The San Francisco Call. Newspaper, July 28, 1895, Page 23

22 Wi TeE CaLL is pleased to print another chapter of gossip that floats from the sum- mit of Olympus. Beneath spreading branches there was congregated a com- pany of friends. How they talked and what they said has been set aown for the entertainment of the ou e world. That they are not unanimous in wisdom may be gathered from the fact that they are not unanimous in anything. That they are earnest is_evidenced by the im- REPORTED 2 THE CALL'S Boox REVIEWER THE SAN FRANCISCO CALL, these conspired to fill our souls with eace, with love for ourselves and all man- ind. Who would have dreamed that Runnymede, the gentle, would be the one to explode a bomb in this ceful retreat? But he did it with a lightness that showed the cruelty to be premeditated. “We have been talking about poetry,” said he. “I am going to suggest that we each tell what we mean by poetry. Dona- tella, what is your definition of poetry ?"” A 'shiver ran through the group, but Donatella answered with awe-inspiring ease. Donatella—Poetry to me is the language of the gods, translated for man. Runnymede—And your definition, Het- erodoxia? Heterodoxia—The emotions of the soul, rhythmically expressed. Runnymede—Let us hear what the First Babe-in-the-Woods has to say. First Babe-in-the-Woods—1 would say that poetry is the highest expression of man in his objective and subjective nature, in emotional, artistic and rhythmical lan- guage. The Scribe (sotto voce)—Out of the mouths of babes. Runnymede—Well, Chiel, what do you think about it? The Chiel—I protest. The wise man shuns definitions. They are not to be fi“n out of hand. I object to definitions. f you ask me about the poetic form I would say that it is the natural expression of the primitive man; that it is the lan- guage of the higher emotions of primitive world. That is of the poetic form of mat- ter. Taking what we understard as poetry in the universal sense, I should say it is the harmonious utterance of the spirit in its higher relations to the universe, whether expressed in prose or verse, orin painting, music or sculpture. But I cannot give you a definition. Donatella—No one ever did give a defini- tion of poetry. The Chiel-I think Runnymede should give us his definition. Runnymede—Oh! I am waiting to be heard last. s Donatella—Yes; 8o that he can come forth in glory and shine, after putting us all on this rack. [Runnymede_disclaims the insinuation and appeals to Kenneth Malcolm.] elusive a thing to be accurately defined. Runnymede—Oh, you were prompted by The Chiel! Kenneth Malcolm (disdaining to notice the interruption)—But as these men of earth like definitions and must have them, to praise what we think is good, or damn what we know is bad. We want to sing the good, to build it, to paint it, to sculp- ture it, and “make us music that shall all express it,”” and to be told of it in words so pat that they will make the feeling come when we read. It is the office of poetry to carry us above our instinets, our reason, 1nto a realm where our thoughts, our im- pulses, our actions, are guided and prompted from a higher source than these. Under the influence of noetry we make for better thin gs, always, and we I would say that, looked at from the mod- | ern standpoint, poetry is the rhythmical | expression of beauty. I say rhytbmical. 1 doubt if any prose can be called poetry. You can say it is poetical, but not that it is poetry. Runnymede—You are growin, tical. Kenneth Malcolm—Looked at from its purpose I should say that it is the inter- g didac- pretation of life, just as all art is an inter- | retation of life. een called the impassioned expression in | the face of all science. I might say that my idea of poetry lies within these three definitions. peo;lfles, and belongs to the youth of the | Kenneth Malcolm—{ think poetry is too | On the other hand it has ; SUNDAY, Y 28, 1895 salyation in poetry itself. The diathesis, so to speak, seems to have no connection with ethical standards. At the same time, I will admit that if you ask what s the influence of poetry in my life, I must say that I get from it an up- lift. I have received consolation, courage, reconciliation from reading the poets. can meet any emergency of life Dbetter through having fortified myself with the Ppoets. y Second Babe—TIt is interesting to me to note who have been and are most influ- enced by poetry. The minstrels, for in- stance, seemed to take it home to them- selves more than any other people have ever done since history began. In child- hood we are most deeply affected by poetry. The more natural and childlike the nature is the more it enjoys poetry, and the more cultured and refined