Hartland Academy - Ripple Yearbook (Hartland, ME)

 - Class of 1944

Page 30 of 84

 

Hartland Academy - Ripple Yearbook (Hartland, ME) online collection, 1944 Edition, Page 30 of 84
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Page 30 text:

4..-..,..,..-....-.,..-....-....-....-....-....-....-......,,.-....-...,-..........-,...-..........-...,-,,..-....-..........-....-....-..........-....- - - l FRENCH AND ! l 'I' MYTHOLOGY UP T0 DATE Cast of Characters Nurse ....,...,..... Special nurse for Maia Jupiter . . ..,,.....,,... Mercury's father . . . . , . . . . . . . Mercury's mother Apollo ..i., .,.. A god taking care of cows Policeman . . . ...., The ofiicer who aided in the search for Mercury Mercury ...... young son of Jupiter and Maia Maia ,... Act I Scene: the Olympian hospital. Jupiter is pac- ing the fioor as the nurse enters. Nurse: It's a boy! Jupiter: Where is it? Nurse: Well, I'm not sure. He's gone some- where. Jupiter: Gone? What do ou mean, gone? Nurse: He's a very amazing childi. He has wings on his feet and shoulders. I was just going into the nursery when he fiew out. Jupiter: Jumping Junip-er! We must find him. Send out an alarm at once. Several hours later. A policeman enters. Policeman: I think we've found whom you're looking' for. Nurse: Good. I'll send Jupiter right away. Jupiter enters Jupiter: Have you found him? Policeman: You'd better come right away, sir. Jupiter: Lead me to him. Act II Scene: Outside on the hospital grounds. Ju- piter and the Policeman have found Mercury. Jupiter: Mercury, where have you been? Mercury: Who, me? I've been making an instrument. It's going to be called a lyre. Jupiter: But this isn't supposed to be. You're only a few hours old! -nulun-un1euu1uu1nn-nu1uninu1un-nn1un--uni n1nn-nn LATIN NOTEs i .-....-....-....-....-M..-nu-.......-.....-....-...-....-...-.....-..-..-4. Mercury: Well? What's so terrible about that? Jupiter: Oh dear! I wonder what I'm in for? Later in the afternoon in the hospital room. Maia: I don't know what we're going to do with Mercury. He's such a little devil. Where is he now? . Jupiter: He's probably up to some mischief. Loud knocking at the door Maia: Come in! Apollo: Jupiter, have you seen any cows go by here? I was tenlding the cows of Ad- metis. I fell asleep and when I woke up, they were gone. I must find them! Playing Little Boy Blue at my age! Mercury come skipping in. Jupiter: Oh, Mercury! Have you seen any cows this afternoon-the ones Apollo tends? Mercury: Who, me? What kind of cows? Jupiter: fsternlyj Did you see any cows? Mercury: Well, I did see some cows. Apollo: Well, where are they? Mercury: I-ah-I guess they're in the cave on Mt. Olympus. Apollo: Well, letls go get them. ACT III Scene: A cave on Mount Olympus where the men find the cows. Apollo: Well, here they are. But . . . ten of them are missing. Do you know where they are, Mercury? Mercury: Well, I-er-I ate them! Maia: Ate them? Oh, Mercury! What will I do with you? You'll spoil your appetite. Apollo: VVhat will I do? Ten cows gone! Mercury: I'll give you my lyre in payment for the cows. Apollo: Lyre? What's that? Mercury: lshows him lyrej See, this is it. Apollo: Well, now, that's real nice of you, Mercury.

