文档介绍：THE AMAZING INTERLUDE
THE AMAZING
INTERLUDE
by Mary Roberts Rinehart
THE AMAZING INTERLUDE
CHAPTER I
The stage on which we play our little dramas of life and love has for
most of us but one setting. It is furnished out with approximately the same
things. e, move about and make their final exits through
long-familiar doors. And the back drop remains approximately the same
from beginning to end. Palace or hovel, forest or sea, it is the background
for the moving figures of the play.
So Sara Lee Kennedy had a back drop that had every appearance of
permanency. The great Scene Painter apparently intended that there should
be no change of set for her. Sara Lee herself certainly expected none.
But now and then amazing things are done on this great stage of ours:
lights go down; the back drop, which had given the illusion of solidity,
reveals itself transparent. A sort of fairyland transformation takes place.
Beyond the once solid wall strange figures move on - a new mise en scene,
with the old blotted out in darkness. The lady, whom we left knitting by
the fire, es a fairy - Sara Lee became a fairy, of a sort - and meets
the prince. Adventure, too; and love, of course. And then the lights go out,
and it is the same old back drop again, and the lady is back by the fire -
but with a memory.
This is the story of Sara Lee Kennedy's memory - and of something
more.
The early days of the great war saw Sara Lee playing her part in the
setting of a city in Pennsylvania. An ugly city, but a wealthy one. It is only
fair to Sara Lee to say that she shared in neither quality. She was far from
ugly, and very, very far from rich. She had started her part with a full stage,
to carry on the figure, but one by one they had gone away into the wings
and had e back. At een she was alone knitting by the fire,
with no idea whatever that the back drop was of , and that
beyond it, waiting for its moment, was the forest of adventure. A strange
forest, too -