Miss Porters School - Yearbook (Farmington, CT)

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Smile for the Camera Of course, it all depends on what kind of photograph you want, and what type of person you are, but one of the most important photographs is the one you leave at home for your family to miss you by while you're away. This photo does for your friends, too, so it just has to be good, and anyway it's dreadful to give someone a photograph if it isn't really good, unless it's in a super-de-luxe frame, which it usually isn't. Now the question arises concerning the expression to assume for this photograph. That Limpid Look is always a good beginner because it gets you in the spirit of the thing, and you can do it marvelously in front of the camera! It is produced by slowly raising the eyelids, taking a deep breath, and looking beyond things , if you see what I mean. The What's- the-use-of-it-all? expression comes over your face, and That Limpid Look comes out quite convincingly. You can also try a slight 1-lolier-Than-Thou smile with the eyes and a pained expression. This one sometimes looks quite martyr-like and even a little Joan-of-Arc-ish. lf you try this one, be sure not to raise your head too much or the jaw shows and instead of the wilting-lily effect, you get a Mussolini type. One hand at the neck is good for this, too-unless your nails are too long, when it gives a clawing appearance. The Coy Cutie Type isn't used so much any more, and I think it isn't such a favorite with the family. They love That Limpid Look and simply won't accept anything else! Our Coy Cutie lowers her head, assumes a flirtatious smile and looks expressively out of the corner of her eye. This is good if that's the impression you want to make, but so few dol And you have to live up to it afterwards, whereas in That Limpid Look everyone knows you usually don't look that way. The Sophisticated Stare is wonderful fun. You can do this especially well if you have furs and a long neck, but don't give up hope if you haven't these qualifications, because it can be done in an evening dress or with that draped cloth that photographers use. It's good to get the shoulder into this one. You can either look over it, past it, just in front of it, or beyond ity but the face is the important thing. The first thing to do is raise the eyebrow. This gives a certain feeling to it. Then if you can suck in your cheeks so that they look hollow, it adds to the effect. If you can't do this don't try, because it sometimes comes out very queerly and makes your chin recede and your mouth pucker. Also it's very embarrassing if a whistle comes forth, as the photographer won't understand. Then look downward and think, Oh how ugly I , Oh how ugly l , Oh how ugly l , over and Over again. If you can shrink in your shoulder, it's good, but don't do it so much that you get a double chin. Families don't care for this kind. A hand with a ring or a cigarette is good, if you can hang the wrist very limply. The ring should be dark, mysterious and large. Dark nail polish is an asset here. Now here's one that the family will simply adore, but I certainly don't see why! It is the Girlie Girlie Grin , and it's just too natural to be real. By the time your sales resistance has been worn down to the point

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From that day until the day when he would join his honorable ancestors she would be in every lovely thing. She was everywhere. So the emperor's son comes every night to the garden of his ancestors. If he is quiet, will she come? He cannot be sure. Certainly there is a more melodious tinkle to the brook, and the peach blossoms drift with a sweeter fragrance. ls there someone under the pagoda with the emperor's son? The wise old proverbs will not tell us, for only the moon knows. SIBYL MEHAFFY Dream Caves Wliere the rush of the green water swishing by Makes a music the mermaids sing to, And the shadowy hull of a ship near-by Forms a place for the sea-grass to cling to, There are the caves where dreams are spun, And there are the spinners of dreams, Who weave their tales when day is done, And give birth to fantastic schemes. Where the mermaids twine pearls in their long green hair, And smile to themselves as they croon, And the silver-scaled fish dart here and there, In the weird golden light of the moon, This is where the gossamer tapestry's made VVith silver star thread and pale moonbeams, Dreams that with coming of dawn will fade, And grow dim with the sun's first gleams. The Sea King's palace of coral and pearl Is inlaid with precious stones, And around it the greenish-blue waters swirl As they lick at the sailors' bones. There are the caves where dreams are spun, And there are the spinners of dreams, Who weave their tales when day is done And give birth to fantastic schemes. ETHEL STRONG

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of being persuaded to do this one, you are in a pretty bad state anyway. You shoot your head out, grit your teeth and grin fiendishly into the camera, while you try to think Oh this is such funl , Oh this is such funl , Oh this is such fun! , over and over again, although you know that you're making an utter fool of yourself, the whole thing's a fraud, the pictures won't turn out anyway, and what's the use of it all? This expression may look a little forced, but the family will just eat it up, especially elderly aunts and uncles, who say: VVhat a sweet child I when they see it. I wouldn't advise your trying the Girlie Girlie Grin more than once as it certainly does wear you down, and if you only do it once, there's a chance of its not coming out clearly in the proof. I wouldn't advise your trying the Girlie Girlie Grin at all if your teeth are crooked or if you wear bands. Of course, this is just my advice, and you can do as you like. Try these the next time you have your photograph taken, and if you can get one that will please everybody, here's to you! ELSPETH HERBERT The Gate The wind blew fiercely and the little old gate creaked as it swung to and fro. Behind it the charred foundations of the old house were outlined against the early morning sky. One of the rusty hinges on the little old gate had fallen off and it leaned crazily to one side. Not much longer, the wind seemed to murmur as it rushed by. No, not much longer, assented the little old gate, not much longer. It had been there in the middle of the fence for a long, long time, and yet how vividly it could remember when the little house was newly built and he had carried her through the gate on their wedding day. She had been young and pretty then and they both had been so happy. The little old gate remembered, as if it were yesterday, her waiting at the gate for him to come home each night, and how her face would light up when he came. And how much she had cried when the little boy was born dead and how this tragedy drew them even closer. Even that had not marred their happiness, they were so wrapped up in each other. Oh yes, those were, even with the death of the baby, such happy, care-free days before the war. He had looked so brave, all dressed up in his blue uniform with its shiny buttons, and he sat so straight on his horse as he rode away. She stood waving and smiling bravely until he had disappeared around the bend and then she had burst into tears and her heavy sobs had shaken the little gate. He will come back, the little gate had murmured. He will come back, it had soothed. But then he hadn't .... Every day she came running down to the little gate. Today he will come, she would whisper. Today he will come back to me. She dared not face the fact that the war had been over weeks ago.