Nappanee High School - Napanet Yearbook (Nappanee, IN)

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NAIM’ANEK SCHOOLS devices will turn tricks that makes its wayard brother. Speculation, grow green with envy. Keeping an account of all transaction, large or small will enable people to cut down unnecessary ex pense and thus save the dimes which will make the dollars. The unwise, however think it is too much bother to keep accounts of their small transactions. They are the people who at the end of the year, Don’t. see where all the money goes to ’ If people who buy cheap goods, machinery, cattle, and horses, kept account of their expenditures and losses on such goods they would know’ where their money went. People who make things go always nay, “Keep an account, ami next year profit by last year's mistakes. Follow this practice and it will lead you to the road to success”. Thrift should be made a national habit and give the people a share in the governmental returns. Plans are under way for a Mail Order Hank, and, with government supervision it is sure to be a success. If we follow Great Britain’s example of selling ship building bonds to every five dollar investor or if the people would invest in a Mail-Order Banking house, the money which they send to Mail Order Houses, our government could soon float a new Merchant Marine; for some Mail Order Houses have a yearly income of one million dollars. Such a sum could be put to good governmental use. THE SWEDISH NIGHTINGALE FLORENCE VOLKMAN JENNY LIND was born at Stockholm in 1820 of humble parentage. In her childhood she gave evidence of her power of song and at the age of nine years she was sent to the Stockholm Conservatory of Music, being the pupil of Croelius and Berg. At the age of twelve her voice showed signs of contracting on account of being put too soon to public practice. Four years later it recovered it’s full power when she appeared as “Alice” in “Robert le Dialbe”. Her voice w’as a soprano of exquisite purity, and symponic in quality. Its tone was so pure that her faintest pianissimo was distinctly audible in the largest concert room and at the same time so full and powerful that she could easily cope with the strongest orchestral accompaniment. Her upper register was unusually rich and effective but her lower did not correspond in quality. She improvised her own cadenzas, which were always in exquisite taste. There had been voices of greater power but none of greater pruity. Her singing was as pure, joyous and spontaneous as that of a bird. She seemed to sing more because she liked it than because others liked it. Her pianissimo was perfect. Her control of breath was so perfect that she sustained tones with the utmost ease and naturalness. Summing up her qualities, I should say that her voice united strength to a very remarkable degree, with depth of feeling, delightful sweetness, and delicate refinement. At the age of thirteen years she arrived at New’ York, September 1, 1850, and gave her first concert at Castle Garden. Her supporting artists were Sir Julius Benedict, her leader; Signor Beletti, baritone and Richard Hoffman pianist. These men were especially engaged in New York for the tour. Her numbers on the program for the opening concert were “Cast a Dira” from Norma. “The Herdsman’s Song’’ popularly known as the “Echo Song”. She sang a duet with Beletti, “ Perpiacer alia Signora”, and a selection from “Meyerber’s Camp in Silesia” lor voice and flutes. During her first tour in America under Mr. Barn-urn’s management she sang in the following cities; New York, Boston, Providence, Philadelphia, Baltimore, Washington, Richmond, Charleston, Havana, Mantanzas, New Orleans, Natchez, Memphis, St. Louis, Nashville, Louisville, Cincinnatti, Wheeling and Pittsburg. She gave sixtv-two concerts be tween June and December of 1851. Premiums paid for her choice seats were $3,590. In regard to her rank as an Artist, the testimony of some of her contemporaries may be of interest. Chopin said of her: “She does not show herself in ordinary light but in the magic rays of the Aurora Borealis. Her singing is infallibly pure and true and has an indescribable charm”. And Lablache, “I can say I have never heard anything like her singing. Every note was a pearl.” And Clara Schumann: “What a great Heaven-inspired being she is! What a pure, true artist-soul! Her songs will ever sound in mv heart.” And Mendelssohn: “She is as great an artist as ever lived and the greatest I have know’n ”. Surely these should know. In making a comparison of Jenny Lind as a singer with one of our time the name of Adelina Patti inevitably suggests itself. Patti when she was a girl heard Jenny Lind sing and imitated her. If not the greatest artist Patti was unquestionably the supreme vocalist of her day. The difference be tween the singers was that of personality. Patti’s tone was very clear and pure, she was absolutely self-possessed ami sure of herself but with all her vocal ability it would have been impossible for Adelina Patti to sing, “T Know That My Redeemer Pa ?e Twenty-nine

