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The right followed haltingly, sagging at hip and knee. And that brings us back to the reason for her being where she was. And what. The story of how Josie Fifer came to be mistress of the cast-off robes of the firm of Hahn & Lohman is one of those stage tragedies that never have a public performance.
It was necessary to guard the premises, and Lohman kept himself religiously secluded from public observation. On the twentieth of October, 1847, the abortionist was placed in the dock of the Court of General Sessions, before Recorder Scott and two aldermen. For the prosecution there appeared Ogden Hoffman, John McKeon and Jonas B. Phillips; for the defense, James T. Brady and David Graham, Jr.
Kuyper always speaks of a 'Left' and a 'Right' wing of his party, and as the Conservative 'Right' is largely composed of the members of the Dutch nobility, he once sneeringly called this fraction 'the men with the double names. Their proper title is 'Free Anti-Revolutionists, and their leader, Jhr. A.F. de Savornin Lohman, who in 1888, with Baron Ae. The third faction is headed by Dr.
Women authors who have written works with a special tendency are Cornelie Huygens, who is known particularly by her novel 'Barthold Maryan; Mrs. Goekoop de Jong, who champions the cause of women's rights; and Anna de Savornin Lohman, who, in a striking book entitled, 'Why question any longer? has written very bitterly against the political conditions of the circle of society in which she moves.
The critics had pounced on it with the savagery of their kind and hacked it, limb from limb, leaving its carcass to rot under the pitiless white glare of Broadway. The dress with the Russian sable bands went the way of all Hahn & Lohman tragedies. Josie Fifer received it, if not reverently, still appreciatively.
In the beginning he was a spindle-legged office boy in the upstairs suite of the firm of Hahn & Lohman, theatrical producers; the kind of office-boy who is addicted to shrill, clear whistling unless very firmly dealt with. No one in the outer office realized how faultless, how rhythmic were the arpeggios and cadences that issued from those expertly puckered lips.
The question is whether to reveal to you now where it was that Josie Fifer reigned thus, queen of the cast-offs; or to take you back to the days that led up to her being there the days when she was José Fyfer on the programme. Her domain was the storage warehouse of Hahn & Lohman, as you may have guessed.
And that was how Josie Fifer came to take charge of the great Hahn & Lohman storehouse. It was more than a storehouse. It was a museum. It housed the archives of the American stage. If Hahn & Lohman prided themselves on one thing more than on another, it was the lavish generosity with which they invested a play, from costumes to carpets. A period play was a period play when they presented it.
No gently sentimental reason caused Hahn & Lohman to house these hundreds of costumes, these tons of scenery, these forests of furniture. Neither had Josie Fifer been hired to walk wistfully among them like a spinster wandering in a dead rose garden. No, they were stored for a much thriftier reason. They were stored, if you must know, for possible future use.
Snapshots of author writing play at place on Hudson; pictures of the play in rehearsal; of the director directing it; of the stage hands rewriting it long before the opening night we know more about the piece than does the playwright himself, and are ten times less eager to see it. Josie Fifer's knowledge surpassed even this. For she was keeper of the ghosts of the firm of Hahn & Lohman.
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