Judge — January 15, 1887 — page 6: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

and semblances trom the stage. %)\ I've often danced the livelong night, Have flirted many hours awa: ) Have played at tennis with delight And tried my cunning at croquet ; But all there pleasures must give way To the toboggan’s blissful thrill. 1, ,Lnever knew my heart so gay ‘» Till we went sliding down the hill. ‘The moon was shining clear and bright, The slide in argent beauty lay; I was a willing proselyte To my dear Mary's gentle sway. That she loved me I can not say; Lonly know I felt a thrill Of joy, unknown until that day When we went sliding down the hill. She looked the sweetest little mite That ever hummed a virel Her blanket suit of red and white Each sunt Jid well display, Her moce 1 slyly lay Upon my The night was chill, At least to me: she said me nay Aswe went sliding down the hill. ENVOY. Tobogganing is jolly play, Yet sometimes there will be a spill ; Take care how you your love betray As you gosliding down the hill. MRS, PUGWASH, A PLEA FOR THE REALISTIC STAGE KISS. | Actuaiity and material disp! re crowding dummies, imitations Mechanicians have improved those AT TUXEDO PARK. Miss DeCrash to Mr. Graymere of Montreal, who has been showing off— “ Beautifully done, Mr. a period after the wo Hunter who has waded half a mile through the swamps—* Decoss, ginger theatrical features which make a visual appeal until the modern drama seldom offends the with unrealit Now-a-d when I go toa Isee a cavalier with a horse-bla collar, as it were. But why in the name of all that we admire isthe well-grounded kiss left out for a supposititious substitute ? Love making in the play of to-day, up to the neighborhood of the point osculation, i what the JuDGE would cali ipso-facto with glass. But the kiss itself is simply a shadow, hardly suggestive, aol by no means sequential. A It ges the whole atmosphere to one in memoriam ad of furnishing the climax of the lovemaking it w Why, O professonal, is the “ property ” kiss so bare an invite tion—so intangible, vague, fleeting, null and inexistent ? If the average actor and actress looked as though they needed primary instruction in this matter my heart would leap with pity and criticism woald limp out of sight around the first corner. But from appearances they have all been through the primer of endearment, and that is why we are waiting in open-mouthed astonishment for some one to make a hit. It used to be said that one woman on the American stage- Emma Abbott—had a kiss which she exposed in public that would make the gallery gods yell pro bono publico and cause the bald headed men in an audience toclimb up on the backs of the orcher tra chairs. The morning papers used to print diagrams of this kiss, fae similes of the caveats and patents filed on it, and columms descrip tive of its performance and effect. I watched for it with a field-glass during six nights and two matinees and discovered that it, like a! stage osculation, was dumb show. I believe the smack was produced by the concu sion of 2 super’s palms in the wings, and will make affidavit that the tenors lip but grazed hers. . Just imagine the se ion that would follow a smacking, sounding, pulsing, flesh-and-blood kiss on the stage. Replace the present papier mache, cut-on-the-bias statue thst the players keep in stock for the kiss that strikes a human cord and es its obitucy. contemperaneous sympathy as definitely as a frosty padlock on woodshed door clings to your fingers on a frigid morning. and &