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LITERARY THRIFT CHARLES HOLDERMAN TJIE term thrift, describes a thriving condition when people are living in a time of prosperity. The thrifty people are those who in the time of employment are economical with their earnings. Those who believe in preparedness are thrifty. For they are preparing economically and financially for times when their thrifty habits can be put to good use. Should a panic overtake them they have frugal habits to carry them thru. They are savers of fuel, by burning potato peelings, egg-shells, and other waste and rubbish which can be used very suc-cessfully, as fuel. In Germany all such rubbish, as the above mentioned, is finely ground and packed into bricks to be used as fuel. Great manufacturing concerns are interested in reducing the amount of fuel burned to energy produced. They are utilizing sawdust, heretofore wasted at sawmills, and the excess carbon, wasted in smoke into heat energy; some are using electricity from a central point, which is cheaper than producing their own power. Packing houses are now manufacturing the refuse, before thrown away, into stock-food and fertilizer which they sell at almost a total profit. Farmers have learned how to save energy by having inodernly equipped houses, machinery to aid in doing the house work, and machinery to aid in doing farm work such as the gasoline engine, grinder, manure-spreader, reaper, hav-loader, tractor, and gang plow. They are buying fertilizer, and feeding their own produce to their stock, which they sell at a profit. The residue they put back on the ground instead of selling everything grown and buying nothing to enrich the soil, for the farmers who grow crops have always been known as thrifty people. There are a great number of people, who when they reach middle age become useless to employers and find themselves out of a job. They must work to provide for themselves. Had these men been thrifty they, anticipating conditions to come, should have been preparing for another jtosition. It is well for a man to be able to do more than one tiling satisfactorily. It has been told of a certain woman who was left to provide for a large family ami pay off a mortgage on her home that she went to work with an orchard and was able, not only to provide the necessities of life for herself and family, but also was able in a few years to pay off the mortgage. Had she worried about her losses and not have been thrifty not only she but also her children would have become de- pendent upon charity and society. The thrifty are alert for chances to save money. For instance, farmers, who can, by investing in a large amount of stock, add to their capital in the end, watch the markets for the time when they can sell their produce to the best advantage and purchase high grade horses, good fences, and first class tractors, at the lowest possible price. Thrifty people aie always savers and they reach success. According to .lames .1. Hill: “If you want to know wdiether you are going to be a success or a failure in life you can always find out. The test is simple and infallible. Are you able to save moneyf If not drop out. You will lose as sure as you live. The seed of success is not in you ’ Men who try to save and make money usually have capital accessible, for those who have the money will lend to those who display a trifty endeavor. The question may be asked, “How may one save money”? Those who save money must have a goal and in seeking for that must save to attain it. For instance, the desire to own one's own property; a desire to invest in merchandise, which requires an investment of capital; capital itself, may furnish sufficient incentive to acquire the habit of saving. To save does not mean to be stingy. A good way for saving money is to put a percent of all spent on luxuries into a saving bank. For instance, men who spend twenty-five cents or more per day on tobacco could tax themselves fifty or one hundred percent on that luxury or they could cut down their days allowance of cigars or pipes full of tobacco a day. They would get as much enjoyment out of their smoking and yet would have the satisfaction of knowing that at the end of a year they would have a nice sum to start a bank account with. Like wise High School students could cut down their ex penses on such luxuries as shows, ice-cream, candy, and expensive clothing, when the price and not the quality is considered. Some students could save from two to four dollars per week which, in a year's time, would amount to one to two hundred dollars. This sum would be accepted as an instalment on a property. Thus he could soon become a property owner. Or, this money could be put on interest to a great advantage. There is a record where thirty-three dollars deposited in 1833 brought one thousand eight hundred twelve dollars last year. The dividends ranging from two to three and one half percent. compound interest. Interest, if left to its own T’ape Twenty-eiKht

