The Denison review. [volume] (Denison, Iowa) 1867-current, 1900-01-05

! 'byI then yor re queer in your ideas
anyhow Felicia II you re going up to
see .,0a!er tell ber II run in after The
/ play Il she is stili awake
h'eiici@ won1 ap to see hQl mother
and remaiu with her until tie Delano
carriage came Mrs. Sterling was wor
ried atont hcl husband She talked in
cessantiy and was irl,itated by every re-
mark Felicia made She would not list
Ga to h'elicia's attempts to read even .
part of Rachel's letter, and when Fe-
llcia offered TO stay with her for the
evening she refused the offer with a
@tg@ 6'eal ct positive sharpness
elieia started off to the play not
Ne happy bar -he was familiar with
that feeling. only sometiis@s she was
more unhappy than at other times Her
feeling expressed itself tonight by
withdrawal into herself. When the
company was seated in the box and the
curtain was up, Felicia was back of
| the others and remained for the even
ing by herself. Mrs. Delano as chaperon
for half dozen young ladies under
stood Felicia we'll enough TO know that
she was ''queef. lis Rose so often SAID,
AMI she made no attempt to draw her
out of the corner. and so Felicia really
experienced that night by herself one
OF the feelings that added to the mo-
mentum that was increasing the coming
on of her great crisis.
The play was an English melodrama
/ full of startling situations. realistic
scenery and unexpected climaxes. There
was one scene in the third act that i'm
pressed even Rose Sterling
It was midnight on Blackfriars
bridge The Thames flowed dark and
forbidding below ST Paul's rose
through the dim light imposing. its
dome seeming to float above the build
ings surrounding it The figure of a
child came upon the bridge and stood
there for Il moment peering about as
if looking for some one Several persons
We're crossing the bridge. but in one of
the recesses about midway of the river
a woman stood. leaning out over the
parapet with a strained agony of face
and figure that told plainly of her in
tentions Just as she was stealthily
mounting the parapet to throw herself
into the river the child caught sight of
her, ran forward. with shrill CRY more
animal than human. and. Selling the
woman $ dress. dragged back upon it
with all her little strength Then there
came suddenly upon the scene two other
characters who had already figured in
the play, a tall handsome, athletic gen
= 81. I
by slim figured lad, who was as re-
fined in dress and appearance as the lit
tie girl clnging to her mother was
mournfully hideous in her rags and re-
pulsive poverty These two. the gentle
man and the lad, prevented the at
tempted suicide. and after tableau on
the bridge where the audience learned
that the man and woman were brother
and sister the scene was transferred to
the interior of one of the slum tene,
ments in the east side of London Here
the scene painter and carpenter had
done their utmost to produce an exact
copy OF Il famous court and alley well
known to the poor creatures who make
up a part OF the outcast London hui
mainly The rags the crowding the
vileness the broken furniture the hor-
rible animal existence forced upon
creatures made in Gods image. were so
slsillfully shown in this scene that more
than one elegant woman in the theater.
seated, like Rose Sterling. in sump-
tuons box. surrounded with silk hang
ings and velvet covered railing, caught
herself shrinking back little. as if
contamination were possible from the
nearness OF this piece of painted canvas
1t was almost too realistic. and yet it
had a horrible fascination for Felicia
as she sat there alone, buried back in a
cushioned seat absorbed in thoughts that
went far beyond the dialogue on the
stage
!, From the tenement scene the play
shifted to the interior of nobleman' $
palace and almost a sigh of relief went
up all over the house at the sight Of the
!, accustomed luxury of the upper classes
The contrast was startling. 1t was
brought about by a clever piece of stag
] ing that allowed only few minutes to
elapse between the slum and the palace
scenes The dialogue continued the
q 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
9 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
9 intensely, and this was not the first
time she had felt the contrast thrust
t into her feeling between the upper and
the lower conditions of human life. 1t
had been growing upon her until it had
> made her what Rose called "queer' and
a the other people in her circle OF wealthy
t acquaintance called every unusual.
e 1t was simply the human problem in
y its extremes of riches and poverty, its
refinement and its vileness, which was,
in spite of her unconscious attempts tc
. struggle against the facts, burning into