we are the less we are affected by it. Donatella—May we never outgrow our ¢hildhood, then! First Babe—I think the poet must be up- lifted b{ the poetry as he writes. Itseems to me that the poet has an intenser emo- tional nature than any other man; it oftener runs away with him, and he is oftener led astray by it. But take Shelley and Keats—they must surely haye been uplifted by their poetry. The Chiel—I think it is not so much that the poet has an intenser emotional nature than his fellow, but hisis a morc primitive order of mind. The immediate necessity of expression is greater with him and he takes the more primitive form for his expression. If he writes he writes | poetry. In his life he is apt to run into excesses that the more contained | soul avoids. Poets are always eccentric. | They are always young. Theirartis much | less subtle than the art of prose. It be- | longs to the childhood of the race. I do not know but that I am of the opinion that we have passed the stage of racial develop- ment when anything can be said in verse | that cannot be better said in prose. A general chorus—*Oh, Chiel! Chiel!” Kenneth Malcolm—The heretics we have always with us. The Chiel—I do not deny that poetry has had its essential place in the past, nor that the poetry of the past has its essential place in the present, but the world is out- growing the poetic form of expression. Our younger poets to-day are driven to dire | straits to produce their verses. Most of our poetry is a mere straining after effect. Kenneth Malcolm (aside)—And it gets it, Eoebficsl too. The Chiel—Our poets strive after the weird, the grotesque, the uncouth in their agonies at what t?]ey are wont to call their self-revelations, but which are rarely more | than painful exposures of their cranial caverns. I believe that the great poems | have all been written; that the poetic form | of expression belonged to a less highly specialized period of the world's history. [Note by The Scribe: A great howl of | protest here arose, all talked at once, and | The Chiel was suppressed, although Run- | nymede, with studied politeress, asked her if she had anything further to say.] The Chiel—I have not said all I started | to say, although I perceive that I have | reached the limit of this assembly's toler- ance. Butlook over the field of modern poetry and say what sane man can tell il petuous manner in which they fight for their opinions. DRAMATIS PERSONZE. The Artist—William Keith, Dilettante—Karl Howard. Donatella—Ina D. Coolbrith. Runnymede—William Greer Harrison. Hygeia—Mrs. Charles Webb Howard. First Babe-in-the-Woods—Mrs.Louisa Mapes Keeler. Second Babe-in-the-Woods—Charles A.Keeler. Heterodoxia—Mrs. Edna Snell Poulson. The Chiel—Adeline Knapp. The Seribe—Mrs. Schermerhorn. Kenneth Malcolm—Charles Edwin Markham. Charles Warren Stoddard was the guest of the holiday-makers on Olympus at their last assembling. “You won't miss me,” The Artist had written from the mountains, whither he had traveled in search of the ever-elusive “picy.”’ “You will have Charlie Stoddard and you’ll never miss me.” But we did miss him, sorely. Hygeia and The Dilettante, too, were absent in the Yosemite, whence both sent greetings. “You will have all the more poetry be- cause I am not there,”” was cruel Hygeia’s closing sentence in her letter. *‘Please tell them all how much I regret thatI am so far away,” The Dilettante wrote. “Idon’t know what I should say, were I there, of the influence of poetry on life. My whirligig life is just now the sort of poem that Chimmie Fadden would call a perpetual ‘song and dance.’” But to be serious. Poetry has been and is the vehicle in which most of usascend the heights. More than any other influ- ence it inspires our lives with love for na- ture, for our country and our hearths—for beauty and truth, and for art itself. By instinct and by reason we love and hate, like the-beasts, those things that are good or bad for our safety, but as human beings it becomes a part of our happiness always shall so long as we have our “Donatellas, our Malcolms, our Runnymedes. It was handsome of The Dilettante to remember us for so long a time amid the beauties of Yosemite. | Apropos of those same beauties, The | Scrill))e told a capital one on John Muir. The hero of the glaciers had stopped for a night at Macauley’s famous tavern on Glacier Poini. In the early morning he arose and wandered o up the point. He stood gazing out across the valley, drinking in, as only a man like himself could, the majesty of that marvelous vista of all creation and | the kingdoms thereof, when Macauley him- self came up behind _him. Every one who has been in the Yosemite will recall Macaulay and the peculiarly rich character of his Scotch. He clapped the scientist on the shoulder. “‘Ah, now, Misther Muir,” he said unctuously,‘‘an’ what’ll ye be think- in’ o’ that sight now? Ain’t that rustic?”’ But if The Artist, Hygeia and The Dilet- tante were away, others of our summer flitters had winged their way back. Heter- odoxia had returned to make things lively for us in her usual inspiring fashion, and The Babes-in-the-Woods were back from the Redwoods, full of enthusiasm and of plans for a cottage in the Berkeley hills, whence in due time we shall have more rare poems and beautiful pictures from these rarely gifted souls. ‘We were a confiding group. The balmy air, the glorious view, the mellow Califor- T Runnymede—And now for what the Sec- ond Babe-in-the-Woods thinks. Second Babe-in-the-Woods—I should say that poetrfv is the concrete expression, in rhythmical form, of the ideal. unnymede—What has our Charles to sag on this great subject ? Stoddara—Whatever touches the heart most deeply—that is poetry—but, really, Runnymede, you must give us your idea. [There was a general call for Runny- mede’s definition. | Runnymede—Poetry, to me, is the son, of the soul. Itisnot necessarily defines in words, nor is it confined to the human mind, except in its interpretations. The sea, yonder, is an everlasting poem. Second Babe-in-the-Woods—May I ask a question? You consider that poetry is an art, do younot? Runnymede—It is both an art, and some- thing greater than what we technically call art. Second Babe—But you consider poetry different from any other art—different from paiiting, for instance? Runnymede—It includes all artistic forms of expression. The painter is a poet. The sculptor is a poet. Music is the ex- g‘x;ession of certain emotions in the soul. e are considering now the influence of poetry on life. First Babe-in-the-Woods—The ages of power in the world have been the ages of 1dealism. The poet is the prophet and sees in life the one whose office it is to lead us to the highest idealism. Heterodoxia—If I may speak from my own experience, so far as my observation has gone, I am unable to see that poetry has the slightest. effect upon the lives of the poets tfiemulves. Look at Verlaine, Watson, Poe, Byron, Swinburne and a dozen others whose expression of them- selves by their lives has been nothing like wm;t Runpymede calls the song of their souls. Donatella—Who knows what their lives might have been but for their poetry ? F eterodoxia—We can only judge them by what cthey are, and their moral range is certainly lower than that of the average man. Donatella—But look at Browning, at Tennyson—at all the great names in po- etry. . Heterodoxia—I cannot see that poetry had any particular influence upon their lives as 'we know them by general report. Runnymede—Do you mean that as a positive statement, or do you simply in- nian sunlight sifting down through the leaves, the melodious murmur of the fittle stream running among the willows, all terpose it as a suggestion that poets may {ail as well as others? Heterodoxia—I mean that there is no what our poets are driving at. They talk about “lewd stars’ and “mounting waves.” They tear the language limb from limb in their efforts to express that which is inex- pressible, unexistent. They give us words, words, words, wrenched from their natural meanings, and arranged in all sorts of un- natural forms. The poetical words have all been said, and we are coming upon a time when the world wants thoughts in- stead of fancies, and at this period of our intellectual development the natural ve- hicle of our intellectual expression is prose. | Malcolm (who has been with difficulty restrained during these remarks by The Chiel)—T have the distinction to disagree with nearly everything The Chiel First of ali, 1t{s not true, in m, 7 ment, that all the great poems have been written. Poetry will exist so long &s the world exists. Science itself cannot de- stroy poetry. Science only removes one veil of mystery to reveal another. | Prose cannot express all that there is to be ex- gresged. Ve need poetry to express that eeting, elusive song of life that is as real as anything in life. _Anything that can be as well expressed in prose as in verse, [ will agree witn The Chiel, is no proper theme for a poem. I doubt, for instance, whether Pope's Essay on Man could be called a poem. | Donatella—It is prose. | Malcolm—Now take such a thing as Shelley’'s Prometheus; take such a deli- cate imagining as _his Skylark, or Keat’s Ode to & Grecian Urn, nn!no prose | could express their delicious beauty. oetic beauty demands both the music and the art that are granted to the poet, but not to the prose writer. The Chiel-I must disagree with my worthy neighbor in his denial of music and art to the prose writer. But my stric- tures are against the poets of the day. They still serenade Shelley’s Skylark, and know not that Prometheus is un- bound, once and for all. Second Babe-in-the-Woods—I wani both to agree and to disagree with The Chiel. 