"Only forty-five," thought the girl. "What strange ideas these older people have! And Ben was twenty-six." Just what the doctor said afterwards she didn't hear, for she was thinking of the swift, wide arc of change through which her mind had swung from the time when Marshall Haney first came to Sibley—so grand of stride, so erect, so powerful. He, too, seemed young then; now he was old—old and feeble—a man to be advised, protected, humored. She dimly understood, too, that corresponding change had come to her; that she was far away from the girl who had stood behind the counter defending herself against the love-making of the bummers and drummers among her patrons—and yet she was the same, after all. "I've not changed as much as he has," was her conclusion. And she enjoyed the gayety and beauty of her companions, but she said little to express it.
The play that night appalled her by its fury of passion, its mockery of woman, its cynical disbelief in man. With startling abruptness and in most colloquial method it delineated the beginning of a young wife's wrong-doing, and when the lover caught the innocent, ensnared woman to his bosom a flaming sword seemed to have been plunged into Bertha's own breast. She quivered and flushed. And when the actress displayed the awakened conscience of the erring one, putting into words as well as into facial expression her feeling of guilt and remorse, the girl-wife in the box shrank and whitened, her big eyes fixed upon the sobbing, suffering character before her, defending herself against the dramatist as against an enemy. He was a liar! There was no wrong in Ben's kiss and no remorse in her own heart as she remembered the caress. "Even if he loves me, that doesn't make him horrible!"
The dramatist went remorselessly on. He showed the husband—old, coarse, brutal. He put him in sharpest relief in order that the woman should be tempted to her ruin, and in the end the lover—virile, handsome and unscrupulous—wins the tortured woman's soul—and they flee, leaving the usual note behind.
"What can you expect?" remarked the cynical friend of the injured husband. "Given a young and lovely wife like Rose and an old limping warrior like you, and an elopement follows as a matter of course, Q. E. D." And so the curtain fell.
Relentless realist in the first act, the dramatist in the second act began to hedge. He made the life of the erring woman conventionally miserable. Her lover beat her, neglected her, and finally deserted her. And in the last act she crawled back into her husband's home like a starved cat to die, while he, scarred old beast, cried out: "The wages of sin is death!" Whether the writer intended this scene to be ironical or not, the effect was to awaken a murmur of laughter among the ill-restrained of the auditors. But Bertha, hot with anger towards both author and players, could not join in Mrs. Brent's smiling comment: "Isn't that comical!"
The doctor coolly said: "A good conventional British ending. Why didn't he clap a pair of wings on the old reprobate and run him up on a wire, the way they used to do in translating little Eva in 'Uncle Tom's Cabin'?"
Afterwards Mrs. Brent proposed that they go to a German restaurant and have some beer and skittles; but this struck harshly on Bertha, who still palpitated with the passion of the play. "I reckon we'd better not. The Captain is pretty tired, and, if you don't mind, we'll quit now."
Without saying "I've had a lovely time," she shook hands all round, and, taking her husband's arm, moved off into the street, leaving her hostess a little uneasy and wholly perplexed. Mrs. Brent's joke about the Captain and his wife had, as the doctor expressed it, "queered the whole affair."
"But how did she know?"
"She's a good deal sharper than you gave her credit for being," he replied. "You Easterners never can learn to take diamonds in the rough."