Life — April 18, 1907 — page 8: what you’re looking at

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

THROTTLE AND SPARK CONTROL Levers, Simms-oscn SPARKING RECKANISM ‘acwero « “THE AUTOMOBILE WITH A REPUTATION BEHIND IT" SIMPLICITY verses MULTIPLICITY Compare the simplicity and strength of the Studebaker Chassis with the complicated devices of other high powered cars. Then you will understand why you never hear the owner of a Studebaker car complaining about his repair bills. 1, Spark control mechanism protected byan aluminum | 6 hood. Can be removed almost instantly Oiler, mechanically actuated. Located over the exhaust pipe and warmed in col weather by the exhaust. Throttle and spark control levers both placed con- veniently upon the wheel. Large brake surface, metal to m both rear wheels. 2. Less than two feet of wiring required to furnish current ? for make-and-break spark —only wiring on the car. Low tension—no short circuiting troubles 8. 3. Low tension—Simms-Bosch 4. Short circuit push button, ‘The engine can be instantly 9. stopped by pressing this button with the toc. (Not shown on this photo. } 5. Muffler. Gases escape from vents at each end, close to to. the wheels, and greatly assist in keeping down the dust. The Studebaker 30-35 H. P. contact, placed on pagnet Instead of being bolted to front axle in the usual method, the springs are held by forked steel drop forgings. The large dust shield is supported by leather straps | and is easily detached, Model H Touring C far, with full | equipment, costs $4,000 and is worth every cent of the price. Send for our complete new catalog of gasoline and electric cars. STUDEBAKER AUTOMOBILE CO., South Bend, Ind. Branches Selling Agents NEW YORK CITY, Stotetater tees boston, MASS. nel Meter Car an Supty Co < Naa ISCD, CAL Daa McNary € ST. ious ‘MO., Undon Plectric 1 r coe : Ave SALT LAKE erty. UTAt ‘Stusletaker Brow Co, of Uiah | k tron. ™ DENVER. COL, Sunlcbaver tro aN Guat t sto. 3 DALLAS. TIX yStuletater bes SAVANWATISOA Kramer 8 Weses CA RENE ie Are you furnishing a House or Life’s Pictures Decorating a Room? are Have you wall spaces or spots Particularly which you wish to make attistically daeeuviate effective at small cost? A dainty catalogue showing in miniature reproductions many of Life's Prints will be sent to any address upon request. LIFE PUBLISHING COMPANY, 17 West 3lst Street, sso NEW YORK on sale in England for sixpence, and 200,000 copies of it have been sold there. His royalties, therefore, are insignificant, his intention being to buoy up the intem- perate and suggest a for their reform. The tale is what Bunthorne would have called “a wild, weird, fleshly thing.” It is about to be published in this country at ten cents a copy. HE. poetic faculty blossoms early. Percy Mackaye is only 31, yet as long ago as the Chicago World’s Fair—a boy barely out of knee-breeches—he was wr chorals for “The Discovery of America ‘The tribulations attending the production of that great stage spectacle cost the life of his gifted father, Steele Mackaye. But the boy had reaped the advantage of opportu- ics for studying the actual working of plays, and his ambition to become a dra- matic poet has been realized by the pleas- ure-loving public’s acceptance of “Jeanne d’Arc.” Certain enthusiastic critics rank him with Rostand and Stephen Phillips, and two of our foremost romantic actors are pledged to the stage production of his new “Sappho and Phaon.” Like “The Scare-Crow” and “Fenris, the Wolf,” his animated and exuberant picture of “The Canterbury Pilgrims” has not been put on view in the theatre. “But it is the stage that I write for—not the study,” said Mr. Mackaye, the other di at the Harvard Club, “To my notion there is little purpose in writing poetic dramas that are meant only to be read, and if my ‘ot no further than the printed form 1 would count them failures.” It is interesting to compare the intellec- k of poetic play-making with the ratively simple labor of writing a novel. “Jeanne d'Arc”” is a case in point “It took me a year,” said Mr. Mackaye. “People ask me the old familiar question, ‘How much do you write in a day?’ A page, probably, is a fair estimate of my greatest daily output. But for months at atime I don’t put pen to paper, but simply think and plan. Play-writing of any sort demands, as you know, the most intense mental concentration, and when verse is the vehicle the effort is obviously much greater. Putting aside the work of the great inspired dramatists, the mechanism of the modern play, even when it deals. with an ancient subject, presents its own special difficulties. The taste of our day demands, and properly enough, that the dialogue be natural and free from rhe- torical flourish; at the same time the verse must be poetry. And there’s the rub.” Mr. Mackaye and his fellow poetic dramatists, in other words, encounter the objection to the “building of the lofty rhyme” once alluded to by “Bob” Bur- dette. “I’m glad I’m an American citizen, comicbooks.com