"Make sure that the Count
keeps _his_ word before you break _yours_. Don't go and see _Manrico_
yourself--it _can_ do no good, and will only harrow you! If you
really _must_ go, don't take a quick poison first--or you'll die
in his dungeon, and spoil the whole thing!" Which is just what
_Leonora_--like the impulsive operatic heroine she is--proceeds to
do, and is cruelly misunderstood by _Manrico_, in consequence, besides
hastening his doom by disappointing the Count, whose irritation was
only natural, and pardonable, under the circumstances.
Don't quite see myself why the Count should be so horrified on
learning that the person he has just had executed was his long-lost
brother. It is not as if they had ever been friendly, or were at all
likely to become so, considering their previous relations. Depend
upon it, when he has time to think the matter over calmly, he will
recognise that things are better as they are, and that Fate has
solved his domestic difficulties in the only possible manner. A
Troubadour Brother, with a revengeful and quite unpresentable gipsy
foster-mother, would have proved very trying persons to live with.
* * * * *
"A CHIEL'S AMANG YE MAKING NOTES."--Sir ARTHUR SULLIVAN sat next to
Sir HENRY HAWKINS during part of the recent sensational trial at
the Ancient Bailey, making, of course not taking, notes.
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