rds are drawn? Tantalising to have all the
duels and fighting done during the _entr'actes._

[Illustration: Manrico, a rather full-blown "Ghost in Hamlet."]

ACT II. SCENE 1.--_Azucena_ insists on telling _Manrico_ a long and
rather improbable story of how, in a fit of absorption, she once burnt
her own son in mistake for the _Conte di Luna's, Manrico_ listens, as
a matter of filial duty--because, after all, she is his mother--but
he is clearly of opinion that these painful family reminiscences are
far better forgotten. Perhaps he suspects that her anguish may be
due to a severe fit of indigestion--the symptoms of which are almost
indistinguishable from those of operatic remorse. At all events, he
does not find his parent a cheerful companion, and, as soon as he
finds a decent excuse for escape, takes it.

SCENE 2.--The Cloisters of a Convent. _Enter_ the _Conte di Luna_,
with followers, to abduct _Leonora_. The followers range themselves
against a wall in the background, until the Count has finished
"_Il Balen_." If their opinion was asked, they would probably be
in favour of his making rather less noise about it, if he really
means business--but of course it is not _their_ place to interfere.
_Leonora_ enters to take the veil, with procession of nuns, preceded
by four female acolytes--or are they pages?--in white tights, carrying
tapers. The Count and his followers are evidently a little taken
aback--an abduction not quite so simple an affair as they expected.
While they are working themselves up to it, _Manrico_ appears, as the
stage-direction says, "like a phantom." In a helmet, with a horsehair
tail, and a large white cloak, he does look extremely like the
_Ghost_ in _Hamlet_, and which is, perhaps, why the Count, under the
impression that he is an apparition from some other Opera, allows him
to Walk off with _Leonora_ under his very nose. Swords are drawn--with
the usual result of bringing down the Curtain.

[Illustration: "Azucena," or, "My pretty Chain!"]

ACT III. SCENE 1.--Soldiers discovered carousing, as wildly as is
possible on four gilded cruets, and a dozen goblets. _Azucena_
is brought before the Count, and manacled. Operatic handcuffs--a
most humane contrivance--with long links, to permit of the freest
facilities for entreaty and imprecation. Soldiers, who have been
called to arms, but stayed, from a natural curiosity to hear what the
_Conte di Luna_ had to say to the Gipsy, go off, as she is led a