It was almost too realistic, and yet it had a horrible fascination for Felicia as she sat there alone, buried back in a cushioned seat and absorbed in thoughts that went far beyond the dialogue on the stage.
From the tenement scene the play shifted to the interior of a nobleman's 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.

It was brought about by a clever piece of staging that allowed only a few moments to elapse between the slum and the palace scene.

The dialogue went on, the actors came and went in their various roles, but upon Felicia the play made but one distinct impression.

In realty the scenes on the bridge and in the slums were only incidents in the story of the play, but Felicia found herself living those scenes over and over.

She had never philosophized about the causes of human misery, she was not old enough she had not the temperament that philosophizes.