the fame of the performances
spread abroad, contributions were made to the little stock, and the
girls became the proud possessors of a velvet robe, a plumed hat adorned
with silver, long yellow boots, and a quantity of mock pearls and tinsel
ornaments.

Such wealth determined them to write a play which should surpass all
former efforts, give Jo a chance to stalk haughtily upon the stage in
the magnificent boots, and Meg to appear in gorgeous train and diadem of
jewels.

"The Witch's Curse" was the result, and it was produced with astounding
effect, quite paralyzing the audience by its splendid gloom. Jo called
it the "lurid drama," and always considered it her masterpiece. But it
cost hours of thought and labor; for to construct a dungeon, a haunted
chamber, a cavern, and a lonely forest taxed to the uttermost the
ingenuity of the actors. To introduce into one short scene a bandit, two
cavaliers, a witch, and a fairy spirit--all enacted by two
people--required some skill, and lightning change of costume. To call
up the ghostly visions and mysterious voices which should appall the
guilty Count Rodolpho, was a task of no small difficulty. But inspired
by the desire to outshine themselves, the children accomplished a play
full of revenge, jealousy, murder, and sorcery, of all which indeed they
knew nothing but the name.

Hitherto their dramas had been of the most sentimental description,
given to the portrayal of woman's devotion, filial affection, heroism,
and self-sacrifice. Indeed, these "Comic Tragedies" with their highflown
romance and fantastic ideas of love and honor, are most characteristic
of the young girls whose lives were singularly free from the experiences
of many maidens of their age.

Of the world they knew nothing; lovers were ideal beings, clothed with
all the beauty of their innocent imaginations. Love was a blissful
dream; constancy, truth, courage, and virtue quite every-day affairs of
life. Their few novels furnished the romantic element; the favorite
fairy-tales gave them material for the supernatural; and their strong
dramatic taste enabled them to infuse both fire and pathos into their
absurd situations.

Jo revelled in catastrophe, and the darker scenes were her delight; but
she usually required Meg to "do the love-part," which she considered
quite beneath her pen. Thus their productions were a queer mixture of
sentiment and adventure, with entire disregard of such matters as
grammar, hist