbian dramas to follow after the 2004 series ended (Beals, You Tube). Furthermore, the returning cast members believe the reboot is important because of the increased attacks that queer people have been experiencing since the election of Donald Trump in 2016. Between the two productions there have been changes in the film and television landscape, with additional queer programmes such as Pose, Orange Is the New Black, Euphoria, RuPaul's Drag Race, and Are You the One, for example. The new L Word, therefore, needed to project a new and modern voice that would reflect contemporary lesbian life. There was also a strong desire to rectify criticism of the former show, by presenting an increased variation of characters in the 2019 series. Ironically, while the L Word had purposefully aimed to remove the negativity of exclusion through the portrayal of a group of lesbians in a more true-to-life account, the limited character tropes inadvertently marginalised other areas of lesbian and queer representation. These excluded characters were for example fully representative trans characters. The 2000s television industry had seemingly returned to a period of little interest in women's stories generally, and though queer stories seeped into popular culture, there was no dedicated drama with a significant focus on lesbian story lines (Vanity Fair). The first iteration of The L Word was aimed at satisfying lesbian audiences as well as creating mainstream television success. It was not a tacky or pornographic television series playing to male voyeuristic ideals, although some critics believed that it included female-to-female sex scenes to draw in an additional male viewership (Anderson-Minshall; Graham). There was also a great emphasis on processing the concept of being queer. However, in the reboot Generation Q, the decision was made by the showrunner Marja-Lewis Ryan that the series would not be about any forms of 'coming out stories', and the characters were simply going about their lives as opposed to the burdensome tropes of transitioning or coming out. This is a significant change from many of the gay storylines in the 1990s that were seemingly all focussed on these themes. The new programme features a wider demographic, too, with younger characters who are comfortable with who they are. Essentially, the importance of the 2019 series is to portray healthy, varied representations of lesbian life, and to encourage accurate inclusion into film and television without the skewed or distorted earlier narratives. The L Word and L Word: Generation Q then carried the additional burden of countering criticisms The L Word received. Roseneil explains that creating both normalcy and belonging for lesbians and gays brings "cultural value and normativity" (218) and removes the psychosocial barriers that cause alienation or segregation. This "accept us" agenda appears through both popular culture and "in the broader national discourse on rights and belongings" (Walters 11), and is thus important because "representations of happy, healthy, well integrated lesbian and gay characters in film or television would create the impression that, in a social, economic, and legal sense, all is well for lesbians and gay men" (Schacter 729). Essentially, these programmes shouldered the burden of representation for the lesbian community, which was a heavy expectation. Critiques of the original L Word focussed on how the original cast looked as if they had all walked out of a high-end salon, for example, but in L Word: Generation Q this has been altered to have a much more DIY look. One of the younger cast members, Finlay, looks like someone cut her hair in the kitchen while others have styles that resemble YouTube tutorials and queer internet celebrities (Vanity Fair). The recognisable stereotypes that were both including and excluding have also altered the representation of the trans characters. Bette Porter's campaign manager, for example, determines his style through his transition story, unlike Max, the prominent trans character from the first series. The trans characters of 2019 are comfortable in their own skins and supported by the community around them. Another important distinction between the representation of the old and new cast is around their material wealth. The returning cast members have comfortable lives and demonstrate affluence while the younger cast are less comfortable, expressing far more financial anxiety. This may indeed make a storyline that is closer to heterosexual communities. The L Word demonstrated a sophisticated awareness of feminist debates about the visual representation of women and made those debates a critical theme of the programme, and these themes have been expanded further in The L Word: Generation Q. One of the crucial areas that the programme/s have improved upon is to denaturalise the hegemonic straight gaze, drawing attention to the ways, conventions and techniques of reproduction that create sexist, heterosexist, and homophobic ideologies (McFadden). This was achieved through a predominantly female, lesbian cast that dealt with stories amongst their own friend group and relationships, serving to upend the audience position, and encouraging an alternative gaze, a gaze that could be occupied by anyone watching, but positioned the audience as lesbian. In concluding, The L Word in its original iteration set out to create something unique in its representation of lesbians. However, in its mission to create something new, it was also seen as problematic in its representation and in some ways excluding of certain gay and lesbian people. The L Word: Generation Q has therefore focussed on more diversity within a minority group, bringing normality and a sense of 'realness' to the previously skewed narratives seen in the media. In so doing, "perhaps these images will induce or confirm" to audiences that "lesbians and gay men are already 'equal'—accepted, integrated, part of the mainstream" (Schacter 729). References Anderson-Minshall, Diane. "Sex and the Clittie, in Reading the L Word: Outing Contemporary Television." Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 11–14. Are You the One? Presented by Ryan Devlin. Reality television programme. Viacom Media Networks, 2014. Baker, Sarah. "The Changing Face of Gay Representation in Hollywood Films from the 1990s Onwards: What's Really Changed in the Hollywood Representation of Gay Characters?" The International Journal of Interdisciplinary Cultural Studies 10.4 (2015): 41–51. Brokeback Mountain. Dir. Ang Lee. Film. Focus Features, 2005. Chambers, Samuel. A. "Heteronormativity and The L Word: From a Politics of Representation to a Politics of Norms." Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 81–98. Euphoria. Dir. Sam Levinson. Television Series. HBO, 2019. Gamson, Joshua. "Sweating in the Spotlight: Lesbian, Gay and Queer Encounters with Media and Popular Culture." Handbook of Lesbian and Gay Studies.London: Sage, 2002. 339–354. Graham, Paula. "The L Word Under-whelms the UK?" Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 15–26. Gross, Larry. "What Is Wrong with this Picture? Lesbian Women and Gay Men on Television." Queer Words, Queer Images: Communication and the Construction of Homosexuality. Ed. R.J. Ringer. New York: New York UP, 1994. 143–156. Gross, Larry. "Out of the Mainstream: Sexual Minorities and the Mass Media." Gay People, Sex, and the Media. Eds. M. Wolf and A. Kielwasser. Haworth Press, 1991. 19–36. Hart, Kylo-Patrick. R. "Representing Gay Men on American Television." Journal of Men's Studies 9 (2000): 59–79. In and Out. Dir. Frank Oz. Film. Paramount Pictures, 1997. Juárez, Sergio Fernando. "Creeper Bogeyman: Cultural Narratives of Gay as Monstrous." At the Interface / Probing the Boundaries 91 (2018): 226–249. McFadden, Margaret. T. The L Word. Wayne State University Press, 2014. Moore, Candace, and Kristin Schilt. "Is She Man Enough? Female Masculinities on The L Word." Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 159–172. Orange Is the New Black. Dir. Jenji Johan. Web series. Netflix Streaming Services, 2003–. Philadelphia. Directed by Jonathan Demme. Film. Tristar Pictures, 1993. Pose. Dirs. Ryan Murphy, Steven Canals, and Brad Falchuk. Television series. Color Force, 2018. Roseneil, Sasha. "On Missed Encounters: Psychoanalysis, Queer Theory, and the Psychosocial Dynamics of Exclusion." Studies in Gender and Sexuality 20.4 (2019): 214–219. RuPaul's Drag Race. Directed by Nick Murray. Reality competition. Passion Distribution, 2009–. Russo, Vito. The Celluloid Closet. Rev. ed. New York: Harper & Row, 1987. Sarkissian, Raffi. "Queering TV Conventions: LGBT Teen Narratives on Glee." Queer Youth and Media Cultures. Ed. C. Pullen. Palgrave Macmillan, 2014. 145–157. Sedgwick, Eve Kosofsky. "Foreword: The Letter L." Reading 'The L Word': Outing Contemporary Television. Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 20–25. Schacter, Jane S. "Skepticism, Culture and the Gay Civil Rights Debate in Post-Civil-Rights Era." Harvard Law Review 110 (1997): 684–731. Streitmatter, Rodger. Perverts to Fab Five: The Media's Changing Depiction of Gay Men and Lesbians. New York: Routledge. 2009. The Birdcage. Dir. Mike Nichols. Film. United Artists, 1995. The Kids Are Alright. Dir. Lisa Cholodenko. Film. Focus Features, 2010. The L Word. Created by Ilene Chaiken, Kathy Greenberg, and Michelle Abbott. TV drama. Showtime Networks, 2004–2009. The L Word: Generation Q. Prods. Ilene Chaiken, Jennifer Beals, Katherine Moennig, and Leisha Hailey. TV drama. Showtime Networks, 2019–. To Wong Foo, Thanks for Everything! Julie Newmar. Dir. Beeban Kidron. Film. Universal Pictures, 1995. Walters, Suzanna Danuta. The Tolerance Trap: How God, Genes and Good Intentions Are Sabotaging Gay Equality. New York: New York UP, 2014. Yang, Alan. "From Wrongs to Rights: Public Opinion on Gay and Lesbian Americans Moves towards Equality." New York: The Policy Institute of the National Gay and Lesbian Task Force, 1999.