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THE TIGER Liveth”. Lind was a lark that soared with the blue with her song. Patti was a delightful warbler among the flowers in the garden. What of .fenny Lind the womanf She was a girlish figure medium in height with fair hair and light blue eyes. Her features were plain and somewhat coarse and in repose there was a lack of svmetry, but while singing her face was most fac-inating. Her gait was grace itself. There was music in her very looks and motion. While deliver ing her songs her face seemed to be transfigured and to gain a beauty which was not manifested in repose. In her dress she was very simple and plain. In her experiences in matrimonial scandals, no hair-breath escapes no jewel robberies. She had all the characteristics of a plain woman indeed. She was ••Jenny” with every one. not Signora Lind or Mile., Lind or Miss Lind, but plain Jenny Lind. After her arrival at New York, the stores were full of Jenny Lind bonnets, gloves, coats, hats, and fineries of every description. Her portraits were in every shop window. The choice dishes xf hotel menus were a la Jenny Lind. There were Jenny Lind stages, and steam boats, cafes and coat rooms. All the girls of that day imitated her coiffures, and costumes, and many of them sought to imitate her gait. One enterprising hardware dealer advertised, 11 Jenny Lind tea kettles which, being placed on the fire, commence to sing in a few minutes” This not only in New York but every place all over the country. In 1852 she was married to Otto Goldschmidt, who was conducting the Bach Choir at that time in Boston. Her married life was a very happy one. She afterwards left the stage for good only appearing at intervals for some charitable object. MUSIC—AN INTERPRETATION OF LIFE MARION BREVIER CARLYLE has said: “Music is a kind of inarticulate. unfathomable speech, which leads us on to the edge of the infinite”. Of all the forms of art which genius has devised to make our lives more beautiful, there is none which is so intimately associated with our every experience; none which is such close sympathetic touch with every phase of life’s emotions, dreams, and aspirations, as music. There is no one who has not felt, and has not been gratified to find, their various moods and emotions expressed in the strains of great music. One might ask—Is there a real need—a human need for music in every-day life? What is one of of the main objects in life? Everyone will agree that one great aim in life is happiness. But, we must then ascertain what can produce real happiness. The artist and philosopher would say that happiness comes through the appreciation of beauty. The minister would say that happiness, from his view point, comes through useful service. In the first case, beauty does not mean that sort, which appeals to the eye alone—but, in order to obtain the deeper meaning, we must comprehend that supernatural beauty which comes to us through the creative mind of the artist. In this respect, the artist is closer to God. than the rest of mankind, and, being gifted with a vision of beauty, which the ordinary world has not yet perceived, he is able, through his art, to make that vision real to the world. Music, which truly comes from the soul of the artist, uplifts the soul of interpreter ami makes him have higher aims and better ideals. Thus we find that the composer and interpreter serve humanity, since by hearing this music thousands are helped and inspired to greater things. Music is well named a Lniversal Language, not only because it is understood and felt in every land, by every race, but because it voices, and to some extent influences, the universal experience of all by every race, but because it voices, and to some it is also a national language; for, each nation has music which characterizes the life of its own people. This music, which we term as “folk-music”, owes its existence to the characteristic compositions of a few individuals. These themes are worked out by the composer in such a way, that they express his emotions, and perhaps his national sentiment, which the composer has attempted to convey, and readily adopt it. The general idea concerning folk-music is, that it is the sort of music which is composed and used, chiefly, by a certain class of people and therefore it does not escape from this limited realm. This is not altogether true; for the folk-songs of some na tions have been used by famous composers, of other nations, in their compositions which have inspired the whole world. This is particularly noticable in the case of Hungarian folk-music, which has provided material not only for native composers, but also for Germans, Hadyn made good use of folk music and in more recent times. Liszt collected a great number of the Magyar melodies, as played bv the Gypsies, and used them in the themes for his Hungarian Rhapsodies. Schubert also was so charmed by the Magyar melodies that he copied some of them and used them in his works. Of all European countries, Germany probably has the greatest number and variety of good folk songs. Pa e Thirty