We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
SHOWMAN
it wasn't me, it was the five dollars that was coming nearer. Not until it arrived did I make my vengeful entrance and grapple with him. By that time he was raving angry and took a lot of killing. The audience got three-quarters of a real fight for their money and it was the hit of the evening.
Suping, semi-professional amateur dramatics— this was hanging on the edge. I thought I had my chance to leap to the professional side of the foot-lights when Bartley Campbell, the well-known author-producer, arrived in San Francisco with half-a-dozen New York actors, to put on his famous melodrama, "The White Slave/' It didn't have anything to do with commercialized vice, by the way— our public wouldn't have stood for that— it dealt with the troubles of another octoroon, and its famous lines were an exchange of compliments between the heroine and the brutal overseer: "You shall work in the fields," says he, with a sneering chuckle, "a hoe in your hands and rags on your back." Her answer had already rung out with tremendous effect over most of the nation: "Rags are royal raiment when worn for virtue's sake and rather a hoe in my hand than self-contempt in my heart." You still hear that line, but I bet you didn't know where it came from, any more than you know that "and the villain still pursued her" was the curtain line of each scene in another old play, "The Phoenix."
Campbell had his principals with him, but the minor roles were to be distributed among San Fran
32