The Mysteries of Modern LondonSims, George R. (George Robert)
History
The Mysteries of Modern London
Sims, George R. (George Robert)
Criminals -- England -- London; London (England) -- History
Here is a boy of fourteen--a sturdy little fellow. He steps up boldly
to the table. Where are his parents? He has none. His father and mother
were killed in the massacre of Kischineff. He has obtained enough money
of friends and sympathizers in Kischineff to make his way to England. He
has come alone from Kischineff to London, and he asks the committee to
help him. The boy's story is a pitiful one. The committee investigate
his case, and it is decided to send the lonely little voyager to the
Jewish Orphanage at Jerusalem.
*****
The quiet of the Christian Sabbath night has settled on London as we
make our way from the Jewish Shelter to the wide thoroughfare that leads
to the deserted and silent streets of the City.
But outside the Shelter in that grey back street a serried mass of
silent suffering still waits dumbly, patiently, for the dawn of a new
life.
Far away in the Pales of Settlement women and children are wondering and
weeping--wondering if the husband, the father, is alive or dead, if he
has reached the City of Refuge or been captured as he fled--if he has
died by the way, or been shot down by the soldiers of the Tsar.
They will hear in time. Letters and cards are on the way to them bearing
the London post-mark and the unfamiliar stamp with the head of King
Edward VII of England upon it.
CHAPTER VII--BEHIND THE SCENES
_The tragedy of the smiling face--Starving at their work--From manager
to super--A fallen star--A terrible life drama--The brighter side of the
profession._
|Fortune has smiled upon the happy favourites of the footlights. Never
was the glamour of the stage more powerful than it is to-day; never were
young men and young women more eager to revel in the limelight and leave
the dull duties of everyday life for the gay Bohemianism of the boards.
The world, that judges only by what it sees, looks upon the life of the
fortunate few as typical of the theatrical life generally. Of the hidden
mysteries of the player-folk's pilgrimage it knows nothing. It hears of
the magnificent salaries of the stars, it sees the portraits of pretty
actresses week after week in the illustrated papers, it is led to
believe that every girl who joins the chorus of certain theatres has the
chance of marrying a millionaire, and it understands that the members of
touring companies go gaily about the world on a picnic arrangement and
have all their expenses paid.
It is not upon the parade-ground that one learns what the life of a
soldier means; it is upon the battlefield. We see our actors and our
actresses and the merry entertainers of the variety halls and palaces on
the parade-ground. Very few of us see them upon the battlefield, in the
time of storm and stress, when the issue of the struggle is one of life
and death.
The hidden mysteries of the stage it is not permitted to the outside
world to penetrate.
Public-domain text, read in full here on John Shaqi.
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