Valparaiso High School - Valenian Yearbook (Valparaiso, IN)

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HIGH SCHOOL ANNUAL. 11 CAST OF CHARACTERS. The Queen, ... Landy Montague, ... Hamlet, - Ophelia, - ... Romeo, - - Juliet, - - Bessie Clifford Kathryn Lederer Eugene Eaton Abbie Duggan Cleve Stalbaum Ada Roessler SYNOPSIS OF SCENES. ACT 1. Scene 1. Elsinore. A room in the castle. Hamlet is persuaded by the Queen to go to Verona for a visit. Scene 2. Verona — a garden near the castle. Romeo and Juliet are interrupted in their love-making by Lady Montague who sends her son off to Elsinore to repair his fortune. ACT II.— A Few Weeks Later. Scene 1. Verona— a room in the palace. The Queen welcomes Hamlet to Verona. Scene 2. Elsinore— a room in the castle. Romeo sells stock in the White Gold Mine to the Queen. ACT III. Scene 1. Verona— a road. Hamlet makes love to Jul- iet. Scene 2. Elsinore — a room in the palace. Romeo trans- fers his affections to Ophelia. ACT IV. — Some Years Later. Scene 1. Elsinore — a room in the castle. Romeo plans Hamlet’s return to Denmark. ACT V. Scene 1. Elsinore — a room in the castle. Scene 2. Elsinore — a room in the castle. Hamlet is made King of Denmark. © © SENTIMENTS OF THE CLASS OF 1905. I. Jest es like es not some day, Things’ll start to come our way Don’t no two folks think alike Where the lightnin’s goin’ to strike. S’pose we ain’t so fond of learnin S’pose we sometimes do some shirkin’ Some day luck’ll strike us hot Jest es like es not. II. Jest es like es not some day We’ll wake up to hear folks say: “Always knowed you had it in you, Though we’ve often talked agin you.” Then we’ll quietly remark: “Dogs that bite don’t always bark.” Then we’ll show’em jest what’s what. Jest es like es not. III. Jest es like es not some day,— Course we don’t jest know the way, Fer no feller knows, we reckon, Jest when luck is goin’ to beckon Still, some day, we’ll fool ’em all; Might be spring time, might be fall, But we’ll be right on the spot. Jest es like es not.

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10 HIGH SCHOOL ANNUAL The New Hamlet. Intermixed and Interwoven with a Revised Version of Romeo and Juliet, Modernized Under the Light of Higher Criticism. - By William Hawley Smith and Family-- Farmers. (Intermixed and interwoven with a revised version of modern plays, and so gives it the right to rank with them Romeo and Juliet, modernized under the light of higher among the first. THE AUTHORS. criticism by William Hawley Smith and family, farmers.) FOREWORD. PROLOGUE. In deference to truth, it should b ' e stated at the outset Gentles, perchance you wonder at this show. that Bacon did not write this play. All the signs indicate j But wonder on till truth makes all things plain; this fact. There is no need of going into detail. Bacon is We’re not a-going to tell a tale of woe, not located as far back as — de-tail.” i Of awful tragedy, of death and pain. However, let not the composition be despised, if it should j When Shakespeare wrote those double grewsome plays be shown that it is not the product of a sugar-cured author. Of Hamlet, Romeo and Juliet, It may turn out that it had an origin higher even than that. He wrote of things well suited to those days, For, see: That which makes bacon is greater than the But not to times like ours to-day, you bet! bacon it makes, and hence is greater than anything that 1 He made both outfits quarrel, slay and slug, the bacon it has made can make. This play was made by And play to hard luck in a score of ways, farmers. Farmers make bacon; and hence, even if their Till all were dead, by dagger, sword or drug, product had produced the play, by the stern laws of logic | And none were left to hold their obsequies. it could not have been as good as it is now. Quod erat But Modern Thought declares these things all wrong, demonstrandum. There is no need of such a waste of lives; These facts establish the pedigree of our play beyond all Both men it would have marry and live long, chance of illegitimacy. It can, therefore, be admitted into Both women make the happiest of wives. the society of the 400” without fear of contamination or To bring these things about two mothers plan, contagion. It will not soil the slightest intellect, and is Two wise old mothers, stronger far than Fate. guaranteed to be non-irritating and unthinkable. See them get in their work, as mothers can, Furthermore, it can be administered without the least And bring these lovers strictly up to date. knowledge on the part of the recipient, a quality which The which, if you w r ith patient ear attend, shows that it is in harmony with nearly all of the most What here shall miss, our toil shall strive to mend.

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12 HIGH SCHOOL ANNUAL. “THE THREE GREAT FACTORS OF LIFE.” ADA KOESSLER. SECOND PRIZE ORATION. There is no poem in the world like a man’s life; for real life, even the most common-place, is strong-featured, if we look at it attentively. No poet would so dare to mingle sweetness and strangeness, simplicity and peculiarity, sub- limity and pathos, as real life mingles them together. Na- ture resorts to a thousand expedients to develop a perfect type of her grandest creation — man. To aid her in this, she has three wonderful factors — heredity, environment and will. When a piece of coal is thrown into the fire, we say that it will radiate a certain amount of heat; this heat is usu- ally supposed to reside in the coal, and to be setfree during the process of combustion. In reality, however, the heat energy is only in part contained in the coal. It is also contained in the coal’s environment; that is, in the oxygen of the air. The coal alone could never produce the heat, nor could the environment; the two must meet, must be combined. In the organism, or man, lies the principle of life, in the environment are the conditions of life. The one cannot exist independent of the other. Down to the last detail, the world is made for what is in it; and by whatever process things are as they are, all organisms find in nature the complement of themselves. Man finds in his environment provision for all capacities, scope for the exercise of every faculty, room for the indul- gence of each appetite and a just supply for every want. We bring into this world with us different gifts; one re- ceives gold, another granite, a third marble, most of us wood or clay. What heredity bestows is determined outside of ourselves. No man can select his own parents, but every one can, to some extent, choose his environment, and so great is his control over it that he can so direct it as to either undo or modify the earlier heredity influences. It has been well said that “from the same material one man builds palaces, another hovels — brick and mortar will be brick and mortar until the architect makes them into some- thing else.” “It is in ourselves that we are thus or thus,” says Iago. “Our bodies are our gardens, to which our wills are gardeners.” So we may plant nettles or roses; supply it with one kind of herbs or distract it with many; either to have it barren with idleness or fertilized with industry. The power and authority of all this lies in our will. Heredity bestows, environment encourages or discour- ages, but will perseveres and accomplishes. The musical talent of his father gave to Milton the genius for music in verse; the influence of refinement and culture thrown about him in youth developed the genius; but the Puritan determination of the man made him one of the grandest poets. Lord Byron inherited from both parents a blood all meridian;” on one side rich in the enjoyment of luxury and pleasure, on the other side tingling with vehement irritability. Never was a poet born to so much illustrious and, at the same time, to so much bad blood. His mind was cast in a dark and moody mold, and he believed him- self predestined to misfortune. Being at war with himself,