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“ Gaily the Troubadour”- HERE’S WHAT HE SANG « E VKRY one has heard of the troubadours, and to all the name calls up a picture of a youthful singer in romantic garb, holding a lute in his hands as he chants a lay to his mistress’s eyebrow. The original troubadours came from Provence, the birthplace of all the charming romanticism that clung around the knights of the later Middle Ages. • It is peculiar that the music of these sweet singers goes back for its model and method to the Bible itself. How the 600-YEAR-OLD MELODIES of the Middle Ages Are Being REVIVED The chief characteristic of Hebrew minstrelsy and poetry was what is called "parallelism” of thought; that is, the first part of the verse was echoed in other words in the latter part. The Arabs brought this method to Europe, calling it “contention,” two singers taking part, one repeating the thought of the other, in the same metre, but different words. And in Provence they spoke of the “tenson,” their transfer of the “con tention” from the Arabs, two singers likewise taking part in the performance. Flourishing between the eleventh and fourteenth cen turies the troubadours made their may not only all over France and Spain, but even into England. The word really means the “finder” or “inventor,” or as we would say, the “composer” of the songs. No troubadour worthy of the 1 name would sing any songs not composed - by himself, and very often they were composed on the spur of the moment in honor of the Queen of Love and Beauty at some royal “Court of Love.” In that beautiful, harmonious tongue of Provence, ac companied by the melody of voice and lyre, the songs of love sounded through the world, and now you can play them for your selves and learn precisely how they sounded to the ears of the men and women of six centuries ago. A few of these songs have been preserved wit It the old musical notation of the sing ers, and can now be rearranged ac cording to our notation, so as to be intelligible. It is like listening at a telephone, running back over six centuries, when we enjoy these melodies that moved whole nations in mediaeval times. It was during the first crusade that, the Normans and the English met the Provencals, bringing many of their troubadours back to England with them when the crusade was over. The first of the troubadours to win fame outside Provence was William IX.. Count of Poitou and Duke of Aquitaine, grandfather of Queen Eleanor of England, and In that way progenitor of the English Kings. He *as a poet of great genius, described as ‘easy in dic tion, free In style, with a perfect conception of literary effect.” He became the patron of troubadours and did much toward making their place In England. Knowing that they had a friend in him the trouba dours from all Provence flocked to his court. His grand daughter Eleanor was no^less fond of poetry and song than William himself. When after her divorce from the French King she was wedded to Henry II. of England a host of poets quickly followed her to the new court. The poetry of the troubadours was both lyrical and epic. Their verses were sometimes divided Into coup lets, but not always. Here is one of the famous songs by Gkaud Riquier, in which the first line is unpaired; “Of lies can cunning men Oft make a truthful show; But God hath made me know My course in life will be To sing eternally.” They used stanzas, too, as witness this translate (rom William de St. Didler: “Since she is fair, the dame I celebrate, Fair her great name, and fair her broad domain, Fair her sweet words, and fair her stately gait. My couplets eke to be as fair are fain.” They had their dirges and their pastorals, but the r serenades and ballads were the most popular, and aie to this day the best known. The troubadours were not beggar-singers, who had to stand at the castle-gate and wait for admittance. They formed a very aristocratic class, being considered the equal of the best, for they had to be cultivated and accomplished gentlemen, and most of them were high born. A troubadour was expected to entertain his friends sumptuously, and to give feasts marked by me ;- niflcence and originality. This coat a great deal of money, so he had to belong to the wealthy class. Many ruined themselves for their art and in defense of it. Words and Music of a Troubadour Song of 600 Years Ago as They Would Be Written To-day. JTJ—0 —— n=&=K=3 —f-0 M - r»—~ • - —0-m 1 —|— : =t= M >» ... , *4L ■ — — L 1 — 4 a ■ L. i • -e£=*= ~n—4~ -O r- —ft-i- When the nightin- gales call a-loud. How they de- light by their song. With clasp’d hands thank them for their song For by naught can we love more. To my beauti - ful and sweet friend, See my heart, it night -in- gales. And know well if she for-- get me That joy is all o’er for me The Right Way to EAT PINEAPPLES P INEAPPLES used to be considered unwholesome. They were supposed to cause cholera and all kinds of intestinal disorders, but in all proba bility this reputation was gained because they were not eaten in the proper way or were not ripe enough. When pineappleMs