Up ran the youths, eager to secure good places: in they crowded, full of
interest and talk. "What's the case?" "Which side is it?"

Don't think them heartless; they are neither better nor worse than you
or I; they get over their professional horrors, and into their proper
work; and in them pity, as an EMOTION, ending in itself or at best in
tears and a long-drawn breath, lessens,--while pity, as a MOTIVE, is
quickened, and gains power and purpose. It is well for poor human nature
that it is so.

The operating theatre is crowded; much talk and fun, and all the
cordiality and stir of youth. The surgeon with his staff of assistants
is there. In comes Ailie: one look at her quiets and abates the eager
students. That beautiful old woman is too much for them; they sit down,
and are dumb, and gaze at her. These rough boys feel the power of her
presence. She walks in quickly, but without haste; dressed in her mutch,
her neckerchief, her white dimity short-gown, her black bombazine
petticoat, showing her white worsted stockings and her carpet shoes.
Behind her was James with Rab. James sat down in the distance, and took
that huge and noble head between his knees. Rab looked perplexed and
dangerous; forever cocking his ear and dropping it as fast.

Ailie stepped up on a seat, and laid herself on the table, as her friend
the surgeon told her; arranged herself, gave a rapid look at James, shut
her eyes, rested herself on me, and took my hand. The operation was at
once begun; it was necessarily slow; and chloroform--one of God's best
gifts to his suffering children--was then unknown. The surgeon did his
work. The pale face showed its pain, but was still and silent. Rab's
soul was working within him; he saw that something strange was going
on,--blood flowing from his mistress, and she suffering; his ragged ear