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GETTYSBURG, PA., MARCH, 1902 No. 1 CONTENTS MARCH {Poem), , . 2 THE IDEALISTIC 3 J. F. NEWMAN, '02. WINNING HIS LAURELS {Story) 7 FRANK S. FITS, '02. THE ACTIVE AND PASSIVE OF LIFE, . . . . n IN MEMORIAM—DR. BAUM 14 ARE OUR DREAMS OF ANY VALUE? 15 ABDBI, R. WENTZ, '04. THE RISE AND DEVELOPMENT OF THE ATTIC DRAMA, 17 EDWARD B. HAY, '03. A LIE {Story), 21 THE COLLEGE CLOCK {Poem), 29 JAMES LANDIS, '05. EDITORIALS, 31 The New Staff—Inter-Collegiate Oratorical—Contributions. EXCHANGES, 33 BOOK REVIEW .'. 35 THE GETTYSBURG MERCURY. MARCH. "»»7'AGE, stormy March, your wonted strife, ^ " Dark though your clouds may be, Soon, soon shall end your troubled life, Peace, of the spring-tide follows thee. Blow, winds of March, one lingering blast, End Nature's childrens' war, For gentle spring-time cometh fast, Then will your rage be o'er. Change from your chill and blustry gales, To brighter skies and balmier breeze. Wake songs of birds from hill and dale, And from the leafy trees. Waft thoughts of waking life anew, Call dormant powers to use again. Teach us to love the good, the true, Bring clearer thoughts to men. Bring us a spring of lovely bloom, Bring flowers of incense rare. Flee from our hearts the winter's gloom, Reign gentle spring-tide there. •03. THE GETTYSBURG MERCURY. 3 THE IDEALISTIC. J. F. NBWMAN, '02. *T^HE individual just awakening to the immensity of the ^ problem of existence is stupefied by its mysteries. As he becomes acquainted with the world of realities, by which he is surrounded, his insignificance impresses him with overwhelm-ing force. The propositions, "what is man," "what is the soul of man," and "what is the destiny of each," baffle all his efforts at solution, while the activities and harshness of nature as everywhere exhibited almost drive him to distraction. Her only message appears to be, None but the fittest may survive here. He sees his plans fail and his friends taken away by death, and all the material world impresses him as harsh and un-fathomable. In discouragement he would prefer to end the conflict at once were it not for the exhilarating joy furnished by the activities of his mind. He discovers that, though death has removed his dearest friends and robbed him of his preserver, the recollection of their happy relation has a calming and satisfying influence. When he visits scenes of happy recollection, pleasant pictures rise in fancy and he almost relives the bygone happy hours ; and started in its train imagination reconstructs the old life, touching with delicate finger the unsatisfactory portions and hiding them ; recoloring the happy moments and making them shine brighter. This experience discloses a new world where everything is mellowed and beautified; where new hopes rise to take the place of those destroyed. The idealistic tends to soften and modify the realistic. The imagination or idealizing faculty be-comes, therefore, the source -of his pleasure while contending, with varying success, against the hardships of life. This is a general description of the experience of every per-son. Last summer many of us visited the Buffalo Exposition. Each individual could only feel himself an atom in the crowds assembled, and as he elbowed his way among the people, fre- THE GETTYSBURG MERCURY. quently with physical discomfort, did he receive real, true pleas-ure from viewing the magnificent buildings and collections of art, or did the genuine pleasure arise when the parts were re-viewed and constructed into a new whole in the mind? In brief, is it what we see and hear, or what we retain and revivify that administers to our pleasure ? To one person Beethoven's Symphonies are sublime and continue to ring in the ear long after the vibrating sound of energy has ceased; to another they are "music," and are forgotten immediately. The difference is that the first has power to imagine sound; the mind of the second does not have this power, and music means little to him. What we have been trying to describe is nicely explained by Mr. Ladd as follows: "Imagination is a development of im-age- making, considered as, to some extent, set free from recog-nized dependence upon previous experience with the actual be-havior of self or of things." The idealistic is the developed product. The imagination in the idealization processes must be consid-ered as both reproductive and creative. As reproductive it may produce anew the mental images derived from previous per-ceptive experience, although it may change their time and space relations and may throw them into new forms of suc-cession or of combination, thus producing the Sphinx. As creative the imagination is limited for its material to the mental images which had their origin in actual experience. The achievements of the creative or productive imagination range all the way from the child's efforts to build houses of its blocks to the effort of the astronomer to determine the orbit of Neptune. The imagination not only renders life pleasant, but also con-tributes to the success of every profession. Schopenhauer says: "The man without imagination stands, to him of the gifted and cultivated mind, as the mussel fastened to the rock, that must wait for what chance may bring it; is related to the animal that moves freely or even has wings." The work or artists, poets and architects is mainly of an ideal nature. The artist's creation is the idealized image of THE GETTYSBURG MERCURY. 5 some landscape or event. In its operation the imagination obliterates the imperfection of nature ; consequently the pro-duct is always of a higher type than its original. The Corin-thian column is the idealized trunk of the palm tree. It may be argued that it is the skilled hand which draws the delicate lines of the painting and shapes the column with perfection; but the hand is only the arc-lamp which reveals the beautiful glow of the force generated by the mental dynamo. The success of the architect and landscape-gardener depends on the ability of each, not to plan a house or arrange a park according to correct mathematical formula, but io form a clear picture of the proposed construction, as it will appear when completed. To guarantee harmony and symmetry, both park and building must undergo critical mental examination before exposure in material form. In the scientific world, the philosopher who conceives of laws most clearly, and pictures their results most forcibly, is the person to whose works we refer as authority. Newton, knowing that all bodies of the solar system receive light and heat from the sun, thought that in other respects there may be similarity between the bodies; and in demonstrating the exist-ence of the force of gravitation he proved that the entire uni-verse is held in equipoise by the law which controls the move-ments of our planatory groups. Sir Archibald Geikie, delving amidst the rock of a locality, at the depth of thousands of feet, discovers the petrified ver-tebra of an animal, and from that one bone, with the aid of a friend versed in biology, not only tells us the shape, size and habits of that animal, but the condition of the earth in that distant day, and describes some of the vegetation. Th usfancy suggests ; reason and experience demonstrate. What a part the imagination plays in religion! The heavenly city with streets of gold, gates of jasper and rivers of crystal, as conceived by the comparatively ignorant to the complex conception of Milton, are all fancy pictures. In striving after purity we measure ourselves by the standard of perfection as exemplified in Jesus Christ. 6 THE GETTYSBURG MERCURY. It is an incontestable fact that those lives in which a vigor-ous imagination has tended to create elevating, lofty ideals have been most successful. Mr. Moody, with a clear vision of the beauty of a pure life, labors earnestly for the uplifting of man-kind. Wendell Phillips, horrified at the suffering of the slaves, contributes his noble talent to the destruction of their thrall-dom. Frequently the instruction given by the mother and the hab-its formed in the home of childhood bear mighty influence in our life ideals. The simple faith and contentment shown in "The Angelu»" commemorate the home and mother under whose influence Millet was reared. While lofty ideals are ennobling, ideals of lesser type are de-grading. The wrapper of the cigarette case has started many a boy toward destruction. The anarchistic ideal of a nation with no governmental head resulted in the assassination of the honored and revered McKinley. With reference to the cultivation of this important faculty we quote from Mr. Ladd: "The constructive picture-making faculty of mind cannot be directly trained. Its training must, on the contrary, be chiefly indirect. The analytic observation of nature and human life, the reflective study of the creations of the world's most ma-terial imaginations and the subsequent self-discipline which comes from facing one's own work in a critical and; thoughtful way—these are the most fruitful exercises for the development of the creative picture-making faculty." "LET laurels, drenched in pure Parnassian dews Reward his memory dear to every muse, Who, with a courage of unshaken root, In honor's field advancing his firm foot, Plants it upon the line that justice draws And will prevail or perish in her cause." —COWPER. "HE only is advancing in life, whose heart is getting softer, whose blood warmer, whose brain quicker, whose spirit is en-tering into living peace."