Judge — January 10, 1920 — page 6: what you’re looking at

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

ns ake a gasoline distillery out of it! Brushing the snow flakes off the hood, we turned homeward, running on one cylinder this time so as not to make too much gas and attract attention. Now we have the little old tin boat jacked up in the garage, blithely running all the time and turning out from ten to fifteen gallons of .76 gas an hour. All it costs us is the price of oil and wear and tear on the engine, Scientists y scoff just as they d motion machines. Let them rail, but gasoline any time you want it I would not advise motorists to go into the gasoline making game as we did. The devices must be carefully adjusted and you might only injure your motor. You may not get as good resiflts as we did. Then again we want to hog the big idea The Ry Jeanette at perpetual ‘ome to us for Liars Purnurs Gens In town The dinner-guest ate fresh green peas. Delicious asparagus and crisp lettuce Without commet Thinking how ch better they were in the country. The host, disappointed at his guest's silence, Modestly remarked That the vegetables on the table Had all been sent up that morning From his place on the North Shore In the country The dinner-guest, who had been s! Ate fresh green peas own the place, Delicious asparagus and crisp lettuce, Saying how tempting garden things were How different from what one got in town The host modestly agreed He did not add that everything on the table had come From the best town market Working Definitions of the American Drama By Haxcourt Farster prey Something that permits an actor to live \ctor—Something that permits a play to dic Star—One invariably up in the air Musical Comedy Manager— Manager who has ap jxtrently come out of a musical comedy Orchestra—An excuse for unions. The Follies—Ditto. Intimate Drama timate, Dramatic Technique—Method whereby an actor can tell his right hand from his left Repression—The sc of getting standing still. Props—Inanimate objects used on the stage; tables, actors, ete. Leg Show—The kind of a show that hasn't a leg to stand on Moving Picture leave the theater Child Actor—A minor complaint Shakespearean Revival—Bringing home the Bacon Distinction between the artistic manager and the commercial manager—When bankrupt. the blames the public; the latter Drama that insists on being in money for chairs. \ picture that moves one to former al ways, always blames. the actor. Stage Joke duction together Elocution—The delicate art of concealing gum under the tongue while speaking lines (see Stage Brace) —Article for holding a pro i i Vist cena t face in le won't look at my face." comicbooks.com