invariably leaves it outside. Probably doesn't see why, with so many
competent musicians in the orchestra, he should take the trouble of
playing his own accompaniments. And why does the Curtain invariably
come down as soon as swords 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