—RUSKIN. THE GETTYSBURG MERCURY. J WINNING HIS LAURELS. FRANK S. FITS, '02. TN a far distant Mexican city, a wealthy American widow ■^ and her daughter were sojourning for the winter. All about them was Mexican splendor and beauty, and at their command was everything that wealth could procure; but our young, spirited American heiress wore a dissatisfied countenance, and all because the wild scene of a bull-fight had been denied her. This was the first time the ever-indulgent mother had re-fused her daughter, and so it made it the harder for her to bear. But, gifted with all the American spirit and coquetry, she de-termined that in spite of all she would yet see the much-talked-of match. It was to be no common, every-day show, for three of the most ferocious bulls of the season were entered, one of which had sent two brave toreadors to their last resting-place, and several others to the wall, where fatigued and acknowledging their defeat, amid the hissing of the vast throng, they gave up the fight. Seven toreadors were already on the list to try their hands, as a large prize was offered to the one successfully killing the king of the herd, besides the praise and applause of half of Mexico, for which the toreador willingly risks his life—to-day he is feted, toasted and praised; he is a hero, but let him fall before an angry bull to-morrow, a fatal slip, and all is over; even if he lives, he has no friends, he is one of many now. Three weeks before the appointed day arrives, the Governor held a large reception and here were Mildred and her mother; here, too, were all the aristocracy of Mexico, among them Senor Carlos, who, mistaking Southern hospitality for love, had been pressing his suit, fervently, and as only a Mexican can, for months. On this particular evening they were seated in a shady arbor, overlooking the sea, where the merry voices and strains of music from the dance hall came floating to them through 8 THE GETTYSBURG MERCURY. the trees—and so they sat, silently watching the snowy sails drifting—drifting away as peaceful as their own peaceful life— and yet beyond were cruel, surging billows and clouds of mid-night darkness, which, behind an impenetrable veil, guarded the mysteries of life and death. Presently the man was seized with a passion that knew no bounds, and seizing her hand in both of his, trembling, though in a strong clasp, he cried almost aloud: "I love you," then cooling somewhat, he said softly, with a wondrous smile which brightened his handsome face: "Fairest of women, I love you as no man ever loved before; willingly would I give up my life, my all, if I might serve you, oh, take me—take me to you. Is it only to be scorned and turned aside that I find at last my heart's ideal?" And then—he kissed her. That kiss! It was a magical caress, raising his soul from its slumbers to the full flush and glory of awakened love. After some little talk she confided to him her desire to see the king bull slain. Would he prove his love for her by enter-ing the arena and confronting this notorious beast? Thus it happened that Senor Carlos' name appeared among the list, and that the Governor had the Americans in his private box on the long-looked-for day. As the band played a Mexican march,. the gayly attired, sight-seeing throng poured in, until a mass such as had never been seen in any Mexican city before had gathered. As is the rule in all Mexican bull fights, the numbers of less interest were run off first, holding the main attraction until last. Nothing of interest outside of the ordinary occurred in these fights. Three bulls were sent out and successfully dis-patched by the agile toreadors, and they in turn won the usual applause and cries of the vast assemblage. The band played a lively air, and the arena was filled by a deafening roar as the applause of the spectators grew in vol-umes and all knew that the time for the king bull had arrived. Glancing at the Governor's box, we see a tall, beautiful brunette, clutching wildly at some crimson ribbon—the color of her choice—pale as death itself and with wild, dilated eyes, she THE GETTYSBURG MERCURY. 9 tries to cry out, but her voice fails—too late, she realizes to what a dangerous mission and test Senor Carlos has been sent, for into the arena a huge, ferocious bull has rushed and is snorting and tearing the ground in all directions. The blood on the arena' from those that have gone before, has set him wild, all can see that the matadore has a very dan-gerous and difficult task before him. Senor Carlos being new, and, as the management thought, incapable, also on account of his wealth and position, had little trouble in getting permission for the first trial—all gave him "good bye" and wished him success; but I venture to say not one expected his return. Seizing his red cloak and sword, he sprang lightly through the gate and was shut in the arena with this mad animal. To win the laurels, the applause, the favor of the crowd, the bull must be teased; if necessary to get him roused, and at the risk of his own life, he must give the bull a fairly good chance of escape. A misstep, a slip, the least mistake means, in almost every case, death or a good tossing, but Senor Carlos, with so much at risk, was undaunted. Running lightly and gracefully, amid the cries of the crowd, directly up to the bull, sweeps his red cloak in front of his eyes and quickly springs aside, as the an-gry monster sweeps upon it and tears the ground round about. Almost immediately Senor Carlos is in front again with his red cloak, and, with a wild snort, the roaring bull is down on him —he barely escapes, loses his cloak and amidst the loud ap-plause of the spectators he rises from the arena. It is now time for the barbed darts, and here is shown the agility and bravery of the toreador, for after getting the at-tention of the angered animal, while he rushes past, he attempts to stick the two prongs in the back of the animal just above the front legs. Senor Carlos advanced with a dart in each hand, three times the bull rushed and each time forced the man to flee. Then, with the cries of "bravo! bravo!" ringing in his ears, he succeeded at last. The infuriated animal now did not wait for his antagonist, but rushed him time after time. The Senor on one knee now awaited his coming. On, on, he comes, IO THE GETTYSBURG MERCURY. snorting and plunging. The man raises his arm, now leans for-ward, and in an instant has driven the steel, only to be broken, and is now without any protection save the wall and barriers. The frenzied bull turns upon him again, the vast assemblage rises as if one man, all is still—no shouts now, the excitement holds them all; in a mad rush for the wall it looks as if the man must be overtaken—with each bound the bull draws nearer, when suddenly, just as the bull, with lowered head, is about to toss him, he leaps aside—then running to the gate, another sword is handed him, and again he is facing the ani-mal in the arena while the crowd is wild with enthusiasm. Again he awaits the attacking animal. On, on, comes the monster, swaying just a trifle. The Senor now advances a little, and, as the bull in a mad rush sweeps upon him, he lightly leaps aside; then, as the bull turns to renew the attack, he sends home the steel-—this time with steady and unerring hand—and stands with one foot on the animal's neck, bowing to the crowd wild with enthusiasm, then fell to the ground of the arena. The shouting and crazed spectators are stifled, and, in a second, "He is killed!" is the cry. Attendants rush out and carry him from the ground—a shriek from the Governor's stand, someone falls, then silence again, for a "caller" has ridden in. "Senor Carlos is not dead, he has fainted, but will be well and with you in a short time—the excitement and unusual strain has been too much for him." Again we see the shady arbor, the spacious grounds, the Governor's palace, hear the band and the merry voices, but be-neath the arbor only one is sitting, but she knows it will not be long. Soon o'er the still night air comes floating a rich tenor voice, humming an old Mexican love song, she rises to her feet, with wildly beating heart, and waited—waited. The singer came nearer—nearer, was at the door of the arbor, and then, as the voice stopped, she turned. Here let us leave them, not wishing to tread on sacred ground or happi-ness— happiness supreme. THE GETTYSBURG MERCURY. II THE PASSIVE AND ACTIVE OF LIFE. ^| **HE pen of some mighty writer once gave to the world this **• message: "Talent develops itself in solitude, character in the stream of life." That statement brings before us the sub-ject of the passivity and activity of life. Ours is a twofold na-ture ; the soul reaches on the one hand up towards God and back into itself, and on the other out towards fellow men. The one side is just as important as the other, and each is indispen-sable to the best development of the other. Do you ever go alone by yourself? Do you ever get away from the bustle of the world, and stop, and rest ? Ah ! if we never do this, we are missing a great deal of the sweetness of life; we are not growing as large as we might; we are neglect-ing one of the most potent forces in the building of true man-hood and womanhood. It is best for us to get by ourselves at times. To be alone, with self and God, means future power. Our humanity reaches its highest development only when we permit ourselves to be in a passive or receptive state, as well as in the active one. There are gentle, unseen influences at work in the world, but these can have no effect upon us until we are in a frame of mind suitable for their reception. Nature has a voice which finds sympathetic response in the human soul. Conscience has a potency not to be reckoned. The still, small voice of our Maker is the safest guide of life. / We must let onrselves be moulded and shaped by these many mysterious influences, but our eyes will be blind to their beauty and our ears dull to their whisper, unless we are quiet, still, and alone. Their value may not be recognized at first, but we shall see their great power in the building of character, if we stop for a more careful consideration of a few of them. Solitude is the fertile source of increased faith and of power in prayer. That General Washington was on his knees in the winter woods meant something for the struggling colonies. A never-failing fountain of strength to our Master, during His 12 THE GETTYSBURG MERCURY. ministry, were His frequent retreats to the mountains to let the joy of communion with His Father fill his heart and life. The quiet hour of meditation—whether at home in the early morning, or out with nature—is another influence for our good. There, when we are undisturbed, some of our best thoughts come to us. In silent meditation, apart from others, men and women have gained ideas and plans whose accomplishment has had a lasting effect for the betterment of mankind. At such times, if