East Liverpool High School - Keramos Yearbook (East Liverpool, OH)

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,. Krramnn Z3 The 'Dress Mr. Haverleigh Mrs. Haverleigh Pauline, their Daughter Paul, their Son ,Carl, the littlest Boy Scene-mLibrary Time-Evening Characters Mr. H., reading at table. Paul, lounging on the couch. Polly-Well, mother, you know I don't want a lot of' frills and furbelows, but just something simple and pretty. Mrs. H.-Yes, I know, dear, but we have looked through all these books, and you can't find anything to please you. Polly-I know just how I want it made, but I can't describe it. Paulwflazilyj Oh, I say, sis, why don't you draw it, and send it to the dressmakers that way? ' Polly-Now, Paul, don't be silly. How would you like to make a dress from a drawing that I made? Paul-I wouldn't even try it. fReads.J Polly--I know I don't want a fiounce or rufiie on the skirt, because they are not fashionable. Carl-Muzzer, tan't I has a new druess too? ' Paul-Say, sonny, you thank your lucky stars that you aren't a girl. Carl-Yes, but I is a durl just now, till I grow up. Polly-You are just a dear, sweet, little boy, who can't tease as big brother can. PaulWI'll tell what, sis, you get me the goods for your dress and get me a paper of pins and I'll show you something great. It will be the prettiest dress you ever had. ' Polly-Oh, Paul, please do be sensible. Don't you know this is a serious matter? Paulvirolling overj Ha l Ha l Serious? Oh, I say, that's a good one. Why, you look as if everything depended on your dress. Youlre pretty enough to make a hit in a plain gingham or calico dress. Polly-fblushingj Oh, Paul, do you think so? Mr. Hgflooking upl Say, what is all this talk about? I have been trying to read, but it's simply impossible. Polly-Oh, Father, you know what is pretty. Can you tell me how to have my dress made? Mr. H.-What color is it? Polly-White Mr. H.-Well, I don't notice dresses very much, but don't you think it would be nice just to gather it at lu... .. the top and tie a ribbon around the waist? What do you think about that, Paul? Paul-flaughingj Why I think that would be first- rate. Polly-That just shows how much men know about dresses. Carl-Me's gwine draw a dress. Paul-Here, sonny, you musn't trifle with such a serious matter as a coming out or leaving dress. PollyAWell I'm sure of one thing, and that it must be Baby Irish Embroidery. Paul- Say, what's that? You know we aren't Irish, so it wouldn't do for you to wear a green dress. Polly+I told you that it must be white. .Is it so long since you graduated that you can't remember the girls dresses? Paul-Oh, that reminds me, one of the girls had a dandy white dress on at our last banquet at College. It looked as though it was just filled with little holes, and I still remember how it was made. Polly-Oh, tell me quickly. Paul---I can't just tell you, but I think I can draw a pretty fair example of it. You see the waist was fixed something like this and the skirt comes up like this and the belt was fastened this way. How do you like it? This isn't exactly right, but- s Polly-Why that is a perfect dress. I'm sure I would like it made that way. You know more about dresses than I thought you did. Mr. H.-Oh, listen, here is something that I'm sure will interest you all. The School Board has adopted the caps and gowns for Commencement this year at- Paul- Say that would be a gooi idea to adopt them here. What do you say, Polly? Polly-Well, I don't think so. That subject has been mentioned at school, but no one seemed interest- ed enough, so it was dropped. I'm certain they will never be used here-I think I will call Vi up and see what they accomplished in class meeting this after- noon. Yon know, mother, I couldn't stay ileaves the room.J Mr. H.-I'm afraid she will be disappointed. For I feel certain that the caps and gowns will be adopted here. So you needn't bother any more about the dress, mother. Polly-Centeringl Oh, mother, now they have decided on those horrid caps and gowns. I know they will spoil everything. Paul-And such a mistake too. -F. B. 1911

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ZZ Ilivramnu lesson of team work, of concerted effort. That is no true home for the child where- there is no play and every means should be encouraged which aims to give an opportunity for the free expression of his natural spontaneity. Stevenson says: Happy hearts and happy faces, Happy play in grassy places, This is how in ancient ages Children grew to men and sagesf' Now picture to yourself the familiar groups of dirty children, playing in the dirtier streets. Only through the public playground can the little outcasts of humanity know the joy of happy play in grassy places. Should we begrudge them this imperfect substitute? One of the first means designed to relieve the distressing conditions incident to childhood, in the cities, was the Juve- nile Court. It would appear that including the courts among the agencies for the good of the child, would give the category an ironical and melancholy cast, for it would seem that this would be the last resort instead of one of the first. It has resulted in great good, however, in pun- ishing the real criminals, those who are responsible for the wrong doing of the helpless little ones. The serious aim of the Juvenile Court is to guide these small offenders rather than to punish them for their trivial offenses. It was through the instrumentality of the Juvenile Court that a new offense was tabulated in Colorado, that of contributing to the delinquency of children. But as Judge Lindsey, the founder and greatest advocate of the Juve- nile Court, says: We shall make progress just in proportion as we appreciate the absurdity of limiting our remedies to the court, the hangman, and the jailer. A few years ago a wave of public sen- timent swept our country, condemning child labor. This outbreak finally crys- talized into several laws, laying some restraint upon the employment of chil- dren. The warfare of their enforcement has become one of the multitude of tasks for the social reformer. The child labor crusade is a vital thing-for child labor can do the Republic immeasurable harm. It is not the exclusive duty' of individ- uals, nor of committees to take up this matter of protecting and conserving outr' children, it is the duty and privilegeof the State. The State, in caring for its children, cares for its future self and it is only true to itself in so far as it is true to its children. For the child is not only the trustee of the past and the hope of the future, but it is the living present, entitled to every protection and security which man grants to man, and as much more than man grants to man as is required by the defenselessness of the child. In natural resources we are a wealthy nation. We are only beginning to realize the latent possibilities in our wide tracts of land, in our mountains, forests, lakes, and in the climate that stimulates us to make the most of our national endow- ments. On every hand we hear much of conserving our natural resourcesg agri- cultural colleges are telling us how to make our lands more fruitful, all states are conserving their wild animals, and wide tracts of forest region are being reserved as public property. The out- come of such conservation seems hopeful. But resources alone can never provide the ballast necessary for the equipoise of a nation. The vital forces in a nation are human, not material. In the economics of nation-building, the greatest concern centers about boys and girls. The Repub- lic has much to expect from its children and ro should they be conserved as our most precious possession, which shall, in the coming years, render the richest returns to the state. This is the children's hour -between dawn and daylight-the dark- ness of the children's wrongs, which is passing, and the daylight of fairness and justice that is dawning. Aucr: Brook, '11 5 .fl f s X l i.

