Orleans County monitor. [volume] (Barton, Vt.) 1872-1953, 1900-05-07
From the tenement scene the play

| palace, anu almost a sign OF T01l0I WGut
up all over the house at the sight of the
| accustomed luxury of the upper classes.
| The contrast was startling. It was
brought about by clever piece Of stag
| ing that allowed only few minutes to
elapse between the slum and the palace
| scenes The dialogue continued, the
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
slum 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 her 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 "queer' and
the other people in her circle Of wealthy
acquaintance called Every unusual.
It 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 a
woman Of rare love and self sacrifice
for the world or a miserable enigma to
herself and all who knew her
Come, Felicia Aren't you going
homer said Rose. The play was over.
the curtain down. and people were go
ing noisily out. laughing and gossiping.
as if 1.-The Shadows Of London was
simply good DIVERSION as it was put on
the stage so effectively.
Felicia rose and went out with the
rest quietly and with the absorbed feel
ing that had actually left her in her
seat oblivious of the plays ending She
was never absentminded. but often
thought herself into a condition that
left her alone in the midst Of a crowd.
well what did you think of it?'
asked Rose when the sisters had reached
home and were in the drawing room
Rose really had considerable respect for
Felicia S judgment of play
II thought it was a pretty picture of
real life
Il mean the acting said Rose, an
noyed
''The bridge scene was we'll acted,
especially the woman part | thought
the man overdid the sentiment little.
Did your | enjoyed that And
WASH t the scene between the two cous-
ins funny when they first learned that
they were related? But the slum scene
was horrible | think they ought not to
show such things in play They are
too painful
''They must be painful in real life,
too. replied Felicia,
Yes. but we don't have to look at
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 a plate of fruit
and cakes on the sideboard.
care you going up to see motherf"
asked Felicia after awhile. She had re-
mained in front of the drawing room
fire.
mo, " replied Rose from the other
room; II won't trouble her tonight. If
you go in, 5ell her am too tired to be
agreeable. .
SO Felicia turned into her mothers
room. AS she went up the great stair
case and down the upper hall the light
was burning there, and the servant who
always waited on Mrs. Sterling was
reckoning Felicia to come in.
''Tell Clara to go out, - exclaimed
Mrs. Sterling as Felicia came up to the
bed and kneeled by it,
Felicia was surprised, but she did as
her mother babe her and then inquired
how she was feeling
tFelicia, said her mother. can
you pray?'
The question was SO unlike any her
mother had ever asked before that Fee
licia was startled, but she answered:
"Why. yes. mother. What makes
you ask such question p
Felicia, | am frightened Your IA
ther-I have had such strange fears
about him all day, Something is wrong
with him. want you to pray
"Now? Here, mother?'
Eyes Pray, Felicia.
Felicia reached out her hand and took
her mothers It was trembling. Mrs
Sterling had never shown much tender
ness for her younger daughter and her
strange demand now was the first real
sign Of any confidence in Felicia's
character.
The girl still kneeled, holding her
mothers trembling hand, and prayed
It was doubtful if she had ever prayed
aloud before She must have said in
her prayer the words that her mother
needed. for when it was silent in the |
room the invalid was weeping softly. |
and her nervous tension was over.
Felicia staid some time. When she |
was assured that her mother would not |
bn, Oh 70