thoroughly ripe and is eaten as it should he, it is refreshinging and wholesome, either when eaten in slices or when converted into juice. Most people eat pineapples the wrong way. They pare off the coarse, prickly outside skin and throw it away, not knowing that the skin really contains the best part of the fruit. This outside skin contains a large proportion of the alkalqid principle, “bromelin,;’ which is the digestive ferment of the pineapple and which is somewhat similar in its medicinal effect to pepsin. The correct way to eat a pineapple, to get the most good from it, is first to pare off the rough outside skin. Squeese these parings in a lemon squeezer and pour their juice, sweetened or not, as preferred, over the pared pineapple when cut in slices. In this way all the powerful “bronielin” is saved, and enchances the flavor of the pineapple itself. Pineapples should always be eaten after meals and not before because then they assist digestion. All kinds of food, nitrogenous (meats), carbohydrates (veg- stables and starches) and fats are readily digested by the “bromelin” of pineapples. The digestive principle of pineapples is much more far-reaching in its effects than pepsin, for pepsin is only active as a digestant when combined with acid ,of some kind, and alkaline foods of any kind are practically unresponsive to its action. But pineapple juice exerts its digestive activ ity in any medium, acid or alkaline. A striking illustration of the digestive power of pine apple juice is shown by the irritation which will be caused on the lips and in the mouth if the skin be bit ten or chewed. This soreness is really caused by. the “bromelin” commencing the process of digestion on the mucous membranes of the lips and mouth. Few people realize the quantity of jVnce that can be obtained from a pineapple if it is preferred to drink the juice rather than eat the pulp. From an ordinary sized pineapple from half a pint to three-quarters of ,a pint of juice can be obtained by cutting the whole fruit, skin and all, into cubes about an inch square and squeezing them in an ordinary lemon squeezer. Pineapple juice, mixed with an equal quantity of ice water or seltzer, makes a healthful Summer drink, and is particularly valuable for children, because being such a. help to complete digestion it counteracts the ill ef fects of over-eating. How SELF CONFIDENCE Affects Your HEALTH T HE state of mind which we know as self- confidence exerts a more important in fluence on a person’s health titan most of us would believe. When we are confident the heart beats regularly and powerfully, making the circulation perfect. The passage of the blood through tile arteries and veins every half minute supplies the lymph and the cells of every "®an with just what they need, and keeps the body at its highest^,possible efficiency. So long as the heart beats in this regular way we do not tire easily, the bruin is clear and we judge our own actions and the actions of those about us with fairness. Just because we are confident we arc slow to feel pain. Self-confidence tends to eontihue the normal action of all the organs, and actually to preserve tile continuity of health. The blood-pressure does not rise too high, the pulse is regular and slow. Tlie skin performs its functions perfectly, throw ing off waste products and relieving the system of poisons. When confidence pqrvades the mind the glands form their secretions in the right way, and there is plenty of saliva when it is needed to prepare the food for the action of the gastric juices, which, in their turn, flow more freely. We are unconscious of all this, bemuse we do not have to stop to think of it. Our confidence helps us to forget that we have a stomach, wliiph is the ideal condition. Every organ seems to work harmoniously, and if any one asks how we feel we answer with con viction: “Never better in my life." We have such an appetite that we can eat anything placed before ns and enjoy it, which is at least one-half of digestion. We are not afraid of work—we are itching to get. at It, because we feel the newer of labor, due to our* excellent mental and physical condition. If we meet friends we shake hands with so much vigor that they feel it, and half the battle of life is won by the very confidence we show. There ** no timidity in advancing the work we have in hand, and we impress those around us with the feeling that we know what we are doing and that we are sure to succeed. Uncon sciously they are influenced to help us to our ends. We walk with firm, elastic step, we stand erect and the expression of the face is attractive rather than repelling as it is when we lack con fidence. The reaction of this state of the system upofl the mind is just as strong as the action of the mind upon the system. The excellence of blood- circulation gives the brain just the amount of biood it requires, without any danger of conges tion. With confidence worry becomes Impossible, and work absorbs our energy, thus increasing our productive capacity, instead of wasting it on fruitless effort to avoid ills which may never occur. Just because of our confidence wo gu-- mount obstacles which would prove hopeless t:i the timid. The exaggeration ^of confidence—*'over-conI - deuce,” as we call it—is oftenest, youthful rnri.