Motion Picture Classic (Jan-Dec 1920)

CLASSIC \Vc talked of a great many otJier lliings. Marriage, for instance. Mr. L\tcll believes in the infinite possibilities of ninrriaye. He thinks the very young marriage is the serious deterrent to successful consummations. The getting-onin-life folk not knowing their own minds, how can the hardb more tlian adolescent be expected to? They cant be. And there you have it ; have most of the tragcmJv, most of the divorce, most of the unhap]iiness. Not marriage, but the age of marriage, is the point. The rest of it nuist go under the titular heading. It Iea\es a great deal to the individual imagination, which is what every good writing should do, to be good, and which is what every man should do, to be interesting, and which is precisely what Mr. Lylell did, to be quite honest. .\nd there you have it! Exert your imaginations and let them run riot! You wont go wrong and you probably wont go right, but as you wont know the difference in any case, it wont make any difference, and Mr. Lytell will still be the subject of your intensive wondering ! Parlor, Bedroom and Bath {Continued from pac/e 42) county, to your state, to your country .and to your God. sir. We arrest you in the name of a violated law which means order. Order! Sir!" There Avas a sob from the onlookers. The sob was from one lone onlooker. .Said onlooker was said wife. She crept from her sheltering corner. She wound loving, even passionate arms about the disreputable Reggie, ."^he faced, disheveled, defiant, the officers of the law, the "Town Tattler," the Freddie I^eslies, one or two others, "He may," .she said, with fine dramatic int(jnation, "he a disgrace to his county, his state, his country and his God. He is not a disgrace to his wife. His wife who Moves him. His little wifie who for— who forgives him all. .\I1. All!" "Oh, d-a-r-1-i-n-g!" .sobbed back Reggie and fell upon her neck. The "Town Tattler" fell upon her trusty W'aterman and wrote the witching hours away . . . and they all lived happily ever after. E.\FFLED By Wright FiEi.n I kiietl here in this quiet place A!id g:ize upon >nur calm, dead face, Xot knowing if tiii^ thitis: lie grid". ()i wliat I feel iie va^t relief. I only know the tears I shed .\re for myself, not for the dead; 1 (inly know, that, all my life, .'^ince. for some whim, \oii made me wife. Voiir mind and heart were locked from me. And tho I sonelit and simpht the ke> , I ne\er fonnd it. ne\"er knew The secret, inner road to Yon ! ncath levels all, they say, yet see. Ueath has not hroncrht \on low for me. I dare not sa}' of you, "Afy own . . , ." The same proud look is car\ed in stone I'pon your lips. Yon hold me still Aloof and waitinp:, at your will. -'\nd secret still you hold from mc. Half smiling; thus, inscrutahly .... The path outside was dark and drear. The inner road was sweet and near . . . "\'el, still denied the key h>' Fate. Baffled, I kneel outside the gate ! See These Results Learn what clean teeth mean .III slali-ini'iits i:[</<rovcd I'V hiijit denial authorilics See the results of the new way of teeth cleaning. They are quick and decisive. You will know at once that they mean a lifetime of cleaner, safer teeth. Millions of people employ it. And the glistening teeth seen everywhere show what it means. See what it means to you. A film combatant Most tooth troubles are now traced to film — to that viscous c6at you feel. Film clings to teeth, enters crevices and stays. The ordinary tooth paste does not end film. So the film remains — much of it — and may do a ceaseless damage. Nearly all people suffer from it, more or less. It is the film-coat that discolors, not the teeth. Film is the basis of tartar. It holds food substance which ferments and forms acid. It holds the acid in contact with the teeth to cause decay. 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