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“The Gates of Silence”
A STORY OF LOVE MYSTERY AND HATE, WITH A THRILLING POR
TRAYAL OF LIFE BEHIND PRISON BARS.
By META SIMMINS.
Author at “Huihea Up.”
TODAY'S INSTALLMENT.
Wish an exclamation of tenderness*
Barrington drew her into his arms He «
would have spoken, but she pressed one I
soft hand across his lips v
“Don’t talk’of it am more, she • j
”T won't have it.” Then with a corn- v
plete change of manner “Tony, come and
be an angel, and tell me what to say to | (
this fiend of a dressmaker fr
The studio was full of mjsterious c
shadows. The two silver lamps which i
awing from the celling their wicks float- j
Ing in scented oil. served only to diffuse
the shadows, not to dispel them. t
It was a magnificent room, finely pro- t
portioned, so large that in winter it took ]
two fires to warm it tun blazing fires |
of pine logs—for Anthon} Parr ngton j
loved sweet-smelling wood Tonight, chill r
and damp for all that It was .August. a
Barrington had lighted one It burned t
dully, with a sullen concentration, and no
leap and pia> of lilac-tinged flame Its f
red glare fell < rudely on the faces of Tony
Barrington and his wife ?
She crouched In her favorite position
on the rug by his knee. He lay back j L
with eyes fixed on the fire Hls t .
brows puckered in a frown, and his hand j
rested heavilj and half-unconsciously i j
his wife's shoulder Edith's face was. j
turned in the direction of the fire also,
but here eyes were closed and her hands. r .
hidden in the folds of her soft draperies.
were tightly clenched h
Tet as she crouched there ahe was al- i a
most happy The renewal of her bus-* I
band's tenderness enveloped her with s
sense nf delicious completeness, and for j
rhe moment the man nstairs crouching
In the darkness of the cupboard was hard
ly a realitj She bad pushed all contem- I
plation of the inevitable away from her.
and was content to s i there living I
her woman’s hour to its last moment i (
Barrington himself seemed half asleep; i (!
from time to time his hand moved gently i
across the woman's hair in a sort of fiie- j
rhanica! caress. Quietness and peace !
brooded in the room • a
Suddenly through this silence, shrill and
distinct, came the sound of a woman’s f
cry. I
Barrington started to his fem |
Mercy on us. what’s the matter now ' i
he cried, .and made for the door. With the
opening of the door the sound came again,
more distant this time. I
“It sounds like a woman in hysterics,” (
Edith said Fear was gripping at her ; v
heart. The cry was a woman yet every ( .
alarm which shook the house seemed to
her to be centered round one thing I
On the landing the\ met the. butler,
white and scared looking
“What's all this noise about?
“1 hardly know, sir Vlctorine has bad d
• fright thinks she -aw too thing "
“Saw something' What kind of thing."’ '
"A mouse?” put in Edith, contempt
ou sly ‘
“No. my lady, a ghost.”
' 1 ' ’ - • ■ g
—: i “
Mrs.H. VON RODEN
of LYNDON, KY.
Recommends Lydia E. Pink
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Mrs. H. Von Roden, Lyndon, Ky. \,
When a woman like Mrs. Von Roden
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A ghost' The was shrill
and Edith’s
“What n- nsense! ' said Barrington,
sternlv. He looked, not at the servant,
but at his wife He saw that her face
was grav. and that she trembled violent
ly Gnat did she think she saw. and
where ?”
“In my lady » bed room.” said the but
ler “She was laying out my lady’s things
She fancied she saw something or some
one moving in the room-• a white figure.
She called to it, and went into the dress
ing room, but it had vanished.”
“Such courage was very unlike Vic
torine. said Edith with tremulous con
tempt “I can not imagine her chal
lenging a ghost.”
“She thought it was the housemaid,
tny lady but when she entered the bed
room there was no sign of any one or
anything. s<» she ran foolishly screaming
through the house '
"'Fiji, is a very remarkable story,” said
Barrington.
.Again the remark was addressed to the
servant and the look tn his wife
“So remarkable that I believe it to be
untrue, said Edith. Where Is the fool
ish girl now
“In He housekeepers room Os course,
it ma. be <»nl> her fane} Then I feared
it might be a thief,” the butler answered.
“Tut. tut’’ said Barrington. “When
men t out to rob they do not choose
»’• ‘/clock in the afternoon to invade a
lady's bed room. Go downstairs and try
and s<e that better order Is kept ”
The servant turned and went down
stairs. with a distinct sense of injury
Barrington looked at his wife.
