Madera Union High School - Blue and White Yearbook (Madera, CA)

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unusual ability to perform all the latest steps in aesthetic dancing to Carl Meilike. I, Maurine Griffin, earnestly believing myself to be sane, do hereby bequeath my talent for talk- ing nonsense to Lois Newman. My wonderful alto voice, I leave to Cora Stevens. I, Marie Dromey, believing myself to be partly insane, do hereby leave my clear and logical argu- ments on the present-day situation to Lyall Van- derburg. My arguments may be presented on any convenient occasion, such as when you don’t know your history lesson. I, Mabel Trinidade, believing myself to be en- tirely sane, do hereby leave my good nature and amiability to Ethel Williams. I, Marguerite Donovan, knowing myself to be almost insane, do hereby leave my enviable collec- tion of nicknames to Mae Owens with the hope that she may bear them with patience. (SEAL) (Signed) CLASS OF 1917. sani Shupe Rises to the Occasion Giggler’s Sextette

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class Ca (SZ — — SS MARGUERITE DONOVAN We, the members of the Senior class of M. H.$S city of Madera, County of Madera, State of Cale fornia, believing ourselves to be possessed of suf- ficient mind and memory, and realizing that the end of our life in this institution is approaching, do hereby proclaim this our last official will and testament. To the Juniors, we leave the responsibility of running the school. We also leave them the Physies laboratory with the hope that they will perform experiments with as much intelligence and ingenuity as we have done. To the Sophomores, we leave our originality in entertainment and our latest work entitled, “How to Have a Good Time.” To the Freshmen, we leave our perseverance and our untiring industry, with the hope that they may profit thereby. We also leave them our school spirit with the sincere wish that it be exercised enthusiastically in the years to come. Individually, we bequeath as follows: I, Barbara Theis, believing myself to be abso- lutely sane, do hereby bequeath my placidity to Grace Phillips. My dignity, I leave to Genevieve Wren with the warning that it must be forfeited unless she refrain from all frivolous exceeding ways. I, Deltha Stevens, believing myself to be almost sane, leave to Blanche Wilson my excuse for being tardy which has proven acceptable at all times. I, Marvin Brickey, believing myself to be in- sane, do hereby will and bequeath my so-called “automobile” to Harvey Allen with the under- standing that he will cherish and defend the same against all scurrilous attacks. I, Sabina Ripperdan, believing myself to be sane, leave my marvelous capacity for asking ques- tions to Merritt Shedd. My ambition to be a ist. I leave to Cecil Williams. Huchting, knowing myself to be prac- tically insane, do hereby bestow my title of “Grandma” on Logan Briscoe providing that said party prove himself worthy of the title by learning to tat. noted art I, Pau I, Vivian McCabe, believing myself to be partly sane, do hereby leave my position as star soprano to Estelle Appling. My gayety of manner, I leave to Eunice Cook. I, Lucile Gambrill, believing myself to be al- most insane, do hereby bequeath my marvelous knowledge of science to the entire Freshman class to be divided among themselves, share and share alike. I, Alliene Willis, knowing myself to be pos- sessed of sanity, do hereby will and bequeath my adorable giggle to Aubrey Lusk that he may en- joy himself thereby until the end of High School days with the warning that he show judgment and discretion in its use. I, Lyla Crow, being possessed of sound mind and memory, do leave my position as designer and artist to Marie Autrand, providing said person prove her love of art by beimg willing to work twenty-four hours a day free for nothing. I, Mary Mickel, believing myself to be almost sane, do hereby leave my curls to Irene Glas so that said person may be relieved of all curling devices. All interest in a Ford roadster, I leave to Olive Crowder. Louise Meilike, believing myself to be part- ly insane, do hereby leave my gentle but effective sarcasm to Ethel Amerine with the understand- ing that said person shall use it in defending the rights of woman. I, Miriam Healey, believing myself to be part- ly insane, do hereby leave my position as school pianist to any girl in the Junior class on one con- dition; said applicant must refrain from playing rag time. My reliability, I leave to the Faculty in trust to be bestowed on any student found to be worthy. I, Olsen Lasater, knowing myself to be abso- lutely sane, do hereby leave my position as school step-ladder to Raymond Shupe. Incidentally, I neesie him my sympathy. I, Donald Leidig, knowing myself lutely insane, do hereby will and bequeath my to be abso-

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SPURT EN UR ECU UATEVOTOUN LUE CCLOUSTUTTNTU SEEGER LON TNNT SS - (Py. ait TRAM CULT AAR Development of the American Short Story. LOIS NEWMAN (Prize essay of the “Independent” contest) Mankind has always loved stories. Primitive man. told tales to his children which were passed down from generation to generation. The wander- ing minstrel of the mediaeval ages told of the heroic deeds of valiant warriors and sang senti- mental songs. The Greeks and Romans told and wrote beautiful stories based on their conception of the deities. The stories that were told then were non-centralized tales. They were simple of plot, slow of action, and devoid of character study. There seemed to be no definite form or rule for writing them, but they were written in a slow. easy style. At first, stories were told only for amusement and instruction, then story-telling became an art with a set body of rules and technique, and men wrote about the way stories should be composed. Definitions were made and elements named. Steadily the tale developed, each great author adding a characteristic, until the outcome is the short story of today. The modern short story is a narrative which is short, and has unity, com- pression, originality, and ingenuity. By com- pression we mean that nothing is included that can be left out; by originality, that it is new in plot, outcome, point, and theme; by impressionistic, that it leaves to the reader the reconstruction from hints gathered from the setting and details. The aim of the short story is to produce a single narra- tive effect with the fewest possible means, and yet have the same emphasis. Under Edgar Allen Poe the short story took definite form, for his contribution was structure and technique. He cared more for artistic effect than he did for moral, and consequently wrote on subjects of gloom and terror, wherein the method of suspense was used to good advantage. Nathaniel Hawthorne brought the story to a new stage of development by putting a char- acter in certain circumstances and then working out the results. There is complete harmony in all points, and single effect in character, plot, de- tails, and atmosphere. Bret Harte first called attention to local color, by which is meant the peculiar customs, scenery, and surroundings of any kind which mark off one place from another. Frank R. Stockton first wrote for ingenious surprise, while O. Henry gave freedom from re- straint, with pith, point and easy humor, a style which has won wide popularity. There has been an increased demand for the short story and the number of periodicals has mul- tiplied. There has been an evolution from the easy-going tale to the highly centralized narra- tive of single effect. In the short story are bio- graphic interest, humor and pathos, romance and realism, symbolism and impressionism. It is of value geographically, for by vivid descriptions of certain sections of countries and the life therein, clear pictures are conveyed to the mind. The short story is based on elemental subjects, the emotions which every human experiences: love, fear, anger, jealousy, ambition, sympathy, hate, and self-sacrifice. To quote: “There has been a development from the vague and far-away to the actual—toward that higher realism that is a sym- pathetic understanding of life.” The characteristics of the American short story are brevity, single effect, finality, verisimilitude. so 7