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Show I.' ' ' " ' " " '" - Z, jt H Is, ill Jl B & !K Tho world camo near losing tho third of Its seven ages. It would ! have lost it altogether if It hadn't ' been for tho movies. Tho third act in tho succession of tableaus which j a qcrlaln William Shakespeare tabu I latcd is that of "tho lover sighing 1 liko furnace, with a woeful ballad i composed to his mistress' eye brow." For the past quarter century there have been only six stages. Wo as a raco had forgotten how to make loVe, forgotten tho wild, rapturous methods of persuading ladles fair to accept our hands. Cynics and Philistines, Phil-istines, men who wero ruled by actuality ac-tuality and practicability, had laughed laugh-ed tho transported lover to scorn. I Tho alternately flaming and ; mourning lover -was gone, also all of i ! the poetry, romance, moonlight rides, jf i serenades and bended knees. Mod- ' i crn America, hustling to get rich, had no timo for unprofitable senti-i senti-i ment. Moments wasted in adoration and love-lorning do not fit readilr ' into the lalost schemes for efficiency, ' so business won and Romance lost. Tho love letter was extinct as an t '. institution. Whero once the glowing epistle had been as prevalent and as luxuriant as the rose in Juno it bad I j becomo blighted by tho winter of ' j Commercialism. It seems almost tho day before yes terday that tho romantic lover was a "scream." The tender passion was a joke. They made satirical rag-time , ! songs about Romeo. Tho Ideal loer j of tho world had becomo a "boob.'" Then tho movies swung into tho v strido of modern life, copying bore, I k i fTans Makarfc pninted Eomeo ana Jnllct In their anguish at parting, In their I ; intoxication of spirit and In their classical manner of embrace. Tho I' Bamo atmosphero of absorption Is carried out In the pose of tho motion picture actors, Charles liimbnll Yonng and Paul Capellani. f II Jeading there, interpreting always. ? jl They created a now perspective for trim tovc. They renewed tho old-fash- I mO frned mcthodB of love-making. The classical technique, tho accepted ways and means of tho centuries a-gono wero popularized. Now tho world is learning again how to con- duct Itself in the throes of this strongest of emotions. 3I0YIES OF A XOTEH'S SCHOOL. Tho stage never went so far In depleting de-pleting love-making as have the motion mo-tion pictures. In only a few Isolated Iso-lated instances highly demonstrative demonstra-tive affection between tho sexes wa3 shown. Stage lovers seem less real than movlo lovers. They fail somehow some-how In creating tho romantic atmosphere atmos-phere possible in the cinema action. Tho formulae and programs of love-making which aro pronounced by the movies are nothing more nor less than the old, old classical ideal. They are methods which tho past generation knew not of. They return to those days of tho generation genera-tion before tho last, when romance was supposed to havo burned bright, when convenience presumably presuma-bly meant nothing in union, when girls were believed to fall In iovo and to marry because they couldn't help it, instead of because tboy wanted comfortable homes; when The clnsslc loTO-maklng of S. Slndrlm,s statnary group, "Man and TToman," is reflected in the motion pictnro in which William Courtney wins his sweetheart. Tho spirituality which saves tho marble lovers from gross-ness gross-ness comes also into tho plcturo when the rustio environment and the accompanying music are artistically presented. Young Lochinvars camo riding out of tho west, when Leanders swam Hellesponts and when Romcos clung to ballustra.des in tho waning moonlight moon-light and panted for "another kiss." BUSINESS TS. LOTE. Tempestous, unselfish, all-encompassing love-making was tho ideal once. It was half dream, half actuality. ac-tuality. It was absorbing but myth-like. myth-like. It was crowded with delightful delight-ful pangs of solf-sacrlfice, with tortured tor-tured doubts, with hopeless longings, long-ings, and with sudden and soft yield-ings. yield-ings. Tho "clinging vines" were tho monitors of old-fashioned love-making. No new adjustment between the economic relations of tho sexes had arisen then to shadow sensitive, delicato power of love. Gradually this blissful, ecstatic conception of love-making fell into disuse. No one had timo for such "truck." Marriages camo later in life; when tho first glories of surrender sur-render were lost, when tho reserve and wisdom of years unconsciously tempered tho exquisite passion. Men proposed and women accepted accept-ed while they wero at work, while they rodo in trolley cars, whllo they jostled each other in dairy lunches. Tho charm and romanco were lost in the maze of making a living in a hurry. Fervent woolngs, wild be-soechlngs, be-soechlngs, tumultuous avowals wero anunteu onto uio muings oi icor Economy. Tho elimination of rural surroundings, surround-ings, tho concentration of life in and around tho great cities put tho "atmospheric" "at-mospheric" element of primitive lovo out of tho question. Psychology recognizes rec-ognizes in love and love-making tho very prominent Item of its surroundings. surround-ings. Romanco feeds on beauty. Grandeur of environment, beauty of setting, languor and sentimentality of association mean much in love-making. love-making. It is more apt to be successful success-ful when practiced In some soft-hued, soft-hued, colorful spot whero naturo has an opportunity to manifest Itself. Tho moon Is a trite example, but a true one. Lakes, willow-fringed river banks, roso gardens, honeysuckle-hung honeysuckle-hung bowers, all of them wero conducive con-ducive In and of themselves to the stimulation of the romantic brand of love. PEOrLE DELIGHT IN TRAGEDIES. Sophistication entering into