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. Characters come, 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

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