“You look frightened,'' he said.
“I am frightened.”
She made a little movement toward
him. hut he did not respond.
“Come. I thought you had more pluck
than that <>f what are you frightened
of me or the ghost?”
Shaky Nerves.
Edith Barrington shivered
“Os neither, really, I suppose; only it's
all a little spooky and unpleasant.”
“I should certainly have thought you
besond such fears.” lie asid. “Vlctorine
evidently suffers from a guilty conscience.
That is why site fled from the ghost. 1
suppose, for form's sake, w? had bt'tter
have another look around.”
They were at the boudoir door, and
Edith would have hung back, only her
husband was already halfway in the room
when he spoke, and she was forced to
follow him Together Hiey made a round
of the room, and it seemed to her that
Barrington’s search was perfunctory to a
degree But she. with the daring of
desperation, oven tried the door to the
dress ch set
“Lovke<l ?'■ asked Barrington “No one.
could hide there, then Well, every
thing seems serene, doesn't it? 1 am
afraid it was a spook.”
“Vlctorine has the key of that cupboard
she keeps my keys. I expect the silly
girl saw a curtain waxing In the wind,
and tried to terrlfx us all to death.”
The dressing gong booming through the
house ca ise<| her to start violently, and
her husband turned lo her
“Your own nerves are not much to
boast of.” he said.
At that moment a knock Interrupted
them It was the housekeeper.
“I have come to tell you that Vlctorine
.< poorly, my lady," she said. “I am
afraid she is quite incapable of performing
her duties.”
Edith frowned and said it was tiresome,
and was about to refuse the housekeep
cr'a timidly offered a istance. w hen Bar
rington fore talk d her.
The Maid 111.
\h Mrs Marlowe, stay,” he said,
with a heartiness of mariner not habitual
to him “Mrs Barrington is tired and
i little upset b\ this ridiculous fuss. f
believe she is afraid Io be left alone in
thi; haunted room. I think I shall have
to quest ton \ ictorine.”
He laughed and left ho room, with just
a passing w • t<) to his wife.
The progress of Edith's toilet was a
< ont.inuous mental anguish. Barrington’s
conduct left her vacillating between hope
and despair. Despair had the louder
voice It lied Insistently that there was
something sinister in the calm with which
Barrington bail listened to the butler's
story, something appallingly suspicious in
the careless manner in which he had gone
around the room “for form's sake “
Thanks to her maid’s absence and to
hr!- own nervousness, the last gong sound
ed before she was really ready to go
downstairs. She would have given the
world if she hail dared to remain behind
even for a moment, but at all times her
husband was a stickler for punctuality,
and tonight delay would have been con
firmation of his doubts if he had any
iloubts
As dinner progressed Mrs Harrington
began to feel that it might be possible
lie had none Not for weeks ha<i Tony
been so « harming and irresponsible, so
full of quips and jests, of plans and
projects for the future. What seemed to
her •somew hat promising was that he did
not ignore the alarm which had occurred.
He discussed laughingly the advisabil
it\ of putting the matter into the hands
of ihe Societx for Physical Research if
;m> further manifestations took place
“Vlctorine mat be cla irvoyante.” he
said, seriouslx “She has all the .charac
teristics of th*' type It may prove an
uitensely interesting case. Edie. What
a pits she is in bed. or we might have
bad her in and taken down her deposi
tion “
I d<m t think tb*re is much of the
lairvoyante about Victorina.'' said Edith,
and the mutter dropped
Continued Tomorrow.
A SPLENDID FOOD TOO
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In lhe average American house
i hold Macaroni is far too seldom
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Macaroni has as great a food value
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l-'aust Macaroni is made f om richly
glutenous. American grown Durum
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imported varieties and you can be pos
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MAULL BROS.
St. Louis, Mo.
Gaby Deslys Tells How I Dance the "Grizzly Bear’—Part II I
DOING THE GRIZZLY GLIDE.
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THE "FASCINATION POSE.”
tsv GABY DESLYS.
PART 11.
THE American dances like the Tur
key Trot and the Grizzly Bear
which 1 have been introducing
in Europe are taking like wild fire over
here!
In the first place, they are new . they
are American and they are so differ
ent from the old-time waltz. You can
make them different or "<>hl so differ
ent," with the accent on the exclama
tion. according to the way you dance
them
Os course, on the stage one has to be .
sensational. No one would pay the
slightest attention if one merely
watzed around, especially in ordinary
clothes. When I am doing a simple ,
little step or dance 1 am much more
particular about having startling and
original costumes than when I am
dancing a sensational novelty, which is
sure to take without the aid of startling
gowns.