- ness; it should not be confused with manly tr womanly reliance upon one’s own powers and tie feeding of ability to do things. Anything til. t tends to inspire one with confidence in him or herself will go a long way toward preventing disease and ennsuring long life. \ V NO. 9698.—A PRETTY, stylish - A VARIETY OF CHIC, UP-TO-DATE MODELS EASILY MADE BY THE HOME DRESSMAKER. WAIST DESIGN. B LUE crepe, with Bulgarian em broidery and shadow lace, is here shown. The pattern is cut in five sizes— 32, 34, 36, 38 and 40 inches bust meas ure. It requires 3% yards of 36-inch material for a 36-inch size. NO. 9718.—A DAINTY DRESSING SACQUE. The pattern is cut in five sizes—• 34, 36, 38, 40 and 42 inches bust meas ure. It requires 3% yards of 40-inch material for a medium size. NO. 9578.—A DAINTY DRESS FOR ‘ THE LITTLE MISS. The sleeves are short and gath ered into a band. This style is espe cially comfortable and practical for the little “tot’s” best dress. The pattern is cut in four sizes— V 2 , 1, 2 and 3 years. It. requires 2% yards of 3£-inch material for a 2-year size. NO. 9726.—A PRACTICAL, COM FORTABLE SCHOOL DRESS. Brown galatea, with white linens, for trimming, is here shown. The closing is at the centre ffont. The wide belt may be omitted. The pattern is cut in four sizes— 6, 8, 10 and 12 years. It requires 3% yards of 44-inch material for a 10- year size. IMPORTANT NOTICE. Send 10 cents in silver or stamps for our Up-to-Date 1913-1914 Fall and Winter Catalogue, containing over 400 designs of ladies’, misses’ and children’s patterns and a concise and comprehensive article on dressmak ing. No woman can afford to be with out one of these catalogues, as the illustrations shown therein are prac tical designs that are necessary for the home dressmaker. RUPTURE GUREU PRf C ——Stuart’* Piap*o-Pad« means thal r KL Can throw away the pain- I truss altogether, as the K l PI»Pao-P»ds are made to cure __ ^rupture and not simply to hold ~ self-adhesive and i adhering closely to fhe 'body slipping is impossible, , therefore, they are also an important factor , y.1 in retaining rupture that cannot be held by I9oq I a lrusg * Wo str *Ps. buckles or springs— - J f cannot slip, so cannot chafe or press against r\r rji ini/ithe pubic bone. Thousands Vr rLArAvhave successfully treated themselves at home without hindrance from work and conquered the most obstinate cases. Soft as velvet— ea»-% to apply— Inexpensive. Awarded Gold Medal. Pro cess of recovery is natural, so no further use for truss. We jirovo what we say by sending you Trial of Plapao hnd a vest convincing mass of evidence absolutely F4££ »you oay nothing for it, now, or ever. Write nan l on a postal and xmJl today. Address, Phono i awiratoriox. Block 435 Si. BARGAIN DAY—Your Choice of Any Two of These Patterns for Ten Cents. NO. 9724.—A CHARMING AFTER NOON OR HOME GOWN. Striped serge in a two-toned effpet of light gray and with embroidery for trimming is here shown. The pattern is cut in five sizes-- ". 1, 36, 38, 40 and 42 inches bust meas ure. It requires 5 yards of 44-inch material for a 36-inch size. NO. 9719.—GIRL’S DRESS IN BAL. KAN STYLE. Brown kindergarten cloth, with trimming of brown and white per cale, is here shown. The fronts open below a chemisette that meets the reding collar. The broad belt joins the waist and skirt. The pattern is cut in four sizes — 6, 8, 10 and 12 years. It requires 3 V* yards of 44-inch material for a 10- vear size. To obtain any two of these desir able patterns, fill in the accompany ing coupou and mail, with 10 cents in silver or stamps, to BARGAIN DAY, Post Office Box 260, New York City. SUNDAY AMERICAN-EXAMINER PATTERNS. "BARGAIN DAY.” No. 9698.—Size Bust. No. 9718—Size Bust. No. 9578.—Size Years. No. 9726.—Size Years. No. 9724.—Size Bust. No. 9719.—Size Years. Name * Street and Number City and State TOE NATIONAL MARKET PLACE SONGS. ~SONG POEMS WANTED -Ftp paid writer* thousands in royalties. Send me samples of your work fur free criticism. If available, will pub lish under fairest, most liberal contract ever <iTered. Your success largely depends upon select ing an absolutely reliable, competent and suc cessful publisher. New York is recognized mar ket. for songs and l»est place to publish. I composed ai/U published many of the "greatest hits.” KST. 16 years, FR EE BOOKLET, John T Hall, 2 Columbus Circle, New York. SONG POEMS wanted Money in auccess- j ful songs. Mend us your poems for examination. I Wo revise, write the music, pay for and pecure copyright in your name and pay 5(> per cent roy alty on all copies we sell. Particulars, terras and book, “How Music Makes Money,’’ FREE. C. L. I PARTF/E CO., H04 Astor Theatre Bldg., N. Y. 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CO., 018 F. N. W„ Patent Attorneys, Washington. D. C. STAGE INSTRUCTION. ILLUSTRATED BOOKLET on Show Burine. s tor 2c. stamp. STAGE STUDIO, Station 3, 2iJ •Vest 38th st., New York, 4 4