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24 Keramns How n rtist Succeeded AOLA stood on the old Cathedral steps, gaz- ing afar into the distance. One might have said she was a statue, so lifeless did miiiw she seem, with her eyes fixed on the glow- ing sunset, her lips parted in a half smile. Presently the smile faded, the girl sank down on the steps as a gruff voice behind her remarked, though not unkindly, Paola, will you never cease to watch the Mission? 4'Not the Mission, Father, it is not that I see, it is the beauty in the sunset. Child, child, no beauty is there. See that black cloud rising to the Northward? That betokens a storm. Very well, Father, answered the Spanish maiden, only I do hope your prediction won't prove true. The priest moved on, and the maiden turned slowly homeward. Somehow, the priest's mention of the lit- tle Mission in the valley lingered in her memory. Her gaze wandered again to the single little church, al- most hidden in the surrounding trees. She stopped suddenly, a thought fiashing through her mind, and then hastened on with quickened steps. , Felix, Felixf' she cried, as she reached the quaint little cottage under the palms, where a typical Spanish youth sat painting. Before him on the canvas was the outline of the great Cathedral, which already be- tokened how unsuccessful the finished production would be. The youth wearily arose as the girl approached and gazed at the flushed face and bright eyes. What is it, Paola? Has my little sister found a gold mine, or made an important discovery 'Z Both, she answered, smoothing away the jet- black hair from his sun-browned temples. Where can it be 'I' he asked quizzically. I was not aware Maximilian's gold was so easily found. See, you have not been gone long, the Cadhedral has pro- gressed slowly. Felix, take away that canvas with its old Cathe- dral, it looks so cold and de erted, and I will show you a picture worth painting. Come, she said coaxingly, as he looked at her incredulously. Where can one find a view here worth painting 'Z he exclaimed bitterly. The Cathedral is the only stately building in our country. Paola led the way triumphantly, Felix following slowly. Hurry, Felix, she cried, or it will vanish. You know your old Cathedral has always been a fail- ure, you've tried it so many times now, and you know what the great artist, Milbean, said the last time you submitted your painting. Don't I know ? he said bitterly. It was, 'you are not working in your sphere, your work is stiff and un- naturalf Then, why do you always turn again to the Cathe- dral '? she asked. You know he said you had talent, and would find in your chosen work the sphere which is best suited to your talents. What else is there here? I've made a failure of everything I've tried, but I can't give up, Paola. I know I'll win yet, I feel it. My soul longs after this work, after a nobler model than this desolate Cathe- dral, but my hands refuse that longing. Paola, csn't you understand how I am longing, longing after a noble, wonderful picture? My soul soars higher than I may ever hope to reach, for I cannot find the picture which is my ideal. Paola soon reached the Cathedral steps and mount- ing called to Felix, who had been walking slowly with bent head. Come up here Felix, the view is splendid, and long ago you promised to paint me a picture I could cher- ish as my very own. I want this beautiful sunset, Felix. I love the sunset, and I'm sure I won't bother you about your Cathedral any more, if you will only paint me this. He went about the work dejectedly, gradually his countenance brightened as he saw how easily the col- ors portrayed the real sunset, and the little Chapel, half hidden among the palms. The scene soon appealed to his fancy, for the glowing sunset was superb. The green palms waved over the little Chapel, and the soft, reflected colors of the sun changed all to a dull splendor, outlined against the brightened sky of chang- ing tints. It was a wonderful picture and difficult of portrayal, and the young artist was surprised at the ease with which the colors lent themselves to the exact reproduction of the scene. A few days later Felix carried the finished painting to his sister's room, and together they criticized its faults and virtues. Not long after this, Paola, unknown to Felix, car- ried the picture to Milbesn. The master critic sur- veyed it thoughtfully, and praised it highly. Paola refused his generous offer, and would not sell the pic- ture, but told how Felix had come to paint it. The unbending, stately Cathedral is not in his sphere, he said finally, and he will no longer need to paint it. He is now an artist of note and through his sister's fore- sight has found where his talent lie . And Paola left joyfully to carry the glad news to Felix. 1 G. D. '1