Oriental Dress
With these American dances I think
I have struck on a very happy combi
nation. A dress which is staid, to say
the least, and Just the kind of thing
that one would wear in the street, with
a panel of satin in front and a "V"
shaped bodice. But if you look more
closely you v. ill realize that it is not
quite as demure as It looks, for under
the panels of the front breadth the skirt
Is arranged into a trouser effect which
enables me to kick and dance without
being hindered by my ski”!. 1 think
this ,s rather original, just like the
dances Most artists vho have chin- to
the modern evening dress have their
skirts slit at the side, but that has been
done so much that my innovation was
really necessary .
The reason people are so crazy about
dancing the Turkey Trot and the Griz
zly Bear is because of the syncopated
time -the alternate rocking of the body
and swinging of the feet. When the
rake-walk first came out. Paris went
mad about that, but the cake-walk is a
lonesome dance compared with the
Grizzly Bear You can dance a cake
walk all by yourself as a “pas seul," but
no one can dance the Grizzly Bear
without a partner.
The pictures illustrated here show
some of our steps and poses in the
new dance. Os course. I don't expect
ball room amateurs to copy them, for no
girl with a p'etty party dress wants to
t < touch down and half recline on the
floor, and, personally. I don't enjoy’ it
myself on the stage, for after each per
formance my frocks have to be freshly
cleaned and renovated, no matter how
immaculate the stage hands keep the
floor.
All the fancy dances which are
founded off Spanish danees-*and. of
course, you know by this time that
the Turkey Trot and the Grizzly Bear
came from Spanish South America, via
San l-’t .incisco—well, all of these dances
are built up like the Spanish dances
of a certain measure of steps and then
a pause or even a full stop of the mu
sic. during this lime the dancers hold
the i.,s: position of the dance. This
p.wition is called a pose, and must be
graceful and attractive Many of the
modern dancers make these poses gro
tesque. luit 1 would not do such a
thing. It is all very well for a pretty
woman to tri to be funny, but no one
in the wotlil is beautiful enough to do
NOT MEANT FOR AMATEURS.
grotesque things and keep her reputa
tion for grace and looks. Besides that.
1 think grotesque dancing is inartis
tic. An artist can get very near the
ridiculous, or even vulgar, but the
moment she crosses the line she is no
longer an artist.
An Imitation.
Now. in dancing the Grizzly Bear I
give an imitation, but I hope it is an
elegant version of the dancing bear
with arms up and knees bent as he
hops about. My partner faces me in
this and often we cross our arms as in
the picture and hop backward or for
ward or to the side, as we have ar
ranged. according to the music of the
dance.
Beginners think this is very’ easy,
but no two people can dance these
steps without a good deal of practice,
unless they are holding on to each
other. The hold is done by grasping
each other's shoulders, or 1 grasp my
partner’s shoulders while he takes me
around the waist with knees bent as in
the picture. We hop and sway with
the music. This is the real Grizzly
Bear step, and I don’t see anything ob
jectionable to it. though of course one
can make it so if one wishes to.
After beginning the dance in this
way we let go of each other, and hop
one in front of the other for four
steps, as shown in the illustration,
each dancer going in the opposite di
rection, only for two steps each, then
stopping and making the other two
steps back again, so that you land in
the original position with the man
back of the girl. The pose for the end
of this measure is a backward flinging
of the girl over the extended arm of
the man behind her.
They now take hands, her right
hand being in his right, and she being
close to him In the ordinary dancing
position. He takes a quick step back,
she pirouettes or whirls away from
him at arm's length. He pulls her
back again and they alternate back
ward and forward for eight more
measures: the Anal pose ends with her
close to him looking into his eyes, in
what is called the "fascination pose"
of the waltz.
Suddenly each of the partners begins
to sway in opposite directions; the girl
sways the farthest, and he catches her
around the waist as if she were about
to lose her balance. Turning her
around so that she faces the audience
with her back to him, they nnce more
begin to sway, she bending very low
and he catching her. At the end of the
< ighth measure they are both bent to
the floor, where they assume the posi
tion illustrated.
Not for Amateurs.
But while this is a very pretty’ part of
the dance, It requires almost acrobatic
skill and I shouldn’t recommend it for
the amateur. In dancing these dances
fortunately one can leave out such
»teps as are not appropriate for the
time and the place and adapt others to
one's purposes and one’s costume. That
last Item Is a very Important one for
the girl, who will find that the modern
frock keeps he» from being over-ath
letic or trying any gymnasium tricks n
the ball room.