ever, we are lifted to those high peaks of vision from which we catch a glimpse of the unseen. These periods of passive solitude are sometimes compul-sory. But their very loneliness may be made an inspiration which transcends their trial. During convalescence from an illness, when the mind is unemployed and the body inactive, a person's plans and course of action in life may be entirely changed. The life-work of a very prominent man of our day was determined when recovering from a severe illness. Yes, there are soft voices speaking to us which it would be well for us to obey, and there are subtle influences shaping our natures to which it would be best for us to yield. For the strength gained in solitude and the power of the passive life are preparation and equipment for the life of activity. We must not be satisfied to stop here. We dare not forget that it is preparation for something else, and that just as neces-sary, for our welfare is the development of active, energetic ser-vice. Character can be attained in no other way than by con-tact with men. Man is a being of friendships, and consequently of activity. It is unnatural for a person to habitually avoid the company and association of others. It is the rubbing shoulder to shoulder with the rest of the world that makes strength. How intolerable to us is the idea of the hermit life or that of solitary confinement! He who refuses to mingle or associate with others develops a mean, low nature—a man of dwarfed tastes and narrow views. The isolated man is a pigmy in char-acter. The activity of contact is essential to full manhood. A person who respects only the desires of the passive side of his being may grow to be beautiful, but cannot become THE GETTYSBURG MERCURY. 13 strong. Niagara Falls have always been a beauty and wonder of nature. To-day, their mighty power is, beside this, a thing of useful service. By a feat of engineering those falls were harnessed; the rushing water was brought into contact with the large turbine wheels, and around goes the machinery which produces the electricity for thousands. It is only by contact and joint action that we are of use and good to others. Not only this, but the trials and conflicts in life's struggle are the means of training our best qualities and of developing latent ones. Should the muscles of the body be unused and inactive for some time they would become powerless. It is activity which makes us strong; we must fight if we would win. Prof. Henry Drummond says: "Do not grudge the hand that is moulding the still too shapeless image within you. It is growing more beautiful, though you see it not, and every touch of temptation may add to its perfection. Therefore, keep in the midst of life. Do not isolate yourself. Be among men, and among things, and among difficulties and obstacles." We must be active if we would be our best. And yet, the passive life must help with its inspiration; solitude must lend its power. Let us keep this lesson: To seek that strength which is above and within us, and then put it to the noble ser-vice of men. •04. NEITHER years nor books have yet availed to extirpate a prejudice, rooted in me, that a scholar is the favorite of heaven and earth, the excellency of his country, the happiest of men. —EMERSON. WHAT a piece of work is a man ! how noble in reason! how infinite in faculties ! in form and moving, how express and ad-mirable ! in action, how like an angel! in apprehension, how like a god !—SHAKSPEARE. FOR solitude sometimes is best society, and short retirement urges sweet return.—MILTON. 14 THE GETTYSBURG MERCURY. IN MEMORIAM. AST year there appeared in the March number of this * magazine, an account of the introduction of an alumnus into the Pen and Sword Society. In this number it is our sor-rowful duty to write of his death Much has been said about Dr. Baum, but like all great men he was interested in many things, and never came in contact with anything to which he did not impart some of his own power and passion. One thing for which he had great interest was this institution. He was associated with it nearly all his life. He entered as a student of the classical course in 1842. Three years later he gained the Hassler Latin prize and the year following graduated with the class of '46. In 1861 he became a member of the Board of Trustees, which position he held until death released him from the cares of this life. His face was a familiar one at Commencement, and it was only last June that he preached the Baccelaureate Sermon. Little did we think that its sound advice and words of wisdom would be his parting message. And now, that .he is not, the meaning of this message has been intensified and his words "still move, still shake the hearts of men." Much shall we miss the kind face; much more shall those to whom his judg-ment was so invaluable. And though it would be a comfort to them to have him in their midst, yet the memory of such a character must be a great consolation. THE GETTYSBURG MERCURY. 15 ARE OUR DREAMS OF ANY VALUE? ABDEL R. WENTZ, '04. TT is not our purpose in this paper to consider the physio- "*"■ logical causes or effects of dreams. We do not intend to describe the various mental and bodily conditions which give rise to dreams, nor to examine into their salubrity or insalubrity. It is our intention to contemplate dreams in their spiritual and intellectual aspects and to show that they are not without value. Those dreams which give premonition of danger and pre-science of events we shall not attempt to explain. For either they are unreal, being mere productions of excited imaginations, or else they are only coincidences. This much is certain: not all dreams are predictions; and no one knows which to accept or which to reject. As presages of future events, therefore, dreams are certainly of no value. During our dreams the brain, all unknown to us, is at work. And the very fact that the body is at rest and that the braia is unhindered by any physical movements, gives it much greater freedom in its work than during our conscious moments. To this can be attributed the very astonishing and seemingly miraculous solution of problems which have long puzzled us and which have for months, perhaps, occupied our attention. The brain having become accustomed to think of the problems, sets to work during our deep sleep to solve it, and when we awake or whenever we chance to think of the matter, we find to our great surprise that we have come to a conclusion and have solved the problem. The impressions received during our dreams are sometimes very vivid and serve to impress upon our minds very forcibly some valuable facts. They may show us the folly of evil liv-ing, more plainly than we could otherwise see it; they may show us the evils of intemperance, or they may teach us some other valuable lesson. For example, a certain man once had a dream in which he suffered the loss of a leg through careless-ness in boarding a railroad train. Although he was glad to 16 THE GETTYSBURG MERCURY. find when he awoke that it was only a dream, nevertheless he has ever since exercised great care while near a train; the im-pression was a vivid and lasting one and it taught the valuable lesson of carefulness. In this same way innumerable other valuable lessons are to be learned through dreams; and the greatest value in these lessons is that they are so vividly im-pressed upon the mind and so very unlikely to be forgotten. Probably the greatest benefit to be derived from the dreams of to-day is the inspiration afforded to the arts. Who does not credit the story of Caedmon, the greatest poet of the Anglo- Saxons—how his first production in poetry, or, rather, his first literary production of any sort, was composed entirely during a dream ? Coleridge is said to have composed his poem "Kubla Khah" in a dream. And so the poets even of our own day are inspired by dreams to compose some of their best productions. And the same thing holds true in the realms of music. Tar-tinia, a distinguished violin player, is said to have composed his "Devil's Sonata" under the inspiration of a dream, in which the devil appeared to him, and invited him to a trial of skill on his own instrument. This invitation he accepted and when he awoke the music of the sonata was so vividly impressed upon his mind that he had no difficulty in committing it to paper. So, also, with the artist. His keen imaginative genius is trained to seek for the beautiful; and what is more natural than for this genius to do its best work while the body is at rest and while the mind is unencumbered by any physical activity ? Thus many artists are inspired by dreams to paint their master-pieces. In the light of the inspiration which they afford, there-fore, it can easily be seen, dreams are of no little value. In view of these facts—the constant working of the brain during sleep, the sudden solution of puzzling problems, the vivid impressions received, the profitable lessons learned, the valuable inspiration afforded to all the arts—in view of these facts we are forced to come to the conclusion that our dreams are of some value. THE GETTYSBURG MERCURY. 17 THE RISE AND DEVELOPMENT OF THE ATTIC DRAMA. EDWARD B. HAY, '03. FOR two reasons a study of the rise and development of the Greek drama should prove of the greatest interest and importance ; first, because of its perfection as dramatic lit-erature, and then on account of the close relation which it bears to the modern drama. As dramatic literature, we may safely say that no subsequent plays have come anywhere near attaining the quality of those produced in the golden age of the Greek drama. It is true that as the world grew wiser in material things a broader scope was opened to the dramatist, but this materialistic development could never add to the quality of the drama. Even Shakes-pear, the king of modern dramatists, in all his varied produc-tions, never made any pretense at portraying the vast and al-most inconceivable thoughts which were so much a part of the drama of the Greeks. The most powerful minds among this highly intellectual and richly sensuous people were for a long period devoted to tho production of the drama, so that with the advantage of the wonderful facilities of expression em-braced in their language, the Greeks thus attained a height of perfection in their dramatic literature which has been the won-der and admiration of succeeding ages. The importance of a knowledge of the Greek drama is also enhanced, when we realize that the true literary drama of the whole world is probably derived from and is certainly moulded by the drama of Greece. Some seek to go further back than ancient Hellas for the origin of the drama, but, though it is well known that the Hindus and the Chinese had a national drama from remote antiquity, yet the dramas in these countries before the time of the Greek were so elementary and of so differ-ent a character from the Greek drama even in its inception that they really bear no relation whatever to it. Hence, we must turn our eyes to Greece as the cradle of that great branch of literature known as the drama. 