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Ethel-When I think of what love has meant
I wonder if Fate will demand her price
to others, tnd when I consider what some it has meant und misery fortunate I am-and I wonder
you said that every time you looked at her breast, dead in his chair, no wonder youyou saw the picture of her husband as you you-(Pause; he realizes that according to saw him that morning with his chin on his her actions when Dole died she didn't see
you see him!
him. Then the possibility of the truth Doctor-I do think it and I am done with dawns on him)
you. Ethel-What is it?
Ethel—You shan't go thinking that of me! Doctor—As you saw him that morning. You shan't, I tell you! You shan't! Ethan!
Ethel-Yes--as-(She realizes the trap (Slam of the door is heard. Ethan is gone) she's walked into)
For what I did I could be forgiven; for Doctor-Then
what I did not do, I am condemned. Ethel—No. No, I didn't! You told me (Ethel picks up diary and reads; then rings about it-and so did the others. That's for Susan) how I knew! Don't look at me like that. Susan-What is it, ma'am? I can't bear it! Do you hear, I can't bear it! Ethel—It isn't there! It isn't there! Doctor-Did
Susan-What, ma'am? Ethel—I didn't, I tell you! They told me Ethel—The last she read. He didn't about it!
write anything after saying that he would Doctor —You said “As I saw him that send me away. She wrote the rest. And morning with his chin on his breast.” You listen to what she says at the last. “He did see him-you did! You were the last to didn't write enough for me to prove anysee him alive, you were the first to see him thing by it, but I'm going to do it just the dead!
same, and if ever you read this, Mrs. BrisEthel-No! No!
tol, you'll know that I did prove it.” Oh, Doctor-You killed him!
my God! She trapped me! She couldn't Ethel—I didn't! I didn't! I didn't! have proven anything and she made me con
Doctor-You knew that a shock would fess. I have thrown everything away, huscause his death and to get him out of your band, home, happiness, everything--and I way so that you could marry me, you told have done it for nothing! She tricked me him what I had previously told you.
into doing it-tricked me! Oh, my God! Ethel—But I didn't do that. If I had, I My God! (Ethel glances at doctor's bag) should be a murderess. Do you think that Get me a glass of water! I- You can't think that of me! You Susan-Water, ma'am? can't!
Ethel —Yes. Doctor-I do!
Susan-Yes, ma'am. (Susan goes out, Ethel-You shan't think that of me! You Ethel goes to bag and takes out various vials; may think anything else you like but you selects one. Susan enters with water. Pause) shan't think that! Listen now, listen, and Ethel-What are you waiting for? I'll tell you the truth.
Susan--The glass, ma'am. Doctor-Ha! The truth!
Ethel —You needn't wait. (Pause) I said Ethel-Yes, the truth. When you left the you needn't wait. studio to talk to Mrs. Dole he came in. He Susan-I know you did, ma'am, but I told me you had said there was no need was thinking that perhaps if I get that for an operation, and that as there wasn't, glass, I might-(Susan forces the vial he was going to tell his wife that he loved out of Ethel's hand) That's. what I was me and wanted a divorce. I begged him waiting for, ma'am! not to, and when he insisted on knowing Ethel-Give it back to me! why, I told that I didn't love him, but Susan-Don't do it, ma'am! No man's that I loved you.
worth it! I know because I tried it. Doctor--Told him, knowing that it would Ethel —You tried it? kill him!
Susan-Yes, ma'am. When I first met Ethel-Ethan!
you at Mrs. Dole's I told you I had just Doctor-I might have forgiven you the come out o' the hospital, but I didn't tell other, but this I can't forgive! I have fin- you why I went in. I loved my husband ished with you! (Doctor makes for the door, just as much as you love yours. But he left Ethel detains him)
me and I tried it. Ethel —You shan't go thinking that of me, Ethel-Did he come back? you shan't! I didn't intend to do it, as God Susan-No, ma'am. Ile didn't love me. is my judge. I didn't! How can you im- That's the difference between him and your agine that I did? How can you think that husband. I could deliberately kill a man!
Few American artists of to-day have juster claims upon our national pride than Miss Mary Cassatt. One of the first members of the now famous Impressionist school, she has attained world-wide recognition not only because of the intrinsic merit of her paintings, but also because of her marked influence upon contemporary art. Mr. Teall gives here a short account of her work
as exemplified in the centuriesartists living
old, but ever fresh subject of abroad there
Mother and Child-Mère is no one in
et Enfant, for thus is whom we
nearly every one of take greater national
Miss Cassatt's pride than in Miss
paintings entitled. Mary Cassatt,
There is not a whose paintings
great museum in have come to be
the world within known the world
whose walls over. Miss
modern art finds Cassatt spent
a place that her early years
believes itself in America, the
representative land of her na
in examples of tivity, and al
painters of tothough she has
day without chosen France
some canvas by as her home and
Miss Cassatt in by some is re
its galleries. garded as a ver
Not only has itable arch-ex
this Ameripatriate, her art
can woman has never de
achieved perparted from
sonal success in what we may
the products of fondly, and I
her brush, but think justly,
her work has consider the
had a marked path of Ameri
influence upon can ideals. No
the painting of painter of mod
her time. Miss ern times has
Cassatt is an more exquis
Impressionist. itely depicted
The term Imthe great epic
Only the prompt action of the Italian government saved this famous pressionist has of motherhood
painting, Fra Angelico's Madonna della Stella, from the mysterious fate
been applied to that school of painters who departed from subject inspiration, for the average person the old traditions of academic inspiration, seems far more willing to accept rainfor the individual working out of each bow hues in a Mother and Child subject problem that presented itself to the artist, than in a landscape; it is hard for the that is to say, the working out of every novice, who has believed that grass is enimpression received by the painter through tirely and completely green, to realize that personal interpretation, untrammeled by it may appear differently through an atmosthe example of precedent. Miss Cassatt phere created by light and shade, that it is one of the survivors of the early group can be correct to interpret it by yellow, that really brought Impressionism to the blue, purple, orange, or violet pigment. front — Monet, Pisaro, Berthe Morisot, Nevertheless, it would be difficult to imagand others. Of them all, Miss Cassatt's ine even the anti-impressionist holding out work has most endeared itself to the against the art of Miss Cassatt! Her paintpublic at large, perhaps, by reason of its ings of mothers and babies and children
"No painter of modern times has more exquisitely depicted the great epic of motherhood as exemplified
in the centuries-old, but ever fresh subject of Mother and Child"
“We are too apt to associate the term pastel with pansy-painting or with amateur plaque-decoration,
the hands of an artist"
would win the most hardened scepticover the And yet it must be a source of the greatest borderland of doubt into the realm of even satisfaction to any artist to know that, withthe most extreme phases of Impressionism. out the blare of publicity or the anchorage Miss Cassatt has a personal aversion to in- of entertaining anecdote, the work from his or terviews that has often been misinterpreted her hand has, in itself, won supreme recogby the uninvited critic who has chosen to nition for the artist. Almost less has been trespass on her privacy, either at her hotel in written of Miss Cassatt than of any of her Paris or at her villa in the country outside. distinguished contemporaries of any nation