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[29] uncles, were strong influences in the life of Julia Ward.

The amusements of the little Wards were few, compared with those of children of to-day. As a child of seven, Julia was taken twice to the opera, and heard Malibran, then Signorina Garcia, a pleasure the memory of which remained with her through life. About this time Mr. Ward's views of religious duty deepened in stringency and in gloom. There was no more opera, nor did Julia ever attend a theatre until she was a grown woman. In Low Church circles at that time, the drama was considered distinctly of the devil. The burning of the first Bowery Theatre and of the great theatre at Richmond, Virginia, were spoken of as “judgments.” Many an Evangelical pastor “improved” the occasions from the pulpit.

The child inherited a strong dramatic sense from the Marion Cutlers. She had barely learned to read when she found in an “Annual” a tale called “The Iroquois bride,” which she dramatized and presented to the nursery audience, with herself for the bride, her brother Marion for the lover, and a stool for the rock they ascended to stab each other. The performance was not approved by Authority, and the book was promptly taken away.

Her first written drama was composed at the age of nine, but even the name of it is lost.

Mr. Ward did not encourage intimacies with other children. He felt strongly that brothers and sisters were the true, and should be the only, intimates for one another; indeed, the six children were enough to make

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