Page 29 text:

ica and adopted its customs, taking them back to his homeland. He writes the same story of the final sur- render of Manila, Corregidor, and Bataan that we have all heard several times, but this is as clearly described as any motion picture could possibly show before our eyes. The agony, hunger, cruel treatment, anid the tor- menting hells of the peninsula are very vivid- ly pictured in this book. This book keeps the readers constantly wondering what information was censored from it. There are some sections which are almost meaningless because of the censorship. The parts we do read surely strike home. One can't help feeling that we on the home front are to blame for the destruction of these peo- ple and their homes, All valiant Americans should read this book, history classes should be taught about it. The Voice of Freedom there kept the people from quick surrender. Why can't it keep us over here from shirking? -Charlene Stedman, '44 BURMA SURGEON by Gordon Seagrave, M. D. Long before this war of ours was started by the bombing of Pearl Harbor, a surgeon was giving everything he had in the great battle of medicine. Dr. Gordon Seagrave was doing a remarkable joib with scarcely nothing to work With. When he and his wife arrived in the North Sham States, they knew scarce- ly a word of the native language. His surgi- cal instruments and supplies were poor. With no knowledge of the tribal customs, he was compelled to train native nurses to aid him. However, he was -extremely lucky in being aible to overcome many of the obstacles and in having luck on his side more than a few times. With his tremendous energy and will- power, he succedded in setting up a compar- atively modern hospital in the wilderness and rapidly decreasing the large number of deaths. Many died from diseas-es frequently found in hot climates such as in this settle- ment. Time passes. The Burma Road is built. An airplane fartory is erected near them. Dr. Seagrave learns that he and his medical unit are needed greatly in the army. He is com- missioned a major in the medical co1'ps and is appointed to the Chinese Sixth Army. Y Through days of terror he and his small unit p'8I'I01'I'1'1 operations among the flaming ruins or .Japanese bombs. Each and everyone labors at ms utmost skill to save the Wounded until they are forced to evacuate. Written on the pages of this book is the doctor's daily ac- count of the hard retreat to India. As he ends his great and fascinating story, he looks for- ward to giving more of his services in this fight for freedom. -Elwood Gray, '45 ii...- A TREE GROWS IN BROOKLYN Among the crowded tenements of Brooklyn there grows a tree. No matter where its seed falls, Irom it there grows another tree which struggles to reach the sky. It survives with- out sun, water, and seemingly without earth. It cannot be called beautiful, for it is too com- mon, ibut some call it The Tree of Heaven . It was this tree which became the inspiration for Francie, the young heroine. When Francie was a little girl, too thin from hunger, -she sat on a broken down step and lost all sight of her dark and poor sur- roundings. She forgot the cries of hungry children as she watched the tree flourish in the slums. Although her people suffered pov- erty and misfortune, they were fun loving people and their life holds excitement and color. From them .she inherited laughter, ten- iderness, and a strong spirit. However Francie Nolan possessed something else that was more important. This was a -deep craving for fknowledge, a love for writing, and a hope to possess finer things. During her teens, she was compelled to give up school and writing to became a la- iborer. She became acquainted with the heart- aches which fell upon her. For a long time all sense of beauty and warmth are lost from life and she learns to accept the hard things and bear them. When the pain is over and vision is cleared, her eyes fall upon the tree which is grown and aged. With her face up- lifted, Francie Nolan looks ahead to meet the years. with a stronger heart. ' My opinion: A Tree Grows in Brooklyn is one of the most interesting novels I have 'ever read. Because of its very clear discrip- tion of the setting and its characters, a greater interest and a finer understanding is given the reader throughout each page of this book. -Delma Smith, '45 .4271-



Page 31 text:

Mercury: Oh, heck! That's 0. K. Apollo: In fact, I'm so pleased I'rn going to give you this magic wand called the caduceus. You can use it to conduct the souls of the dead to Hades. You can control the living and the dead and change anything you wish into golld. Mercury: Gosh! Thanks a lot! Maia: Come away, Mercury. You're going to take a good dose of castor oil! -Alice Craig, '47 Latin I AU RESTAURANT Personnages Henri Alice Le Garcon CHenri et Alice entrent dans le restaurantj Henri: Gfargon, avez-vous une table pour -deux? Le Garcon: Oui, Monsieur: 'suivez-mon, s'il vous plait. Alice: Apportez-nous une carte du jour. Est- ce-que nous sommes trop tards pour diner? Le Garcon: Non, madame. La cuisiniere a le diner tout prepare. Alice: Nous desirous des pommes de terre, des carrottes, des haricots verts, du pain et du beurre. Aussi du gateau. Ou est la viande? Pourquoi n'est-il pa sur la carte du jour? Nous aimons la viande pour notre repas. Je demande de la viande, s'il vous plait. Le Garcon: Mais, madame, nous n'avons pas de vianlde aujourd 'hui. Je vous demande pardon. Y-a-t-il une autre chose? Alice: Non. Si je ne peux pas de la viande, je ne mangerai pas ici. Henri: Ne grendez-pas. Le garcon n'est pas a faute. Voulez-vous du cafe, du the, ou du lait? Alice: Racontez-lui que j'aurai une tasse de cafe a la sreme et du sucre. Je ne lui parlerai pas. I Henri repete les directionsl Le Garcon: Oui, monsieur. ill sortitl Alice: Henri, regardez la poussiere sur la 'nappe. Je ne mange pas ici. Henri: Allons a un autre resaurant. fAlice et Henri sortent le restaurant. Bien- tot ils retournent et appelent au garconJ Alice: Je vous demande pardon. Je suis fachee de perldu mon humeur. Il n'y a pas de viande at aucun restaurant. C'est le mardi sans viande. J'avais oublie le rationne- ment. fLe Garcon departj Alice: Donnez vingt-cinq sous au garcon. Il est un tres bon garcon. Nous mangerons tous nos diners ici. CLe garcon apportent les diners et ils man- gent.J Alice: len partantj Vous etes un tres bon gar- con. Dieu vous benisse. Prepare par: Myrtle Lovely, Delma Smith, et Phyllis Gould, '45-French II LE CHASSE DE, STE. CECELIA Mon pays est une boucherie, Tous, nos tresore sont alles: La ville est desertee, Tout le monde est perdu. Un orage est venu d'en haut, Mais heureusement il manquait Le Chasse de Ste. Cecelia. Chaque pour au declin du jour, Ouand je cherche un havre lde mon journalier soin, Vous me trouverez a son c6te. Il semble si tranquille-la Je m'a genouille dans ma solitude Et -silentement prie Que Ciel vous defende, chere, Et que nous veniez jour: L'orage sera passe Et que nous- recontrions encore Au Chasse de Ste. Cecelyia. -Myrtle Lovely, '45 French II LES MISERABLES par Victor Hugo Les Miserables est l'expression d' Hugo de son grand amour pour ceux qui sont humbles. La figure centrale est Jean Valjean, le forcat, le manufacturier et le philanthrope l'homme qui rembounse le mal pour le bien. A le commencement de l'historie Jean Val- jean etait un forcat qui venait d'elargi d'une prison. Sa vue de la, vie etait rude et cruel, et il 'detestait le genre humain jusqu'il a recontre l'eveque de Digne. Par ses mots gentils et pas ses actions l'eveque a rendu un peu de la bonte dans l' ame de Jean Valjean. Jean Valjean est erre environ la campagne jusqu'il s'est etabli comme Monsieur Madeline, -L 29 1-

Suggestions in the Hartland Academy - Ripple Yearbook (Hartland, ME) collection:

Hartland Academy - Ripple Yearbook (Hartland, ME) online collection, 1934 Edition, Page 1

1934

Hartland Academy - Ripple Yearbook (Hartland, ME) online collection, 1945 Edition, Page 1

1945

Hartland Academy - Ripple Yearbook (Hartland, ME) online collection, 1947 Edition, Page 1

1947

Hartland Academy - Ripple Yearbook (Hartland, ME) online collection, 1948 Edition, Page 1

1948

Hartland Academy - Ripple Yearbook (Hartland, ME) online collection, 1959 Edition, Page 1

1959

Hartland Academy - Ripple Yearbook (Hartland, ME) online collection, 1944 Edition, Page 15

1944, pg 15


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