The Cairo bulletin., 1905-08-11
THE LATE CONFER. :.


there before her.
She works her yelveteen skirt securely
sray from its moorings at the piacs
where things come together in the back.
and catches her opera glass. her lorg-
nette. her purse. her boa. her muf
against the walsteoat buttons OF irats
and upright men. and on the eyeglasses.
bats, fans. laces and programmes Of
pressed back. half sitting, indignant
venaen.
The symphony has begun and the d.
minuendo is well on All the seasoned
eoncert-goers have their eyes fixed ON
the most remote point in the ceiling at
tainable BY the human optic.
II was shabby thing Of the man in
the seat next TO hers to leave his Lon
don umbrella leaning like a half-shut
drawbridge from his seat He does not
like TO have it snapped in twain by the
onslaught of the lady 1t makes noise.
and she tumbles helplessIy into Der seat,
wondering If ever again she can twist
herself into comfortable position and
be sure Of the Whereabouts OF the differ
Gilt Poftl0us OF nef AZURE.
There is a deficiency in her proper
tions. Her legs were not made to ct
be seat OF the orchestra chair To be
exact, they do not reach the floor. She
has noticed this deficiency before. but
now it is aceentuated by tho sidelong
twist she has given her velyeteen skirt.
The gentleman Immediately behind
takes this time to lean forward and III
quire If she will kindly remove her hat.
She raises her velyeteen arms obedi-
emily to stillrhunt for her hatpins and
down goes her opera glasses with a
bang, followed by her muff and pocket
handkerchief The gentleman on her
right knows he ought to pick them up.
but he remembers his broken umbrella
and looks the other way with a sniff
The man on her left makes a dive and
spends some moments feeling about IN
der the seats with his neatly gloved I'm
gers. She thanks him in hnshed whis-
per as he emcrges and deposits the err
ing articles in her lap
She continues to forage for her hat
pins. There are ave Of them iii braided
gridiron through her pompadoured hair.
And yet the newspapers are fun of let
tiers from indignant men. inquiring why
woman does not remove her headgear in
public places.
She pulls out one and puts II in her
mouth Il is a deadly menace to the life
and safety Of all around The man or
her right shndders and imaginary REM
rants OF his umbrella pierce his soul.
This y but beginning. she pulls ont
y second. third, fourth, fifth, and
K sticks them N her belt she gives Aer
haf uyeIApnit0ry shake to sec liz 1T ia
iopsening from its moorIngs.
The Pyramids themselves are not
more firmly embedded. There mus be
an0the pin.
But where The people around ID a
radius Of three seats deep are becoming
interested. She bushes TO crimson
B hue and tries to screen herself behind
the tail woman in front.
Several more things slide down hei
lap and find noisy resting place upon
nc floor Nobody picks them up. The
II hat occupies the center of the stage
The llmelight of attention il focused
\ upon III.
She feels cautiously about underneath
the flowers and at the roots Of the feath
ers. No pin. She gives yank to TIL
hat, thereby unsettling the foundation
st her hair. Hat and hair are still fnsep
arabIy united
Where is that Turing will o. the wisr
the knob of the last hatpin? She plunge
B wildly among puffs and frills, tearint
lace and ripping velvet. Her shining
well aroomed tresses tremble at the on
slaught. The hat retains them III 1t
crablike grip.
Ihe programme goes On with undis
turbed serenity. but what Is that to her
II is easier to play trombone OF kettle
drums than kindly to remove her hat.
She notes the baldheaded man In th
seat next the aisle resting his polishe
pate upon thoughtful hand, and feel
ing of unchristian envy gnaws With
her. His hat comes of and on at will.
The gentleman behind is getting rest
less because he cannot see the gyration
III the conductor and the faces that til
haut-bOy players make, and says thing
I tn The lady with him, whose meekl
@ parted hair and psyche knot al the nan
0f her neck are lessons To her sisters
h Her hat was fastened by rubber ban
and lies quietly In her lap. 1t is yagu
cpnstruction. with uncertain outline.
\ Ssand was probably Of English origin.
But walt. The structure is yieldins
Il III Suddenly Unexpectedly, the irrespor
ssihle source Of trouble, the elusive ha
" NJ Alin, gives q leap into the air and land
III the back Of the lady In front, Sh
4 Qiiiyering with agony, gives muffe
Ghriek and turns and glares at her vi
NJ WHITING antagonist.
X The gentleman whose umbrella VI,
broken sympathetically plucks Il
weapon out and returns II to the owne
N with d steady stare Of disapproval 81
ffies to rnurmrf apologies to the victil
whose companion rubs her between Il
shoulders and coldly ignores all profile
IA sof assistance. General attention is aga
focused on the lady, this time wi
" marked Interpretation.
But calm has come. The hat Is D
ana makes another object to be guard
w 1f,..{tri Ian