HOW MEN HAVE MISSED MAKING FORTUNES

New Zealand Mail, Issue 1679, 4 May 1904, Page 30

HOW MEN HAVE MISSED MAKING FORTUNES

It is astounding how many men may leverywhere he found who are discontented —who feed instinctively that they ■were born for better things; who in some way, they scarce know how have allowed life’s golden opportunities to pass them by, failing to ac'Meve whar they believe might have been, nay should have been, theirs. No one can point to any definite defect in them, yet they have failed. Why have they failed? To the expert observer the cause is very obvious. Success is achieved only by energy, and energy what they lack. No'W, energy, whether of the hand or the head, is produced by food. A starved man can neither dig the ground properly nor think out a matter cleanly. Has a man, therefore, in order to become energetic, merely to be supplied •with good food? No; unfortunately the case is not so fgmplo as that. The food that he eats must do its work property; must make rich, pure blood, and repair the waste which is continually taking place in his system. Food can only do this when the digestive organs are in perfect working order. In persons whose digestion is impaired food stagnates, creates gases in the stomach, and not only fails to properly sustain them, but aggravates their complaint and poisons the system. It. is just here where Mother Seigel’s Curative Syrup comes in. ' It is the one thing that cures indigestion, and all the numerous maladies of which it- is the parent, and in that way may bo regard-ed'as-am unrivalled source to energy. “When in Tasmania four years ago I

was attacked by d s’eriou s illness,” says: Mi f Bowden, of 23, Bring Street. Wloolloiomooloo, Sydney, N.S.W. ‘‘l could neither eat, sleep, nor rest. A doctor whom I consulted said I was suffering from dyspepsiaj arid gave me some medicine, which patched me up for awhile: •hut-I was soon as had .as ever again Another doctor attended me for two months; but I received no benefit from his treatment, nor at the hospital where I afterwards went.* My appetite ail most ceased, and the little I at© disagreed with me. I became dull and ilanguid, and everything was a trouble to me. Accepting the advice of a friend to try Molther SeigePs Syrup, these troubles soon disappeared. After a few doses, I felt better than I had done for months past. By the time I had taken five bottles I was restored to health and energy.”

Just-so. That is precisely the effect

that Mother Seigel’s

CurativG. Syrup

produces. Not only does that medicine . eradicate disease; it promotes health and energy, those absolutely indispensable qualities in all. who are called upon s to fight life’s battle. It is a purely natural tonic, composed of fruits', roots, and herbs, containing no mineral substance whatever. For thirty-five years it has occupied the first place among all medicines whatsoever; ahcl evidence as to its curative power is constantly foathcoming from the sixteen principal coun--1 tries of the worfd. Indigestion and, biliousness are what gome medical authorities term “root v diseases;” that is to any, if those complaints are neglected, they develop into others even more serious. More often than not, medicines supposed to be remedies are at first resorted. to. Simetimes these are persevered with for oon»v.; siderable periods, resulting' in loss of time and needless suffering, beside® rendering the subsequent - euro by Mother -eigel’s Syrup more difficult-. In these circumstances Mi' Bowder is t:o bb congratulated-on having hi? atten-

tion so; early directed to Mother' Seigel’s Syimp, and upon the happy, result <£ his v use a£ it. ' < rfi . Many , a man who is,poor to-day

would be wealthy had he not been held down by 111-health. . But there is bright hope for all such when once they clearly understand why they are so; and- now they may unloose their bonds.

following letter in reference to the recent first performance of that work in Sydney:—“Dear Mr Delany,—l much regret that absence abroad and‘being extremely closely occupied since my return, have delayed my writing to tell you how much gratification it has given me to hear of the performance of ‘The Dream of Gerontius' under your direction. I send you my hearty thanks for all th. trouble you have taken with my work, and am very glad it met with.so sympathetic a reception from your audience. Will you also convey my sincere thanks to your orchestra and chorus, and with kind regards, I remain. Dear Sir, yours faithfully, Edward Elgar.” Miss Ada Crossley, who has completed her tour in South Africa, had an enthusiastic reception in Johannesburg. On her birthday (March 3) the Johannesburg Australasian Society gave tlie distinguished artist a reception at the Masonic Temple. Mr F. EL Blackwell, one of the most prominent Australians on the Rand, occupied the chair. On Miss Crossley’s arrival the chairman led three lusty cheers, and one Australian “Gbo-ee.” *The distinguished visitor at. once responded with a m'st musical “Goo-ee.” “Just,” as she said, laughingly, “to show I've not forgotten how to do it. 5 ' During the evening a very tastefully illuminated address was presented to the contralto. Dr Rowan then stepped forward and presented a silver jackal kaross of great beauty. It was lined with deep claret-coloured cloth, in the centre of which a large “A .CL” in gold was embroidered. The Mayor of Pretoria sent the singer a basket of choice white roses, and Bloemfontein gave her a floral kangaroo, holding a basket of flowers in its paw; the flowers composing the kangaroo having been sent 4 00 miles for, in honour of the Australian songstress. Miss Lilian Fbulis/who is to visit Wellington shortly, is said to own a genuine Sfradivarius violin, which bears the date 1701. It is supposed to have been the favourite instrument of Vieuxtemps, and was bought for Miss I'oulis by her father. Dr Foulis, from the celebrated violin dealers, Hill and Son, of London. The price was £IOOO, and, as all good stringed instruments have the peculiarity of becoming richer in tone with age, the value of this instrument will increase as the years roll on. A-“ Stead” is, among the famous violins, distinguished for the rich fulness of its tone.

