Arizona weekly enterprise., 1888-03-10
BEAUTY IN THE BOXES.
The Lovely Women Who Crowd tho
 Front Rows in the Opera.

Front Rows in the Opera. was at the opera the other night. Faust" was on the bill and the house was crowded with the beauty and wealth of the town. Standing up between the acts l swept the boxes with my opera glass, and the sheen of the diamonds out shone the glare of the bright lights The white and bare shoulders of the women rose along the front seats like the tops o4 soft white waves, and their uncovered arms were as nipples of foam that re- heved the bright colors of their costumes.
 Clear complexioned, bright eyed and aggressive in their beauty, many of them leaned over the front of their boxes and sent their sparkling eyes careening through the house. They were lovely specimens of the feminine form divine, and the world has not left them in ignor- ance of that delightful fact.
 Take almost any of the boxes and the story of its occupants lives will point the moral of the subject that came to me that night.
 Never mind the particular box, but there was one that drew my attention. Three women on the first TOW, superbly built, cherry tipped and alabaster skinned. With faces serene, health perfect, and contentment marked on every line of their well cut countenances. They had swept into their places long after the performance had begun and gazed about with superb indifference after throwing | off their wraps.
 The well rounded outlines of the old- est of the three, and the repose that ran through her every motion, marked her out as a woman to whom care was un- | known, and satisfaction an everyday romance. She might have been 40, but she looked 25. The other two were younger, but both were pictures of ab- solute physical beauty. They were one family, and may have been mother, daughter and sister. The three were magnificent evidences of the develop ment and culture that are building up the rich women of New York, and giv- ing an inheritance of health and beauty to the new generation that is growing around us today.
 And the husband? for he was there, too
 The wife turns occasionally in care less, half indifferent way and says g word to some one who sits in the rear ol the box, and in the half dimness can be seen the man whose money makes all this loveliness possible.
 Is he, too, developing and rounding out his life in pleasant ways and without weighing cares? Look at him even il weight; he is many pounds lighter thar is the magnificent woman he calls wife and who glsnceB back at him sometime almost pathetically. The furrows alon, his cheeks are cut deep and his eyes ar sometimes weary and often heavy, evel when Marguerite sings her sweetes strains.
 The world has been wrestling with hin for quarter of a century, and his offic has seen him every day during all tha time. He has delvAd for wealth and h has found it, but his bent shoulders an shrunken figure tell the story of tn strained anxiety that has covered his If for years. Unceasing work during tn day and uncertain rest in the quiet of tn night have laid the mark of 60 year
 upon him, though he has not perhap ! touched 45.
 He has fought for the place in the oper
 where his proud wife sits. He has strug } gled to keep her in the splendor tha befits her beauty. He tolls along, hold ing to his accumulations and lavishin them upon her, while her loveliness an } stateliness grow with advancing matror hood, and the years of middle manhoo bring to him the weariness and decrep tude of old age
 l It is no fancy sketch. The opera heus was full of such pictures that night } full of them every sight.
 , True, there are some magnificent spec , imens of stalwart American manhood strolling here and there through the lot r bies or lounging in the body of the house ) But then most of these men are unmal ried.-New York Graphic.