18 THE GETTYSBURG MERCURY. From its very beginning the Greek drama had an indepen-dent and self-sustained course. It had its origin in the Greek form of worship, and thus sprang immediately from the charac-teristic love of the Greek for imitation. Unable fully to grasp an abstract idea of God, these inhabitants of Hellas strove by means of art to present or represent deity more clearly to their senses. Then, they venerated this image of God, which they themselves had made, by poetry, that irrepressible music of the soul. But, we find the imaginative Greek going still further than this. His gods, the great forces of nature personified, had a capacity for suffering, or for gladness. These sensations of the gods he represented by mimic dances, and it was in these religious orgies that the Greek drama began. One god in particular was worshiped with fervid zeal in these music dances and hence bears a close relation to the beginning and development of the Greek drama. This was Dionysus, who, with his cult, holds such an important relation to the his-tory of the drama that a brief description of them will not be inopportune at this place. Dionysus was a son of Semele, a daughter of Cadmus, king of Thebes. The great Zeus was his father. Before the ma-turity of the child, at the request of his mother, Zeus appeared in all his majesty as the god of lightning. Semele immediately fell a victim to her curiosity, but the infant Dionysus was saved from the fierce lightning by the sudden springing up about him of cool ivy. Zeus then took him and inclosed him within his own thigh till he reached maturity, when by a seeming sec-ond birth he was brought to the light. The worship of Dionysus, originally observed in Thrace, was soon spread throughout Greece, where it absorbed and moulded into one vast legend grouped about Dionysus the worship and veneration formerly paid to various hordes of lesser spirits. Thus we find this god represented with a motley following of rude Satyrs, lascivious Sileni, powerful centaurs and various other allegorical figures. Dionysus was orginally the god of the productive forces of nature. It was he who gently wak-ened the earth each spring after its winter's slumber, clothed it THE GETTYSBURG MERCURY. 19 with vegetation and called each blossom into being. However, it was chiefly as the god of the vineyard that he was worshiped by the Greek. As the god of wine he dispelled sorrow, awak-ened joy and tamed the savage spirit of man and beast, so that his car was said to be drawn by panthers and lions, while the natives of the forest followed in his train. The manner in which this god of all vegetable life came to be worshiped so particularly as the god of one kind of vegetation and that the vine, was that his invocation being of a very ecstatic nature was found to be stimulated greatly by wine. Gradually with the use of so much wine in his worship his original attributes were almost forgotten and he came to be worshiped as the god of wine, the god who exalted man over all earthly care and sorrow. Such a god appealed peculiarly to the Greek, so that his worship soon became universal throughout Hellas. For our purpose, however, it will be suffi-cient to trace this worship in Attica, the principal seat of Greek culture. Each year, in Attica, two festivals were held in honor of Dionysus, the one in the spring, when the earth was awakening to new and joyous life under the fostering care of Dionysus, and when the wine of the past year was mellowed for drinking; the other in the winter in celebration of the completed vintage and the ingathered fruits. In the wild dances or processions of these two festivals the Greek drama in its dual division of tragedy and comedy found its source. Tragedy traces its origin to a hymn called the Dithyramb, which was sung by a chorus at these festivals. The singing of this hymn was accompanied by a flute and by dancing around the altar of Dionysus. Here, the double birth, the suf-ferings and various actions of the god, were passionately cele-brated. In the course of time the Dithyramb developed into a distinct kind of Greek lyric poetry. It was at Corinth that it first reached a definite, artistic form. This was brought about by a celebrated Corinthian harp-player by the name of Arion. He set the number of the chorus at fifty, introduced spoken verses into the choral odes, established superior music and 20 THE GETTYSBURG MERCURY. brought about order, system and regularity in the Dithyramb. In fact, he so moulded it and gave to it definite shape that he was credited by the ancients with its actual invention. This, however, was not the case, as the Dithyramb had existed in a crude form long before Arion appeared to give it permanence of form and artistic finish. Thespis a century later introduced an innovation by bringing a single actor on the stage for the purpose of giving the chorus a rest. He is also said to have introduced the use of the mask. During the decade immediately following the death of Thespis a number of tragic poets sprang up, concerning three of whom we have some knowledge. Choerilus, the earliest of the trio, is credited with certain improvements in the masks and dresses of the actors. Pratinas, writing a little later, introduced the satyric plays, which immediately became very popular. Phrynichus, the most famous of the group, made a daring in-novation by dramatizing contemporary history. Before him mythology had been the sole object of dramatization. He is also said to have been the first dramatist to employ female masks. His chief merit, however, consisted in the increased dignity and pathos which he rendered to tragedy and in the ex-quisite beauty of his lyrical odes. His influence upon succeed-ing early dramatists was great. Thus far the chorus was the main thing, the single actor a mere substitute for the chorus when it grew tired. The op-posing or contrasting of opposite natures, the interchange of rival passions and ambitions, all that is most important and of the greatest interest of the drama of to-day was as yet unheard of and impossible because a play with more than one actor be-side the chorus was unknown and unthought of. Hence in the hands of the early dramatists the drama had as yet scarcely gone beyond the embryonic stage. ( To be continued.) THE GETTYSBURG MERCURY. 21 A LIE. TT was a late evening, cold and blustery. All the clerks had * already gone home and the partners only remained in the office. One of them, the elder, seated at the desk, was care-fully running over the accounts and endeavoring with all haste to close them and go home to his wife and children. The other, reclining dreamingly in his favorite rocker and smok-ing to his heart's content was carefully reading the evening news. "Confound the women," broke the silence with an imprecat-ing tone. "Well, what's wrong with you now ? queried the man at the desk. "Oh, I don't know that there is anything wrong with me," replied Ben, "my pulse is normal, but there is a heap of things wrong with the women of our days. Why you can't pick up a paper that don't have some crime charged against her. Not long ago I read of a mother arraigned before court for maltreating her own children. Last week at least half a dozen good-lookers were hauled in for shoplifting. Day before yesterday that maudlin gathering up town was exposed. And now to-night, I see that Sam Hall's wife ran off with that pouter-pigeoned dandy that's been sporting around here for the last three weeks. Just yesterday I saw Sam and as usual in-quired about himself and family, and got his usual reply, 'get-ting along swimmingly.' Sam is as fine a man as you'll find in any day's march, his children are models and his wife always appeared like the genuine article; never spoke of Sam but in highest respect; and now took a skip with another. You see, Frank, you can't trust one of them'. Old Madam Eve peeps out of every eye under a bonnet. The women are all cut over the same pattern. I told you that often before, and the older I grow the more I believe it." "Look here, Ben," interrupted the man at the desk, before he could advance any further in his senseless harangue, "you might as well bay at the moon as croak to me in that tone. You would accomplish as much. I have told you over and 22 THE GETTYSBURG MERCURY. over again that your views are exterior. You see the cathe-dral window from without and imagine that it is nothing but a confused and conglomerated mass of color. You have never opened your bachelor eyes within the hallowed precincts of woman's nature. The dormant fires of your affections have never been kindled at her shrine." "Bah!" replied Ben, with a contemptuous sneer, and dropping his paper, placed his feet on the back of a chair before him. His lazy eyes began to follow the fantastic curls of smoke as they rose in spirals from his lips, his head became enveloped in a filing cloud of fragrance, and he fell into a reverie. "The dormant fires of your affections were never kindled at her shrine!" Such arrows as that had been flung at him before but the proud stoicism with which he concealed the wounds, led his friends to believe him invulnerable. "Dormant fires!" "Never kindled!" Those words, as similar ones aforetime, sealed his lips and carried him in fancy back to a college romance. He recalled his former and his only sweetheart, Beatrice. He saw again the sparkle of her vivacious hazel eyes and the rosy flush of her dimpled cheeks as they appeared on the night of the ban-quet. He recalled the rapture with which he taught her the art of rowing, and the idle pleasure with which he permitted her to row unconsciously into a clump of rushes beneath the weeping willow. He beheld her again as the graceful fingers of her slender hands ran lambently o'er the keys of her piano, he heard again the carolling notes of her voice as she sang to him his favorite songs. He remembered their moonlight walks, their numerous jokes, their vigorous correspondence. "Dormant fires! Never kindled!" Why, the very glance of her eyes was enough to consume a heart of stone. The ashes of his dying censor fell rudely on his bosom and his reverie was at an end. "See here, Frank," he began slowly, "I know you consider me a sort of a second-rate fool on the woman question, but.I am going to tell you something. Perhaps you will change your mind, if marriage has left you the commodity. But re- THE GETTYSBURG MERCURY. 