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When the mother of little Clara died, one year before, they did not tell her the sad truth. Clara had very poor eyes and the best physicians did not know how to help her. The father was a celebrated lawyer and just about the time when the most acute pain was about over, he happened to have a suit for a beautiful young actress, who had gotten into difficulties with her manager. He won the suit, and the actress who was a very pretty girl, made quite an impression on Mr. Mason, so strong an impression that before Miss Leslie came to pay him her first visit, the young lawyer could not help but hide in his bookcase the picture of little Clara's mother. Mason and Miss Leslie met again and soon were genuinely in love although neither spoke a word of it to the other. But when little Clara had been operated upon successfully, the crisis came. Bending over the dear child, their hands met and they promised to be - But more sorrow was ahead. When Clara was told one day that this lady was to become her new mamma, she turned to the wall where the picture of her dead mother formerly hung and cried hysterically. "My mamma. . . . Where is my mamma? I want my mamma." Mason had to give back to his little girl the hidden picture and he tried in vain to persuade Miss Leslie that "this childish caprice would pass away." It did not pass. Clara cried and cried as if her heart would break. The great specialist was called and he left a note, saying that if the cause of the tears is not stopped at once, total blindness will be the result. Miss Leslie, who had just called, finds this note and at once decides upon her sacrifice. She leaves Mason and he allows her to go. It is terribly hard for them both, but it must be.

It cannot be called a powerful conception

A lawyer marries an actress a year after the death of his first wife. His daughter grieves so constantly because her mother&#39;s picture is removed from the wall that she is threatened with blindness. Nothing cures her grief till the picture is restored to its place. The clear photography and good acting do everything possible to make this pathetic subject matter convincing, but it cannot be called a powerful conception. - The Moving Picture World, February 15, 1913

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For His Child's Sake

It cannot be called a powerful conception

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