The pay of musicians in some positions in Germany does net appear to he very high. Professor Ritter, of the Wurzburg School of Music, states, in a pamphlet upon the work and pay of orchestral musicians in Germany, that first viola players in concert and opera orchestras aro paid from £75 to .£IOO a year. Their work demands so much time chat but little opportunity is afforded to supplement this income by outside work. The average conductor in provincial towns is paid a salary of £6 to <£9 a month. Some time ago 140 men applied for the post of Capellmeister at Ratibor, and of these applicants had received an Academic education.

The popularity of Herr Ivreisler in London remains undiminislied. Recently at Queen's Hall he gave an orchestral concert, with the assistance of Mr Wood and the Queen’s Hall Orchestra. “The -Brahms Concerto was magnificently played,” says one writer. "In every sense of the word it was a triumph, and HenKreisler was recalled at least five times to the platform. The Brahms Concerto was his greatest performance,, but lighter qualities of equal fascination showed themselves in his treatment of Frederic d’Erlanger’s Concerto in D minor. The work is graceful and elegant rather than nreat, and it was interpreted perfectly. The brilliancy of Kreisler’s technique was manifested in Vieuxtemps’ Concerto in F sharp minor, hut to me this was the least interesting performance of the three. This was , a memorable concert —one which it is difficult to appreciate as it deserves.”

Madame Suzanne Adams reappeared in London the other day at a Chappell Ballad Concert, after a long absence from London. She sang “Batti, batti,” with great charm and purity of .voice, according to one critic. Miss Muriel Foster sang two songs by that clever young composer, Miss Teresa del Riego, and Mr Kennerley Rum ford introduced a song by Florence Aylward, entitled “Roses of England.” The chief attraction of the concert was M. Pachmann’s inimitable playing of two pieces by Chopin. M. Georges de Dubor writes an interesting article in “Cassell’s” on “The Opera in Paris.” The personal staff of the opera, lie says, comprises 425 persons, distributed tlnvi: 51 vocal artists, 106 members of the vrehestra, 100 members of the chorus! 140 dancers of both sexes, 3 orchestral conductors, 8 choral conductors, and 17 other persons occupying various positions, besides the “supers,” of whom great numbers are employed op certain evenings. The administrative staff is composed, exclusive of the director, of the following persons: A general administrator, a general .secretary, an under-sec-retary, one keeper of the “properties,’-’ two archivists, two librarians, a chief accountant, a cashier, a general manager, a stage manager, and a vast army of controllers, clerks, engineers, attendants, and persons employed among the “properties,” etc. In all, 1280 persons flock to the cashier’s office at the opera, but besides this personal staff many hundreds of people indirectly draw their income from the National Academy of Music; for instance, painters, decorators, copyists, and costumiers. In order to meet these great expenses the directors possess (1) the annual subsidy of <£32,000 given by the State, (2) the receipts from the performances. The maximum taking is <£92o, but the directors may not increase the prices of seats determined by the rules of the opera. The maximum figure is, however, rarely attained, and the average receipts do not exceed, and very often do not reach, <£6Bo. Considering that the cost of each performance is about <£Boo, the directors would lose considerably if the State subsidy did not make up the deficit. The production of a new opera means two or three mpnths of rehearsal, and considerable expense. The following table shows the expenses incurred in the mounting of some operas produced of late years, after the fire of

1878 and the destruction of .the scenery in 1894; ' Ja Juive,” <£7600; “Lcs Huguenots,” <£6920; “Faust,” .£7480; , Hon Juan,” £7240; “Le Phophete,” £8360; “Coppelia” (ballet), £1640; “La (ballet), £3240. “La Dame de Mousoreau is the work which involved the highest

outlay for 20 years. The expenses rose to £12,800.