THE MEETING.

The Lady (thinking).

{14}

The Maiden (thinking).

The Lady.

The Maiden.

The Lady.

{15}

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady (unheeding).

The Maiden.

{17}

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

{18}

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

{19}

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

{21}

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

{23}

The Maiden.

The Lady (aside).

The Maiden.

The Lady.

The Maiden (thinking).

The Lady.

The Maiden.

The Lady (thinking).

The Maiden.

The Lady (thinking).

The Maiden (thinking).

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

{30}

The Maiden.

The Lady (thinking).

Oh, faith most rare! (Speaks.) Had you no doubts?

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady (thinking).

The Maiden.

The Lady (thinking).

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

{34}

The Lady.

The Maiden (recovering).

The Lady (aside).

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

{44}

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

Train stops suddenly.—Enter Conductor.

Conductor.

The Maiden.

{46}

The Lady.

A Soldier.

The Others.

THE DRIVE.

The Lady (thinking).

{49}

The Maiden.

The Lady (aside).

The Maiden.

The Lady.

The Maiden (to the men).

One of the Men.

{51}

The Maiden.

The Lady.

{53}

The Maiden.

The Lady.

{54}

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

{56}

The Lady (thinking).

The Maiden.

The Lady.

{57}

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady (aside).

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden.

{60}

The Lady.

The Maiden.

The Lady.

The Maiden.

{61}

The Lady.

The Maiden (thinking).

The Lady (thinking).

THE FARM-HOUSE.

The Lady.

The Maiden.

The Lady.

The Maiden.

The Lady.

The Maiden (clasping her hands).

The Lady.

Woman of the House.

The Lady.

Woman of the House.

The Lady.

The Maiden.

{66}

The Lady.

The Maiden.

The Lady (above).

1864. WASHINGTON.

The Lady (with an open letter).

Servant (announcing).

The Lady.

Servant.

The Lady (speaks).

The Count (entering).

LAKE ERIE.

The Maiden (rising from her knees).

The Mother (entering).

THE END.

{93}

T W O W O M E N :

A POEM.

By CONSTANCE FENIMORE WOOLSON.

[REPRINTED FROM APPLETONS’ JOURNAL.]

From the Springfield Republican.

“Miss Constance Fenimore Woolson’s poem, ‘Two Women,’ begun in the January and finished in the February number of Appletons’ Journal, is of such remarkable quality as to deserve a wider reading than it is likely to have. To read it in completeness gives one, beyond its faults—which are principally those of imperfect versification and a certain formality of phraseology—a sense of power in character-drawing (coloring enough, too, for that matter), in dramatic situation and in expression of deep emotions, which is rarely met with. The contrast between the magnificent woman of the world and the Puritan country-girl is done in true masterly way, and that the one should continue faithful to love through her life, though still reigning in social royalty, while the other marries as piously as she mourned, and puts away the dead youth’s memory forever—is perfectly true to their natures. To present such marked types in rivalry, and show the self-abnegation in the rich nature and the innocent self-absorption of the narrow nature, was well worth while.

The poem would make quite a little book, and better merits such treatment than most verses that receive it.”

From the New York Evening Post.

“In the poem ‘Two Women,’ the first half of which appeared in the January number of Appletons’ Journal, and the last half of which has just now come to us in the February number of that magazine, there is something, we think, which takes the piece out of the category of ordinary magazine-work, and entitles it to special attention. The poem is long enough, for one thing, to fill a little volume, if it were printed as it is the custom to print books of poetry, and while it is rugged, faulty, and in many respects defective, it is nevertheless strong, dramatic, and full of the flavor of the soil. The two women who gave it its name are types of two well-defined classes of American women, but they are sharply drawn as individuals also, and their characters are presented with a boldness and a degree of distinctness which is possible only at the hands of a writer of very considerable dramatic power.”

From the Providence Journal.

“A story in verse, which enchains the attention with fascinating power, ... produces an intensely emotional effect upon the reader, and at the same time an involuntary tribute to the originality and noteworthy ability of the writer.”

From the Detroit Post.

“One of the most powerful pieces of magazine-writing we have seen in a long time.... Shows a far-reaching knowledge of human nature, a dramatic grasp and force, and a power of description and expression seldom seen.”

One Volume. Cloth. 12mo.

D. APPLETON & CO., Publishers.