Ottumwa semi-weekly courier. [volume] (Ottumwa, Iowa) 1899-1903, 1899-10-19

actors came and went In their various
roles, but upon Felicia the play made
but one distinct impression. In reality
the scenes on the bridge and in the
Stun were only incidents in the story
Of the play. but Felicia found herself
living those scenes over and over. She
had never philosophical about the
causes Of human misery. She was not
old enough She had not the tempera-
ment that philosophers But she felt
intensely, and this was not the first
time she had felt the contrast thrust
into hel feeling. between the upper and
the lower conditions of human life. It
had been growing upon her until it had
made her what Rose called s'queer" and
the other people in her circle of wealthy
lacquaintances called livery unusual.
1t was simply the human problem in
its extremes Of riches and poverty, Its
refinement and its vileness. which was,
in spite Of her unconscious attempts to
struggle against the facts, burning into
her life the impression that would in
the end transform her into either
woman Of rare love and self sacrifice
for the world or a miserable enigma to
herself and all who knew her
! Come. Felicial Aren't you going
home 2" said Rose. The play was over
the curtain down. and people were go.
ing noisily out. laughing and gossiping
as if "The Shadowsrof London was
simply good diversion. as it was put op
the stage so effectively
Felicia rose and went out with the
rest quietly and with the absorbed feel
| ing that had actuallyeleft her in her
seat oblivious Of the play ending She
was never absentninded. but often
thought herself into u condition that
left her alone in the midst of u crowd,
We'll. what did you think of .it2'
asked Rose when the sisters had reached
home and We're in the drawing room
Rose really had considerable respect for
Felicia $ Judgment Of u play
II thought it was a pretty picture of
teal life !"
~ mem the acting" said Rose. an
noyed
/ 1.-THE bridge scene was well acted.
especially the woman 3 part | thought
The man overdid the sentiment little
did your enjoyed that And
WASH I the scene between the two cous
ms funny when they first learned that
4 ,hey were relatedY But the slum scene
Eas horrible. think they ought not tc
taow such things in play They are
200 painful
They must be painful in real life
too. replied Felicia.
Eyes. but we don't have to look ut
the real thing It's bad enough at the
theater, where we pay for it
! Rose went into the drawing room
and began TO eat from . plateo Of frRit
and cakes on tho sideboard
4 Are you going up to see mothers"
asked Felicia after awhile. She had re-
NAMED in front of the drawing room
! fire.
.sNo. . replied Rose from the other
room; 81 Won't trouble her tonight II
you go in, tell her am too tired to be
+ agreeable.
4 So Felicia turned into her mothers
4, room. As she went up the great stair
case and down the upper hall the light
was burning there and tho servant who
always waited on Mrs Sterling wa:
reckoning Felicia to come in.
"Tcll Clara to go out. exclaimed
Mrs. Sterling as Felicia came up to the
bed and kneeied by it.
i Felicia was surprised. but she did a.
her mother babe her and then inquired
how she was feeling.
Felicia, said her mother '.car
you pray?'
The question was SO unlike any her
mother had ever asked before that Fe-
licia was startled but she answered:
why. yes. mother. What make,
Won ask such question"
Felicia. am frightened, Your ia
y ther-I have had such strange fear
4 about him all day. Something is wrong
with him. want you to pray. =
"Now2 Here. mother q
yes. Pray, Felicia.
Felicia reached out her hand and tool
I her mothers It was trembling. Mrs
Sterling had never shown much tender
ness for her younger daughter. and he
strange demand now was the first rea
sign Of any confidence in Felicia
character
3 The girl still kneeled. holding he
mothers trembling hand. and prayed
) 1t was doubtful if she had ever prayet
aloud before. She must have said il
her prayer the words that her mothe
needed, for when it was silent in tn