THE BRIDGE OF SAN LUIS REY
Moreto’s Trampa Adelante; perhaps some material could be derived from the visit for her daughter’s next letter. She took with her Pepita, a little girl about whom later we shall learn much. Doña María had borrowed her from the orphanage connected with the Convent of Santa María Rosa de las Rosas to be her companion. The Marquesa sat in her box gazing with flagging attention at the brilliant stage. Between the acts it was the Perichole’s custom to lay aside the courtly rôle and appear before the curtain to sing a few topical songs. The malicious actress had seen the Marquesa arrive and presently began improvising couplets alluding to her appearance, her avarice, her drunkenness, and even to her daughter’s flight from her. The attention of the house was subtly directed to the old woman and a rising murmur of contempt accompanied the laughter of the audience. But the Marquesa, deeply moved by the first two acts of the comedy, scarcely saw the singer and sat staring before her, thinking about
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