23 member this is strictly inter-nos, and by that I don't mean be-tween you and the old woman either." "Go ahead," said the man at the desk, with a generous smile. "Well, when I was at college," Ben began, as he reached for a match to relight his cigar, "I carried on a correspondence with no less than a dozen interesting young girls of my own age. They were as fine a bevy as you could collect anywhere, even in Kentucky. Two of them lived in Baltimore, Beatrice Wyman and Luella Kreider. With the latter I was passingly acquainted, with the former I was in it up to my ears. I had it bad, Frank, and she had a touch of it, too. It so happened one week that I answered both their letters in one evening. My room was full of bums, and they almost broke their necks trying to make me blunder. I put up a bluff, however, as though I didn't care and went on until I had both written and placed in separate envelopes. I then went over to the book case for several stamps, came back to the table, stamped the envelopes, sealed and addressed them. Advising the fellows in my shack to go out and hunt a little star dust, I extinguished the light and ploughed up toward the office to mail the letters." "Well," he continued, after a good, long pull on his neglected cigar, "nothing unusual happened during the next few days, the sun rose and set as usual, recitation hours came and went as boorishly as ever, beef steak just as tough at the boarding house, and washing just as expensive as any other time. On the third day, however, as punctual as ever, my letter from Beatrice was at hand. I always knew hers the moment I looked into the box. They were some of those blue ones, square-cut and double-breasted, you know. I opened it at once and began to read. It ran something like this: "BALTO., MD. RESPECTED FRIEND : "Yours of the 20th at hand and con-tents duly noted, but am perplexed beyond measure to know what motive you might have in requesting another of my photos, when I mailed you one of my latest with my last letter. 24 THE GETTYSBURG MERCURY. "The remainder of that letter I have forgotten, but that cold nor-wester comin' down the top of the page hit me hard. I tell you, it went in to my bones. I'll be blamed if I didn't feel like a corn stalk after a hail storm. "Well, in just about half the time it takes to say it, I saw my mistake. The formal letter, with a request for a photo, had gone to Beatrice, and the one with my heart aches had gone to Luella. I tell you, I felt like a dyspeptic goat for a while. One of the fellows in my room, I suppose, changed the posi-tion of the envelopes while I had my back turned, and I ad-dressed Luella's letter to Beatrice, and Beatrice's letter to Luella. "How I was ever to get out of that mess kept me guessing for quite a while. My first impulse was to tell her that the re-quest for a photo was intended as an acknowledgment of the one she had already sent me, and that the mistake was due to the efforts of the boys to get me off. That, I assured myself, would dissolve my first perplexity, but the other statements of the letter, as memory brought them to light, made my teeth chatter. That ruse wouldn't work at all, I soon saw that. "I decided to make a clear breast of the whole matter and tell her in unvarnished English that she had gotten the wrong letter, and that hers had gone to another. One whole week I spent in composing that letter and wasted two tablets in doing it, and it wasn't on account of the style or the gathering of choice quotations, either, that it took me so long. You see, I had always left Beatrice under the impression that she was my only correspondent, with the exception of mother and a few cousins, and in 'fessing up now that she had received the letter of another, it behooved me to be mighty particular about my footing. You see, I had something definite to say and had to say it in a remarkably definite way. It seemed like walking a tight rope on stilts to me. But I did it. Sent off the best piece of literature I ever wrote. And what was the result ? Never received an answer! She never even acknowledged the receipt of my letter! That shows what's in a woman ! "Now talk about your exterior views, and your little shrine. THE GETTYSBURG MERCURY. 2$ I guess you had better stick that cathedral window in your pipe and smoke it. Did you ever waste a tablet on your wife ? Did you, eh ?" "Well, we'll take your word for it," said the man at the desk as he closed his cumbersome ledger and rose to insert it into the safe. "Yes, I guess you will," retorted the irritated bachelor, who had well observed that his auditor was paying more attention to the accounts of the ledger than to his own. "Come on, old boy," rejoined the other, "get on your coat, it's getting late and time for us both to be at home. When you get home to-night, you take a good dose of lethe and per-haps you will feel better in the morning." The senior member of the firm had never enjoyed the advantages of a college education, but invariably enhanced his remarks with a liberal sprinkling of classic allusions to show Ben that there are sev-eral by-paths to the Persian spring, as well as the public highway he had traveled. With several more antiphonal re-torts of a similar sort, the partners walked down the long aisles of mute merchandise, adjusted the alarm, turned off the lights, bolted and locked the doors and disappeared for the night. Ten long monotonous years had passed since those scenes of halcyon youth to which Ben's bachelor eyes had turned a retrospective gaze. Ben, in the meantime, had grown cold and methodical to those about him. Beatrice, yes, Beatrice, where she was, or what she was, or whether she was at all was known to God but not Ben. He had, with the information of his old chum, a neighbor of the Wymans, in Baltimore, traced her as far as England. He knew that she had, on her transatlantic voyage, become acquainted with a dashing young beau of New York. He knew that their friendship was ultramarine, for they spent a month in jaunting the famous isle together. He had learned also to his sorrow that their friendship had ripened into a devotion and that they had organized a party of two for a European tour. But of subsequent events he was ignorant. On the week of their departure from England his informant 26 THE GETTYSBURG MERCURY. moved from Baltimore, and with his removal Beatrice was lost to his lingering gaze as a swallow is lost in the distant sky. She had gone; she had flown; three thousand miles of foam-ing sea lay fixed between their alienated lives. Far off though she was, her image was ever on Ben's mental retina, and whether he walked the sands of summer seas or through the busy thoroughfares, he was ever on the alert for the complement of that image, for the idol of his heart. True, he had feigned indignation at her when he opened his heart to his friend at the desk, but the inner sanctuary of his heart was unlocked. Deep down in his soul was a lingering desire to see his Beatrice once again and discover, if possible, whether they were not the dupes of fate, whether there was not a misunderstanding between them for which they were both irresponsible and sad. The Winter died away and Spring, with its humidity, ap-peared once more. Ben began to complain of failing health, and intimating to his friends that a European tour might build him up again, he was not at a loss to find a physician to rec-ommend it to him. The beginning of June was the time designated as the most profitable to an invalid; then the benign exhalations of the sea would be most strengthening, the Alpine hills most charming. His plans began to crystallize, and by the first of June, were so adjusted that a three months'furlough could be taken without disturbing in the least the mechanism of the store. His ship was not booked to leave New York be-fore the fifth of June, but he was ready to go, and so sick of the routine life of the yard-stick and balance, that he deter-mined to leave the town at once. His first stop, he decided, should be in the quiet, historic town of Gettysburg. There he hoped more thoroughly to acquaint himself with the movements of the two opposing armies, the position of their batteries, the topography of their charges, and the tactics of leaders, in order better to determine their relative value when he should stand at Austerlitz and Waterloo. Giving his friends a sanguine good-bye, and promising several THE GETTYSBURG MERCURY. 