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Life, 1917-01-25 · page 39 of 40

Life — January 25, 1917 — page 39: what you’re looking at

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Life — January 25, 1917 — page 39: Life, 1917-01-25

What you’re looking at

This page contains a satirical story about marriage and financial choices. A couple at a crossroads must choose between two paths: one toward the "Prison of Debt" (lined with department stores) or toward the "Castle of Riches." The woman chooses the debt path, drawn by bargains, ignoring the man's warnings about financial ruin. The satire critiques consumer culture and women's spending habits—a common early 20th-century stereotype. After reaching the Prison of Debt, the couple discovers they're trapped: the woman becomes "more a slave" than before. The story's cynical ending suggests that no matter which path is chosen, marriage and financial obligation lead to unhappiness. The accompanying Ampico piano advertisement showcases a luxury product, somewhat ironically placed beside this cautionary tale about consumerism and debt.

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Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

nN And the Woman Said: “Come HEY had lingered for a while at Courtship Corners, had paused for a few minutes at Hymen Junction, had passed down Honeymoon Lane, and were now on their way through the tansled forest, tramping stolidly along the un- even Road of Matrimony. He carried his pack, and she carried hers. At last they came to where the roads parted, one leading to the right, and one i er to the left. | gather sand ‘critics, They listened with Said the man: “ This road to the left i for tone, tempo for tempo, sha leads to the Prison of Debt. It is lined it) m ‘a moment before, with department stores. The other road 5 artist nu leads to the Castle of Riches. Which will you choose? The woman saw the great buildings, and said: “Let's go to the left. There are some Pare bin Us wonderful bargains there.” ' che } a Votes “But do you look up beyond? In that | = San first rank, have been quite ready to recognize. grim prison are people behind the bars, AMP | (6 O | ae Ba must be J gazing hopelessly out into the far land ‘ A remadhable' feature of the Ampico will cost of freedom.” Reproducing Pia the sitnple d money “But the road is so pleasant. Besides, ¢ : Sete piano,” playing any standard roll, to which you may st fill in we may never reach the place of which | } impart your own interpretation. And the toae and touch . bill will you speak.” j - the pane oat are unimpaired for hand playirg. They chose the road to the left, the man shouldering his pack and protesting They passed through Creditville, through Charge It Centre, through Auto Hollow and through Extension Circle. At last j illustrated Sige lot ‘on request. they reached the Prison of Debt. “ne 55 ; Then the man said: “I told you so.” That is what the man always says. The woman was more cheerful. She ae FIFTH AVENUE NEW YORK CITY ater “You should have refused to let me they emerged into the light, and took up come this way. However. it is not so their abode in the Castle of Riches bad. We have each other. That is One day they met. everything. I've been inquiring of the And the woman said: “You see, 1 per, and he says we can obtal was right after a am more a slay fee. comerable, icapenive. “Ie keeper, and he we can obtain our was right after all. I am more a slave ued by anyone, young or old, freedom if we retrace our steps and go here than I was behind bars. And so it “The” Morley PRone for the back to the parting.” interest you to know that I am go- DEAF They went back back to the Prison of Debt—with into the ears what qlases ase to Now we'll take the other road,” said another man. the man, cheerfully, “which we would He smiled have taken if—" “TL like it fairly well here,” he said, It was a hard road. Their eyes were “but there is another girl who bas been ch rebel, Over ane orig MORLEY PHONE blinded, their faces and hands scratched, talking to me just as you did, and— THE MORLEY CO., Dept. 770, Perry Bldg.. Phila. and they were so lonely. But suddenly I may see you later!” EY, PRINTER comicbooks.com