these retreats mado love-making a scheming, schem-ing, designing procedure. When Cupid Cu-pid camo out of tho woods he took the blindfolding handkerchief off his eyes. The American dramas of the last generation began to use for their subjects domestic tragedies, the excuses ex-cuses of fallen women, tho success of rascals and thieves, and tho stupidity stu-pidity of tho polico and the injustice of the law. The stage reflected practically prac-tically nothing, but contemporary life, Its problems, its paradoxes and its intricacies. Tho old romances of tho "When Knighthood Was In Flower" Flow-er" and "If I Wero King" stripe were laughed at Tho public had grown too "wise." Tho abstract quality of lovo and romance was a thing to bo ashamed of. The "clever" crowd sneered at tho DUailUt'S IU iiuimoDiuueu tiuiiuu VJ- manco . Likewise tho romantic novel in which ladles dropped lace handkerchiefs handker-chiefs as they rustled across tho long grass in the gloaming becanio tho object of scoff and jeer from tho pop-oyed fldgeters who wanted to read about Birth Control and Eternal Eter-nal Triangle. Tho whole-souled fundamentals fun-damentals of Romance with which The dream-liko qnality seen In Elche Terry's "Tertige" (above) is found h the love-making of Henry B. Walthall as portrayed on the screen. Pot3 sets of lovers realize a mysterious subtlety of emotion that is a thini far removed from tho sensualism of so many Ioto scones on the speak ing stage. Sir Walter Scott charmed a world of readers grow into disrepute. Trick stories with a "flip at tho ond" and sex discussions dominated literature. liter-ature. Artistic endeavor centered on "amarty," clever legerdemain, rather rath-er than upon beauty, sincere robustness robust-ness of method. Yos, Romanco was dying. Enjoyment Enjoy-ment of the simple, charming, pleasing pleas-ing things was all but gone beforo tho movies came. SCENERY. ESSENTIAL TO WOOINGS. Nature, environment, atmosphere thoso necessities of Romance returned re-turned to expression when tho cinema cin-ema got its hold. Lovers on mountain moun-tain tops, in shadowed valleys, be-sido be-sido brooks, under wistaria vino bowers becamo tho accepted heroes and heroines. The freedom of limitless limit-less space, of unknown sky lines, of tremendous height all were potent Influences in this return of Romance. Ro-mance. Tho artistry of musical accompaniments accompan-iments to the flitting pictures enhanced en-hanced it. Appropriate melodies added materially to tho emotional pitch of tho audience. The stage wa3 limited in that grand opera, tho solo opportunity for the serious collaboration collabo-ration of actors and music was abovo popular sight Musical comedies had other appeals than thoso which used to endear Romance to the layman. Comedy and "catchy" tunes ruined tho effectiveness of any emotion that tho combination of players and orchestra or-chestra might produce. A solid row of fleshllngs as a background nullified nulli-fied any attempt at serious romancing. romanc-ing. Tho silent plays, however, gave tho music a chance. LoW strains from quavering violins, presaging and accompanying ac-companying lovo actions, sot audiences au-diences tingling. Melodies breathing breath-ing pathos, melancholia, distress might so rhyme and so harmonize with tho pictures that the desired mood would actually lio upon tho audience. Laughter, gayoty, languor, frenzy, excitement might so run bo aldo tho pantomlmo that an emotion akin to reality would bo produced. Susceptibility to Romance Uiuh grew, Impressionability fed and waxed fat when tho co-operation was complete Consider from an artistic stand? : -point S. Sindrim's great pleco of statuary, "The Man and Woman," and then tho love scene from tho film, "Sealed Lips." Tho statuary , gTOup represents classical, virgin love. Clothe the pair and something of modesty, something of innocence, is lost; but both aro the manifestations manifesta-tions of a representation of Soulful Love. Tho naturalness of the nude pair, tho intensity of their embrace, cloak them In spirituality. Tho painting, "Vertige," by H. D. Etcheverry, created a furore when it was shown at the Paris Salon in 1903. Critics praised its elusive, dreara-liko quality. The artist had grasped the sublime intoxication of ! the man and woman in their first : realization of mind and body which is duo tho classicist's conception on tho greatest of sentiments. The action is approximated in tho scene from tho motion pictures in which Henry B. Walthall kisses his film sweetheart Tho actor's sensibility sensi-bility to tho emotional possibilities in the cinema art produce that subtlety sub-tlety and loftiness of mood which carry the observer "from out th.o bourne of Timo and Place." Couple tho scene with fitting melodies 37m-pathetlcally 37m-pathetlcally attuned to tho moment and the duplication of tho spirit of Etcheverry's painting is complete, MAKART'S 3LASTERPIECE. I Tho world's most famous love story is that of Romeo and Juliet Idealized Romanco dictates the course of the wholo story exactly ) as though it wero a motif leading and yet seemingly to follow tho book of an opera. Hans Makart, 5 whose virllo brush was always wot with tho colors of pure Romance, j has painted perhaps tho most ex- ( pressivo picture of the characters. Tho absorption of the lovers, their ; grief at parting and their intensity i of feeling seem literally to sound forth from his creation. The posi- tion of tho lovers, their reluctant 1 release of each other, tho upward turn of Romeo's head, tho downward down-ward caress of Juliet, all are superb ; delineations of tho time-honored customs of love-making. So it lives again, in tho movies, revived in all its original poesy for a j generation that had permitted bread j' and butter to crowd it out f (Copyrifiht,Jl9154. J |