27 of the clerks a memento or two, he set out on his trip with the hope of arriving at his first place by six in the evening. This, however, was rendered impossible, as his train, by rea-son of a freight wreck along the way, did not arrive at the central station in Philadelphia in time to make the connections. The last of the day's trains for Gettysburg had already left when his train reached the place; he was compelled to spend the night in the city, and keen, indeed, was his disappointment, for there were four places he had intended to visit before taking ship, and now, there were but three days left. It was evident that one of the places would have to be cancelled, and he had decided that Gettysburg should be the one. At the other three places he had friends whom he wished to see before going abroad; at Gettysburg there were only places of interest, and faces are always more fascinating than places. Mentioning his misfortune to one of the hotel clerks and asking him for his advice, he was, however, soon convinced that Gettysburg should not be missed. "Don' be amissin' Gettys-burg, boss," said the dusky fellow, with the air of one who speaks with authority, "I'se been a workin' dar fer tin yeahs an' knows de fiel' laik I knows me ole banjo. It'll pay yer, boss, to go a thousand miles to see it, 'deed it will." The next morning Ben boarded the smoker and continued his journey to Gettysburg, arriving there at 2 p. M., dejected and lonely. Finding his way as hastily as possible to the leading hostelry of the place, he sood filled that aching void, and was out on the battlefield. Being a pedestrian of no mean order and in search of health, supposedly, he refused the ubiquitous cabmen and started to study the crisis of the war on foot. He had left word that he would expect a five o'clock supper, so that he might take the six o'clock train for Harrisburg. But a bachelor's word is no more to be relied upon than the arrangement of his collars and ties in his bureau drawers, and Ben proved no ex-ception to the rule. In buying a number of relics, historical and otherwise, mostly otherwise, and going to the points of in-terest, where they were supposed to have been found, he whiled 28 THE GETTYSBURG MERCURY. away the afternoon and did not think of wending homeward, until he noticed, to his amazement, that the sun was setting, while the hands of his watch were still registering 4.30 as the time of day. Hastily as he could travel, with the involved directions of the yeomen along the way, he plodded toward the outskirts until the court-house clock struck seven. Another misfortune! Another example of the futility of human designs ! His train had come and gone, and he was left behind again. Not given, however, to cavalling at a broken pitcher, he proceeded with philosophic serenity toward the hotel. At exactly 7.30 he was again at the table; for a full half hour he sat eating and drink-ing, alone. The table cleaned, and his ravenous appetite ap-peased, he retired to his room and lit a cigar. Here, he fell into a reverie. Home faces crowded in upon him, European scenes of his own creation loomed up before him. The ill-for-tunes of his railway connections led him to speculate on his future perigrinations. He was lost in a world of fancy, when suddenly, a wrap at the door brought him back to earth again. ( To be continued.) "TlS a story short and simply told, Almost in a single breath, A dauntless man, with courage bold, Dying an infamous death. He knew not the Master's presence sweet, He knew not his holy face, Nor the tones of his voice with love replete ; In his voice alone was his grace. There was no battle's intricate plan, No nation's loud applause; He only lived and died a man For Christ and for His cause. And yet in truth what a gallant defense ! By witnesses, suborned, belied He met them with matchless eloquence, And for his faith he died. "MARTIN LOENZ."— University of Virginia Magazine. THE GETTYSBURG MERCURY. 29 THE COLLEGE CLOCK. JAMES DANDIS, '05. ACROSS the paths of the Campus I see, Towering above the highest tree, With its gothic battlements and turrets tall, The massive front of Recitation Hall; With its one lone tower reaching t'wards the sky, Though lofty it be, yet is not so high As the aspirations of the Freshman "small." The high arched portal that very well Receives and strengthens the debaters yell, As warm from the contest he hurries out And vents his joy in the exultant shout. The echoing corridors shut out by doors, Beyond which are given out the stores Of learning, the rich spoils of time, And years of research in the vast mine Of knowledge, where groping as in the night, We sudden ascertain, then bring to light Some hidden truth or unknown sign. But high above these chambers wise, Its form outlined against the sky, Rises the tower in whose lofty dome The old College Clock has its home. I see as the sunlight strikes the tower The hands of the clock indicate the hour. But when 'tis draped in the shadows of night Shows dim uncertain in the pale moonlight. But whether darkness or light on the bronzed dial Darkens or brightens its face, meanwhile, With monotonous tick it keeps its pace With the circling earth as it reels through space How oft in the day its warning note Calls the student who burns with hope, As he dashes down the old Dorm stair And issues out in the open air, Then hastens across beneath that bell In the chambers of learning his task to tell, And make a ten (or otherwise) In the dept. where his ambition lies. 30 THE GETTYSBURG MERCURY. As at early morn the ne'er failing bell Rouses the sluggard as if to tell To hurry or miss the morning prayer, How often too at dead of night, When float before the student's sight, Scenes of home and the dear ones there, It breaks upon the midnight air In melencholy tone. When winter's winds howl 'round the wall, In sudden gusts its cadence falls, As the sound is borne from its lofty liar, Then dies away on the midnight air Like footsteps through the deserted halls. Long has it rung, long may it ring That each succeeding year may bring New actors on the scene; We pray then may the numbers swell Under thy sway, Oh magic bell, And the influence of our Dem.! THOUGHT is the labor of the intellect, reverie is its pleasure. To replace thought with reverie is to confound poison with nourishment.—HUGO. How various his employments whom the world calls idler; and who justly in return esteems that busy world an idler too! —COWPER. KNOWLEDGE is of two kinds. We know a subject ourselves, or we know where we can find information upon it.—JOHNSON. ONE should not write in obedience to mere reasoning, but in obedience to feeling dominating the whole being.—TOLSTOI. THOUGHT is the property of him who can entertain it, and of him who can adequately place it.—EMERSON. THIS is the truth the poet sings, That a sorrow's crown of sorrow is remembering happier things. —TBNNYSON. COMB forth into the light of things ; Let nature be your teacher. —WORDSWORTH. THE GETTYSBURG MERCURY Entered at the Postoffice at Gettysburg as second-class matter VOL. XI. GETTYSBURG, PA., MARCH, 1902 No. 1 Editor-in-chief H. S. IvEWARS, '03 Assistant Editors Exchange Editor Miss MARY WILSON, '04 SAM. P. WEAVER, '04 LYMAN A. GUSS, '04 Business Manager E. CARL MUMFORD, '03 Asst. Business Manager FRED. MASTERS, '04 Advisory Board PROF. J. A. HIMES, LITT.D. PROF. G. D. STAHLEY, M.D. PROF. J. W. RICHARD, D.D. Published each month, from October to June inclusive, by the joint literary societies of Pennsylvania (Gettysburg) College. Subscription price, one dollar a year in advance; single copies 15 cents. Notice to discontinue sending the MERCURY to any address must be accompanied by all arrearages. Students, Professors and Alumni are cordially invited to contribute. All subscriptions and business matter should be addressed to the Busi-ness Manager. Articles for publication should be addressed to the Editor. Address THE GETTYSBURG MERCURY, GETTYSBURG, PA. EDITORIALS. The labor of the retiring staff ended with last month's issue. Their work for the year was a literary and financial success. We look at it now with pride, but back of it all is patient, persistent toil. The Editor added several new features to the magazine and strove to maintain its literary standing. The Business Manager received his talents and returned them with usury. Through his untiring efforts the new staff has been able to begin its work upon a solid basis. These men with their assistants deserve the thanks of their fellow students. New men now take the place of these old servants. Though inexperienced in the work, they have excellent examples in 32 THE GETTYSBURG MERCURY. their predecessors, and it shall be their aim to uphold the stan-dard fixed by them, that their labors shall not have been in vain. As they were ever busy, ever on the alert, so shall we try to send the winged messenger always on time and well equipped, nor shall Mercury have a chance to unclasp the winged sandals sandals from his feet. INTER-COLLEGIATE ORATORICAL. Certain seasons of the year mark certain college contests. Beginning in the fall, we have foot ball. In the winter comes basket-ball training. And spring finds base-ball in full blast. Be-tween the last two comes another kind of contest—one not of muscle and speed—the oratorical. In other contests there are always plenty of applicants, always two teams and enough of men to select. But not so in the oratorical contest. Comparatively few men ever enter the lists. For some reason students care more for the one kind of ath-letics- than for the other. Yet it should not be so. It seems quite proper that the oratorical should come between the con-tests of winter and spring. It gives the man not gifted with a strong body a chance. Many are not fitted for this work, but they can do as they are wont on the gridiron. Speak a good word for it—give it a cheer, that the contestants may take increased interest, and bring to witness, their own ability and the status of the institu-tion. IT is with no hesitancy that the incoming CONTRIBUTIONS. staff voJces the sentiments of the retiring staff relative to contributions. According to the former editions lack of material seems to be the chief source of em-barrassment confronting the editorial staff. It is a misfortune which ought to be remedied and certainly can be, not by its staff, however, but by their subscribers. Especially do we refer to the student-body, where enough latent power and natural talent exists to supply the wants of the paper many THE GETTYSBURG MERCURY. 