1 strongly dissent from the idea that the great poetry has all been written. But on the other hand I think poetry and should be, the expression of a cl i1dish mind. That is, it should be frank and genuine. Not an undeveloped mind, but childish in the sense of directness. I agree with The Chiel, too, that our ern poets are wont to give more at- tention to expression than to thought; to art for art’s sake, rather than art as the interpretation of life. If poetry does not express a vital idea it is nat poe- try. But when it does express s idea it is the most potent influence we have in life. Poetry, in the sense of all spir- itual aspiration, all upliiting tendency and ideal desires on the part of man, is the thing above all else worth living for. Science teaches us that which is, but poetry points us to that which should be. Ability isnot one of the most essential funetions of life. The greatest thing to have is a desire for the ideal, and that is what real poetry gives us. It inspires us with a wholesome discontent that is_good for us. It shows us a vista beyond. Iristhe con- centrated essence of the desire for the ideal. . Stoddard—Among the great_poets there is one I love the best of all. His life was a pdem and his poetry is full of life itself. Good people understand it and are better for it, and bad people misunderstand it and are the worse for their failure to com- prehend. His influence has been limited, thus far, but I believe it is bound to in- crease, and that it will tell for powerin the years to come. I mean Walt “rhi!.man. Donatella—We shall never be able to live without poetry. Itsinfluence is distinctly ennobling and purifying—more so, even, than that of music, which is transitory. Poetry we take into our hearts and lives and it sings itself to us always. 3 Runnymede—Poetry is the supreme in- fluence in human life. It is a matter of regret only that poets themselves enjoy Fossib]y asa permanency less of the abiding ruits of their own works than others. But as_a compensation the power which en- ables a human mind to create hasinita joy, a passionate joy, which in itself hasa tendency to disturb the mental equilib- rium, but yields a pleasure so exalted, so intense, that to feel it once is worth a life of suffering. The prose writer has no con- ception at all of the creative faculty which belongs to the poetic genius. The prose writer deals generally with the seamy side of life. The poet has the power to create a world of his own and to introduce into that world all the sympathies that he has created. God is the central idea of all forms that have life or can live. He speaks to us in poetry. The base material- ist, like The Chiel, cannot read his mes- sasfe, but it is there for all who can read it. All history shows us that poetry is the mainspring of the influence under which Efi-ent national movements are brought to their completion, and, as the Second Babe- in-the-Woods very properly putit, the onle,' thing in life worth living foris the ideal. The real amounts to nothing. There is nothing in the real life that is not common to the beasts of the field. It is the ideal that gives hnpqmess, and the ideal is simply poetry. If .our minds cannot be lifted above the dull reality of the daily life, for myself I should pray mother earth to oren her arms and take me, bury me out of sight, for aside from the ideal and the oetical, which mean the same thing, there 18 nothing in life. The Chiel—Despite my heresies, I can assent to that last. I would, however, differentiate between the 1deal, the poetic, which are the loftiest influences in life, but which I still contend are not limited to the set form of art which we call poetry, and the poetic form of expression itself. That, I contend, is a lower form of art than prose, and one which will not continue to prove adequate to express the intellectual life of so highly specialized a creature as the nineteenth century man. With races, as with individuals, we are religious, poetic, mystical in_childhood, metaphysi- cal in youth and scientificin maturity. We are entering upon the scientific age of our racial existence, and verse is not the ex- pression of science. Malcolm—Religion has had an immense influence upon the human race, and yet the highest religious ideas are poems. In fact, religion in the youth of the world de- scended to the poets in the morning of time. The vision of