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simple, honest and sincere, desire no formal religion, need no priest nor pastor, and seek no gratification outside their daily lives. All they ask is to be let alone—they wish only the privilege to work. When Samuel Johnson, on his death bed, made Joshua Reynolds promise he would do no more work on Sunday, he of course had no conception of the truth that Reynolds reached through work the same condition of mind that he, Johnson, had reached by going to church. Johnson despised work and Reynolds loved it; Johnson considered one day in the week holy; to Reynolds all days were sacred-sacred to work; that is, to the expression of his best. Why should you cease to express your holiest and highest on Sunday? Ah, I know why you don't work on Sunday! It is because you think that work is degrading, and because your sale and barter is founded on fraud, and your goods are shoddy. Your week-day dealings lie like a pall upon your conscience, and you need a day in which to throw off the weariness of that slavery under which you live at You are not free yourself, and you insist that others shall not be free.
You have ceased to make work gladsome, and you toil and make others toil with you, and you all well nigh faint from weariness and disgust. You are slave and slave-owner, for to own slaves is to be one. But the artist is free and he works in joy, and to him all things are good and all days are holy a The great inventors, thinkers, poets, musicians and artists have all been men of deep religious natures; but their religion has never been a formalized, restricted, ossified religion. They did not worship at set times and places. Their religion has been a natural and spontaneous blossoming of the intellect and emotions—they have worked in love, not only one day in the week, but all days, and to them the groves have always and ever been God's first temples. Let us work to make men free! Am I bad because I want to give you freedom, and have you work in gladness instead of fear? Do not hesitate to work on Sunday, just as you would think good thoughts if the spirit prompts you. For work is, at the last, only the expression of your thought, and there can be no better religion than good work. .
HE world bestows its big prizes, both in money and honors, for but one thing. And that is Initiative to What is Initiative? I'll tell you: It is doing the right thing without being told. But next to doing the
right thing without being told is to do it when you are told once. That is to say, carry the Message to Garcia! There are those who never do a thing until they are told twice: such get no honors and small pay. Next, there are those who do the right thing only when necessity kicks them from behind, and these get indifference instead of honors, and a pittance for pay. This kind spends most of its time polishing a bench with a hard-luck story. Then, still lower down in the scale than this, we find the fellow who will not do the right thing even when some one goes along to show him how, and stays to see that he does it; he is always out of a job, and receives the contempt he deserves, unless he has a rich Pa, in which case Destiny awaits near by with a stuffed club. To which class do you belong? NGLAND'S most famous
dramatist, George Bernard Shaw, has placed in the pillory of letters what he is pleased to call “The Disagreeable Girl.” And he has done it by a dry-plate, quick-shutter
process in a manner that surely lays him liable for criminal libel in the assize of high society. I say society's assize advisedly, because it is only in society that the Disagreeable Girl can play a prominent part, assuming the center of the stage. Society, in the society sense, is built upon vacuity; its favors being for those who reveal a fine capacity to waste and consume. Those who would write their names high on society's honor roll, need not be either useful or intelligent—they need only seem. And this gives to the Disagreeable Girl her opportunity to the In the paper box factory she would have to make good; Cluett, Coon & Co. ask for results; the stage demands at least a modicum of intellect, in addition to shape, but society asks for nothing but pretense, and
the palm is awarded to palaver. But do not, if
you please, imagine that the Disagreeable Girl does not wield an influence. That is the very point-her influence is so far-reaching in its effect that George Bernard Shaw, giving cross-sections of life in the form of dramas, cannot write a play and leave her out. She is always with us, ubiquitous, omniscient and omnipresent-is the Disagreeable Girl. She is a disappointment to her father, a source of humiliation to her mother, a pest to her brothers and sisters, and when she finally marries, she slowly saps the inspiration of her husband and very often converts a proud and ambitious man into a weak and cowardly cur. ç Only in society does the Disagreeable Girl shine-everywhere else she is an abject failure. The much-vaunted Gibson Girl is a kind of de luxe edition of Shaw's Disagreeable Girl. The Gibson Girl lolls, loafs, pouts, weeps, talks back, lies in wait, dreams, eats, drinks, sleeps and yawns. She rides in a coach in a red jacket, plays golf in a secondary sexual sweater, dawdles on a hotel veranda, and can tum-tum on a piano, but you never hear of her doing a useful thing or saying a wise one.