33 times over. It is the earnest desire of the' present staff to eradicate this existing perplexity and in no way can it be so successfully accomplished as by voluntary assistance on the part of the students. In fact there is no alternative. In finance the journal has an excellent standing and only awaits liberality of contributions to strengthen its literary status. Modesty is too often a restraint to many students along this line of work, but loyalty to our institution and interest in the success of our magazine should overcome this circumstance. Let there be emulation in this department as in others. The success of the literary journal depends upon the interest of the individual. With this first number of the eleventh volume the staff extends a hearty appeal for contributions and hopes for a ready response. EXCHANGES **W^HE exchange editor begins his work under the most *■ promising auspices. He finds himself surrounded by piles of exchanges on every side; some excellent; others hav-ing room for great improvement. It will be his duty to com ment upon the good, and to criticise those'which, in his judg-ment, need criticism. The criticisms, however, will be offered in the most friendly manner, and it is to be hoped that they will be received in the same spirit. No effort will be spared to give the MERCURY the highest possible standard, but we will always gladly welcome the opinions of our fellow-editors, whether in praise or criticism. With this conscience we will proceed with the work. The Lesbian Herald is always a welcome visitor, but the Feb-ruary number being devoted entirely to historic Frederick, was read with more than ordinary interest. The Free Lance comes to our table with several well-written and timely editorials. We agree that there is a great dearth of instructive lectures in the college entertainment course. 34 THE GETTYSBURG MERCURY. TWIUGHI THOUGHTS. Hark ! the night falls. Dost thou hear the sighing Of the sunset wind in darkness dying ? Dost thou hear the timid water falling Where shadows on the rocks are lying ? Tell me, dost thou hear it? Tell me, dost thou fear the spectral quiver Of the starlight on the sullen river ? Dost thou fear the dark that broods upon it As the hopeful day were gone forever ? Tell me, dost thou fear it ? Fear not! These are hours when dim discerning Feels the phantom of an old-time yearning, Wandering far amid the dusk and silence— Wandering far, and sometimes nigh returning But returning never. Through the twilight deepening, backward bringing All the passion to remembrance clinging, Old affections fall upon us softly, Like the memory of a far-off singing That is gone forever. —EDWARD BUTI,ER, in The Nassau. A yell proposed for Carnegie's new college: Kilties and knee-caps Bare and braw; Hoot mon ! Hoot mon ! Rah! Rah! Rah I—Ex. The Pottsville Monthly is one of the best high school papers visiting our table. It can, however, be improved by-keeping the advertisements separated from the other material. 'The shades of night are falling fast." The oyster stew is o'er. The midnight gas begins to lower, And rats begin to snore. For while the lessons long are conned, They take a little snooze; And, when we're safe in slumber-land, Go camping in our shoes. —j. L. s., in Buffand Blue. THE GETTYSBURG MERCURY. 35 This tiny sprig of mignonette She plucked, and wore, and cast away. Enough for just one triolet This tiny sprig of mignonette, Faded and crushed and dead—Ah, yet This tiny sprig of mignonette She plucked, and wore, and cast away. —Georgetown College Journal. Space will not permit us to mention all our visitors individ-ually, so we will consider them in toto. The University of Virginia Magazine certainly holds pre-eminence among our ex-changes. The February number of the Georgetown College Journal. The Haverfotdian and College Student also deserve special mention. A PORTRAIT. As I see her I will paint her With her gift of beauty round, As each curve runs onward bending, 'Till in utmost perfect blending Grace is found. As a blue winged swallow dip ^ Reels its wings before one's eyes, Softest blue one moment flashing, Then it soars with power dashing Up to the skies. That's the blue her eyes can dartle With a pure and smiling sight, Half a look of timorous daring, Half a look of sweetness faring On its right. Then her lashes, fringing darkly, As a bough drops o'er a pool, Bending with a softest fading O'er the water it is shading, Clear and cool. And her face with skin that's faintly Colored with a faintest red, While around heaped high and waving Sweet disorder runs a knaving 'Round her head. 36 THE GETTYSBURG MERCURY. So with nature as my paint box I would paint her graceful height, 'Till the evening softly hushes— Bids me put away my brushes For the night. -Louis WAHNEE, in The Nassau Literary Magazine. The Dickinson Literary Monthly continues to hold its place as one of our most attractive exchanges. "Lost Yet Won," is a very interesting story. The effect of the story "Onaho" is somewhat lessened by the introduction of a character foreign to the legend. THE WINDS ARE ROUGH AND WILD. The winds are rough and wild. The torn clouds hurry by, But over all the new-born moon Looks calmly from the sky. So love, forever new, 'Mid storms that sin doth bring, Looks calmly, sweetly over all, And knows no suffering. —T. A., in Philomathean Monthly. BOOK REVIEW. Songs of the Eastern Colleges. Hinds and Noble, New York City. Price #1.25. This volume contains many old and favorite songs of the college student, and also some comparatively new ones which have already met with great popularity among our Eastern colleges. According to the compilers, the collection has been made for two purposes, first, to provide the Eastern colleges with songs which are always used whenever the students gather together; second, to deepen the spirit of brotherhood already existing between college organizations. Nothing in the entire college life is more "provocative of contagious geniality" and "brings so strongly before the graduate's mind the glori-ous days of yore" than the college songs. Such a book as this will no doubt find itself cheerfully welcomed by both students and alumni. WE RECOMMEND THESE FIRMS. The Pleased Customer is not a stranger in our estab-lishment— he's right at home, you'll see him when you call. We have the materials to please fastidious men. J. D. LIPPY, IXEexe:tLa.n.t Tailor, 29 Chambersburg Street, GETTYSBURG, PA. CITY HOTEL, Main Street, - Gettysburg, Pa. Free Bus to an from all trains. Thirty seconds' walk from either depot. Dinner with drive over field with four or more, Jr.35. Rates, $1.50 to $2.00 per Day. John E. Hughes, Prop. L. M. ALLEMAN, Manufacturers' Agent and Jobber of Hardware, Oils, Paints and Queensware, CETTYSBURC, PA. The only Jobbing House in Adams County. CMS. E. BARBEHENR, THE EAGLE HOTEL Corner Main and Washington Sts. Cream of Roses For Chapped Hands, Face, Lips, and Rough Skin. Removes Tan and Sunburn. Gentlemen should use it after shaving. It cures razor pimples. Price, 25 cents. For sale at CODORI'S DRUG STORE. d. B. ^zmillei1, Dealer in Hats, Caps, Boots and Douglas Shoes, GETTYSBURG, PA. WEIKERT & CEOUSE, Butchers, Everything in this line we handle. GIVE US A TRIAL. Baltimore Street, - Gettysburg. BOME AND SEE one of the larg-est, best lighted and equipped Modem PMoEraDliic Studios in Pennsylvania, which will be oc-cupied about April 1st. Nos. 20 and 22 Chambersburg St. On opposite side of street from old stand. PATRONIZE OUR ADVERTIZERS. GETTYSBURG, PA. Merville E. Zinn, Proprietor. The Leading Hotel. Rates $2.00 per day. Cuisine and Service First-Class. Long &. Holtzworth Livery Attached. I mO/fc©=VI/|t/ o£ T OA/1/V CUill DQ. Seligman, Taiio*. B Chambersburg St., Gettysburg, Pa. FAVOR THOSE WHO FAVOR US. ; J. A. TAWNEY Is ready to furnish Clubs and Boarding Houses with . Bread, Rolls, Etc., At short notice and reason-able rates. Washington & Middle Sts., Gettysburg. W. F. CODORI £ Dealer in Beef, Pork, Lamb, Veal and Sausage. Special rates to clubs. York St., GETTYSBURG, PA. Stetson and Douglas SHOES For a full line of samples of all the latent tyles In Stetson and Douglas Shoes call to see C. E3. COOK Room 24 East All goods delivered -within three days How to Attract and Hold an Audience ■pVERY teacher, every clergyman, every ■■-' lawyer, every man or woman or youth who is likely ever to have occasion in commit-tee, or in public, to enlist the interest of one or more hearers, and convince them every per-son who ever has to, or is likely to have to " speak " to one or more listeners will find in our new book a clear, concise, complete hand-book which will enable him to succeed/ PRICE—$1.00 Postpaid—CLOTH HINDS & NOBLE, Publishers 4-5-6-12-13-14 Cooper Institute, N. Y. City Schoolbooks of allpublishers at one store 50 YEARS' EXPERIENCE TRADE MARKS DESIGNS COPVniGHTS Ac. Anvone sending n sket oh nnd description may quickly ascertain our opinion free whether an invention is probably patentab.e. Comrmmicn-tlons strictly confidential. Handbook on Patents sent free. Oldest agency for securing patents. Patents taken throuKh Munn & Co. receive special notice, without charge, in the Scientific American. A handsomely illustrated weeklr. T.nrtrest cir-culation of any scientific journal. Terms, $3 a year; four months, $L Sold by all newsdealers. MUNN&Co/5618™^New York Branch Office. 625 F St., Washington, D. C. GO TO. HARRY B. SEFTON'S (Barber (Shop For a good shave or hair cut. Barbers' supplies a specialty. Razor Strops, Soaps, Brushes, Creams, Combs, Mugs and Coke Dandruff cure. No. 38 Baltimore St. GETTYSBURG. You will find a full line of Pure Drugs and Fine Stationery at the People's Drug Store Prescriptions a specialty. THESE FIRMS ARE O. K. PATRONIZE THEM. E. H. FORREST Butchet Beef, Veal, Pork, Lamb. Special rates to Clubs. * 185CM902 ^ Our Name has stood as a guarantee of Quality for over half a Century JEWEIlEt* RJHD SIIlVEf*S]VUTH MJf. and 216 Market St., - . Harrisburg, Pa. Latest Designs Prices Reasonable Chas. S. Mumper. ^^ FURNITURE Picture Frames of all sorts Repair work done promptly t®*I will also buy or exchange any second-hand furniture. 4 Cbambersburg St., - -.".- GETTYSBURG, PA. For a nice sweet loaf of Bread call on Baker o£ Bread and. Faney Calces