God is the creative man, the idea of heaven and the idea of responsibility. All these came as revela- tions to the primitive poets. Aristotle tells us that poetry possesses a higher truth and a higher seriousness than his- tory. From peasant to king it moves and appeals to every heart along the whole gamut of life. The influence of poetry is largely an un- conscious one, but dav by day and year by year it leaves an impress on our thoughts. ike some airy and invisible architect, it shapes character. Many of the opinions of the world have been formed by the poets. The editor strengthens his argu- ment from Shakespeare; the lawyer, the orator, all turn to them for confirmation. The poet in his highest aspect may be con- sidered a seer. His face is to the future, and from his high place he forecasts the morai grandeur of the race. Heterodoxia—I like that remark of Aris- totle’s, that poetry possesses a higher seriousness than history. I have just come from an inteliectual center in this State where thef hardly consider poetry as seri- ous, but look upon it more as a sort of literary bric-a-brac. I met there a noted English woman of letters who told me she finds that there is no hope for poetr; in California, nor any hope that there will ever be any poets in the State. Kenneth Malcolm—Why, this is delight- ful. Your English woman of letters is perspicacious beyond her kind. Did she give any.reason for her opinion? Heterodoxia—Oh, yes, it was that the landscape does not lend itself to poetry. It is too vast and expansive to furnish material for poetry. She claimed that poetry requires nesting-places, glades and cozy nooks, ‘‘such as we have in Eng- land.” The Chiel—Ah, yes, and Byron’s - Dally tea I8 ready, Snug coterle, and literary lady ! Runnymede—Which very apt quotation, Chiel, reminds us of the flight of time. It was, indeed, time that something re- minded the Olympians of mundane affairs, of trains to get and of duties to perforrh in the busy world below. One may not lin- %er always among the beneficent hills, ut, fortified by poetry, as Heterodoxia had expressed it, we separated, Runny- mede reminding each that our next assem- ;:lagg would be within the borders of Bo- emia. A Maze at Atlanta. Mark L. Stone, who had the Mirror Maze at the Midwinter Fair, has pone to the Atlanta Exposition to erect a sim{lar maze. You Can’t Keep Your feet healthy and sound unless you wear shoes that fit, that are easy and pliable, shoes that bend when the feet bend,— Goodyear Welt Shoes Your shoe man will tell you about them. 1" Goodyear Welts are LEATHER SHOES —not rubber. wilbe most certain nd T 3{. Remedy, 1n ater cures Summer Com o larrhoea, Heart- barn. Sour Stomsch.{Flatulence. Colic, Nausae. HIGHLAND SPRINGS, ON THE BORDER OF CLEAR LAKE, Isalzxe County, Cal. 0 YOU ENJOY A SUPERB CLIMATE, dancing, lawn tennis, croquet, billiards? Do ou like fime bathing, boating, hunting and fishing? o you need recuperation and rest afforded by over thirty kinds of mineral springs? Shortest stage route into Lake County. All this and more can be had at Highland springs. New hotel. Finest dining-room north ot San Francisco. From San Franclsco it costs only #8 for_the round tri, and the hotel rates are $1 50 to $2 50 per day or $10 to $16 per week. Take the S. E. and N. P. Rallway via Pieta, thence by & short, i ride. e J. CRAIG, Manager. San Francisco office, 316 Montgomery st. SKAGES HOT SPRINGS, CAL. SONOMA COUNTY, JOHN F. MULGREW, PROPRIETOR. NLY 415 HOURS FROM SAN FRANCISCO and but 1 hour’s staging: temperature of water 125 deg. Fahrenhelt, famous for its medicinal prop- erties; tub and plunge baths: good hunting and no better trout streams in the State; no fogs and an entire absence of mosquitos and other annoylng insects; first-class service. Round trip from San Francisco, 85 50. Take Tiburon Ferry at 7:40 a. 3. or 8:30 P. M, conneg;ung with stages at Geyserville. Terms: $2aday; $12 to $14 a week. ‘Write for circular. i GEO. J. CASANOVA, Manager. SEND YOUR WIFE AWAY W LLH THE CHILDREN, AND, LF YOU CAN, 0 yourself, for & vacation to Gs You will find It a_delightfully home-like place at ‘which to forget the cares of business ane house- Kkeeping. There you can find rest and recreation, and gain renewed health and strength for the busy months sure to come to us ail in Caiifornia. Why, to enjoy the pleasures of the big, safe SWIMMING TANK 1s worth making the trip, to say nothing of balmy air, health-giving_ waters, charming scenery and perfect service. Terms, $10 to #14 per week. Take 7:30 A. 3. Southern Pacinc train for St. Helena; thence by stage to Aitna Springs. Un- limited round-trip tickets. 