* Little Bobbie’s Pa »
By WILLIAM F. KIRK.
HE FOILS A HIGHBROW.
HUSBAND, sed Ma the other nite.
you remember you & me was
speeking about littei Bobbie
having sumthing to do during the sum
mer months, wile he is having his vaca
shurt. so that he wuddent let his mind
git dull or let hisself git lazy.
I (remember, sed Pa. You wanted
me to git him a job down on the paper
as a office boy. & I put the crusher
oh the idee, sed Pa. Well, what is on
yure mind now?
I have thought of a other skeem. sed
Ma. You know that Mister Upton that
jest calm here from San Francisco, he
is going to start a skool for jur
naiists.
Wat? sed Pa, another skool for jur
nalists. It seems to me, sed Pa, that
there is moar skools for jurnaliets than
thare is jurnalists themselves. In the
good old days, sed Pa. wen 1 was lern
ing to be a newspaper man, 1 never
went to a skool. I jest went into a
newspaper office & took the good with
the bad, mostly kicks & cuffs & other
well ment advice. I started at ten dol
lars a week, ged Pa, & every time biz
ness was bad & thay dident have the
munny to pay me thay used to stand
me off or fine me six dollars for miss
ing a scoop. It was very bevvy going,
sed Pa, but I managed to git thru it
sum way & lern enuff to make a reglar
living jurnalizing. & I think that is
the only way to lerri to be a riter.
But this Mister Upton is a vary
smabt man. sed Ma. lie must be. His
wife sed he was one of the smartest
men on the coast.
Well, sed Pa. if his wife sed so it
must be moar than true. Usually the
things a wife says about her husband
are moastly knocks, if she gives him
a boost it must be true. But I still
stick to the thing I sed first. Speek
ing as a old & experienced newspaper
man. I do not beeleeve that any boy,
however brite, can lorn to be a news
paper man in a skool for jurnalism.
Jest then Mister Upton cairn in. Ma
interduced him to Pa, & he showed Pa
a little book wish he had jest got up
that toald all about his plans for his
new skool for jurnalists.
I am extreemly desirous of having
yure yung son enter my skool & tails
the jurnalistic course, he toald Pa
Yure son has a splendid hed, & he has
the. keen, alert eyes of a born re
porter.
He got them keen, alert eyes watch
ing for me to cum hoam late at nite,
sed Pa. What other signs of promise
do you deteck about him?
He has thin, nervus hands, sed Mis
ter Upton. Thin, nervus hands are al
ways to be found on riters, that is, on
bom riters.
Then Pa looked at Mister Upton kind
of funny. Pa has fat hands & thay
aren't vary nervus, so he dident like
$2.50 Chattanooga and Return
VIA
SOUTHERN RAILWAY
Premier Carrier of the South
SATURDAY, JULY 13th, 1912
Tickets will be sold for afternoon trains only (3 p. m. and
5:10 p. m.); limited good to return on any regular train
up to and including the morning trains, leaving Chatta
nooga Monday, July 15.
GOING SCHEDULE:
Lv. ATLANTA 3:00 P. M 5:10 P. M.
if. CHATTANOOGA 8:45 P. M 9:35 P. M,
The 3p. tn. train carries day coaches only. The 5:10 p. m |
train carries Pullman sleeping cars (seat fare 75c), and
Southern Railway dining ear serving supper.
JNO. I. MEEK, Assislanl Genl Pass. Agent JAMES FREEMAN, Div. Pass. Agent
ATLANTA, GA.
■■CMW—C—on——Will— —MH
WESLEYAN COLLEGE
MACON, GEORGIA
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WOOIXET A SOB. Se. t-A Victor Sanltartwa. AUeet*. «*■
what Mister Upton sed about nern;-
thin hands. I doant see whare th
nervus hands is a sign of geenius s<-
Pa. Monkeys have thin, nervus bin
Let me tell you sumthing, sed r
I have been a newspaper man for tn
yeers, & thay say I am a fairly g,„.
one. If I was ewer to teech a lot
boys to be newspaper men. this is tN
course of study I wud lay out f r
them:
f. How to p'eese the editors
2. How to git a order for advarno
munny from the editors.
3. How to explain yure absent» :
the editors.
4 How to git a editor to taik
cut to lunch.
That is all, sed Pa. but I doant war
littei Bobbie to be a newspaper -rar.
anyway. Goodnite. Mister Upton
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