Today's Stichomancy for Rebecca Gayheart

might be ten floors below ground, or thirty above it. He moved himself mentally from place to place, and tried to determine by the feeling of his body whether he was perched high in the air or buried deep underground.

There was a sound of marching boots outside. The steel door opened with a clang. A young officer, a trim black-uniformed figure who seemed to glitter all over with polished leather, and whose pale, straight-featured face was like a wax mask, stepped smartly through the doorway. He motioned to the guards outside to bring in the prisoner they were leading. The poet Ampleforth shambled into the cell. The door clanged shut again.

Ampleforth made one or two uncertain movements from side to side, as though having some idea that there was another door to go out of, and then

1984

already in Paris. He intends to quit it in a few Days, and to begin his route to Italy. He writes in a most chearfull manner, says that the air of France has greatly recovered both his Health and Spirits; that he has now entirely ceased to think of Louisa with any degree either of Pity or Affection, that he even feels himself obliged to her for her Elopement, as he thinks it very good fun to be single again. By this, you may perceive that he has entirely regained that chearful Gaiety, and sprightly Wit, for which he was once so remarkable. When he first became acquainted with Louisa which was little more than three years ago, he was one of the most lively, the most agreable young Men

Love and Friendship

So you recommend him to be nice with her, you know. The suggestion will come best from you."

"Do I understand," asked the old man, "that I am to suggest to my son to make a--a profession of--of affection to Madame Munster?"

"Yes, yes--a profession!" cried Felix sympathetically.

"But, as I understand it, Madame Munster is a married woman."

"Ah," said Felix, smiling, "of course she can't marry him. But she will do what she can."

Mr. Wentworth sat for some time with his eyes on the floor; at last he got up. "I don't think," he said, "that I can undertake to recommend my son any such course." And without

good and evil. This antagonism offered a splendid opportunity to the composer. The sweetest melodies, in juxtaposition with harsh and crude strains, was the natural outcome of the form of the story; but in the German composer's score the demons sing better than the saints. The heavenly airs belie their origin, and when the composer abandons the infernal motives he returns to them as soon as possible, fatigued with the effort of keeping aloof from them. Melody, the golden thread that ought never to be lost throughout so vast a plan, often vanishes from Meyerbeer's work. Feeling counts for nothing, the heart has no part in it. Hence we never come upon those happy inventions, those artless scenes, which captivate all our sympathies and leave a blissful

Gambara