87. Special telephone connection with St. Helena. For other information call at 108 Dramm street, San Francisco, or write to W. L. MITCHELL, Manager, Lidell P. O., Napa Co., Cal. THE STRICTLY TEMPERANCE RESORT, UNDER NEW MANAGEMENT. HE GEM OF ALL RESORTS, CAZADERO Hotel and cottages, In the heart of the Sonoma redwoods. nus N. 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EW HOTEL AND COTTAGES, PICTUR- esquely situated in the mountains, 2 miles from Hopland; 1000 feet above sea level, and 250 feet above the valley: effervescent mineral baths, hot or cold; magnesia, selizer, soda, iron, borax and sulphur springs; sure cure for kidney and liver troubles and liquor or morphine habit; iano, biliiards, tennis, croquet, baseball; - free bus From Hopland Sxmg’ni")& F. &‘N]P. R.R.; $10 to 12 per week: take 7:40 A. M. train. N 0. HOWELL, Proprietor, TAMALPAIS VILLA, Tamalpais Station, Ross Valley, Neor San Rafael. OTTAGES FOR FAMILIES. Salt water bathing; commodious grounds; danc- ing pavilion. Bus atjthe grounds for the accommo- dation of guests. Take Sausalito ferry. MRS. PETER SMITH & MRS. L. C. EGGLESTON, pro- prietors. LAUREL DELL HOTEL, N LAUREL DELL LAKE (FORMERLY Lower Blue Lake). A new hotel—the most artistic in the county. The rush is over. Rooms can now be had and you will be treated well. 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For parcticulars address, EDSON BROS., Proprietors, Beswick, Cal. REINE ERTIEL Board $8 to $10 Per Week. $8—ROUND TRIP TICKET—$8 ANDERSON SPRINGS. J. ANDERSON, PROPRIETOR, Lake County. THE GEYSERS. RAILROAD RATES REDUCED From June 29th to July 4th, Good Until July 10th, for Round Trip Only 86.50. Rates at Hotel for Same Time $1.50 per Day To include Dance, Baths, etc. A. H. HILL, Proprietor. HOTEL DEL MAR. N THE SEASHORE, TWENTY MINUTES ride from Santa Cruz; climate perfect: table unexcelled: surf bathing, ‘sailing, rowing, fishing; buses meet all trains; children, $3 50 to $5 per week: adults, $9 per week: special rates to socie- ties and families. Address MANAGER HOTEL DEL MAR, Santa Cruz, Cal, or room 29, Maze building, S. F. cific resorts. Broad- SOLID COMFORT HOME RESORT. 1] MILES FROM NAPA: 1600 FEET ABOVE Napa valley, on Mount Veder. Mountain scenery unsurpassed. Fine climate. Positive Cure for Asthma. Elegant mountain spring water. Open July 1 to January. Rates §7 per week. From Napa via Pheenix livery stables, $1.50. MRS, A. F. ALLEN, P. 0. box 182, Napa City. UMMIT HOTEL-THE MOST BEAUTIFUL spot in the Santa Cruz Mountains, opens for its fourth season under its present manageme nt June 1: the table Is well known as first-cluss; fruit and cream from our own ranch. T t. MRS, A. N. NICHOLDS, Prop., P. . 'HEAPEST AND BEST IN AMERICA—THE WEEKLY CALL. sent to any address in the United ‘States or Canada one year for $1 50, post- age free. you know, and the only Tonic that has caused its authors to be rewarded with the French National Prize of’ GLENWOOD MOUNTAIN HOUSE Santa Cruz Mountains. New management. Iron, Sulphur and Magnetic Springs. $8 10 $10 per week. Write for circular. Glenwood P. 0. J. P. STOCKWELL, Proprietor. 16,600 Francs. Al Druzgists, or it not please writo for par- ticulars (giving name and address) to E.FOUGERA & CO., 26-28 N. William 8t.,N.Y. THE PIXLEY Centrally Located and 3 Only Fire-proof Brick MRS. E. B. PIXLEY, Prop. Hotaling Building, SANTA CRUZ, CAL. HOTEL BER LONOXD AND COTTAGES EOPENED MAY 1: SITUATED IN THE hoart of the Santa Cruz Mountains; climate perfect: good hunting and fishing; croquet: tennis and clubhouse; camper’s round-irip ticket $3. ¥or terms apply 10 J. J. C. LEONARD, Proprietor. HOTEL DE REDWOOD, IGHT IN THE HEART OF THE GREAT redwoods of Santa Cruz County. First-class accommodations. Board $8 and $10 per week. Send for circular. Address MYRON S. COX, Laurel, Cal. BOARDERS TAKEN DURING THE SUMMER T RANCH IN THE COUNTRY: FINE OR- chard, house: modern improvements: home comforts; terms moderate. Address W, 0.J., Law- rence Station, tanta Clara County, Cal. OARD ON A RANCH: GOOD ACCOMMODA- tons; 1 mile from station; 200 feet elevation; terms $6 per week, Address Redwood Grove, Oce cldental, Sonoma County, Cal. LI PO TAI JR.’S Herb Sanitarinm, No. 727 Washington St., Cor. Brenham Place, above the plaza, San Francisco, Cal. Office hours—9 A. M. to 12 M.,1to 4 PO o4andb5tos Sax FrANCISCo, June 1, 1895. 613 Geary street. After three vears of acute suffering from bron- chitis and insomnia and having been treated dur ing this time by physicians of both the old schools without the slightest mmrm-emeu:nld com sulted Dr. Li Po Tal Jr., who at once found the direct cause of the trouble. After a course of treat- ment with him I can pronounce myself cured. [ feel I owe my life to his skill. DORA LONG. P ATENTS i o s 00