profound reaction from matter led them to preach bareness,，
"Maybe she has someone to double in those places," suggested the screen-wise Tessie Kearns.
"Not Beulah Baxter. Didn't I see her personal appearance that time I went to Peoria last spring on purpose to see it? Didn't she talk about the risks she look and how the directors were always begging her to use a double and how her artistic convictions wouldn't let her do any such thing? You can bet the little girl is right there in every scene!"
They passed to the other billboard. This would be the comedy. A painfully cross-eyed man in misfitting clothes was doing something supposed to be funny--pushing a lawn mower over the carpet of a palatial home.
"How disgusting!" exclaimed Miss Kearns.
"Ain't it?" said Merton. "How they can have one of those terrible things on the same bill with Miss Baxter--I can't understand it."
"Those censors ought to suppress this sort of buffoonery instead of scenes of dignified passion like they did in Scarlet Sin," declared Tessie. "Did you read about that?"
"They sure ought," agreed Merton. "These comedies make me tired. I never see one if I can help it."
Walking on, they discussed the wretched public taste and the wretched actors that pandered to it. The slap-stick comedy, they held, degraded a fine and beautiful art. Merton was especially severe. He always felt uncomfortable at one of these regrettable exhibitions when people about him who knew no better laughed heartily. He had never seen anything to laugh at, and said as much.
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