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 away
to prison, with a sense that they have seen all there _is_ to be
seen, and a vague recollection that there is some fighting to be done
somewhere.

SCENE 2.--_Leonora_, and _Manrico_ are about to be married; everything
prepared--four apathetic bridesmaids, and the four acolytes in
tights--who have possibly been kindly lent by the Convent for the
occasion--in a vacuous row at the back of the scene. Fancy _Manrico_
has forgotten to give them the usual initial brooches, and they feel
the wedding is a poky affair, and take no interest in it. _Leonora_
herself is in low spirits--seems to miss the confidant, and to be
oppressed with a misgiving that the wedding is not destined to come
off. Misgivings on the stage are never thrown away--the wedding _is_
interrupted immediately by a crowd of men, in small sugar-loaf caps,