few blossoms from her favourite flowers, and they make their exit.


TABLEAUX VIVANTS.

No. 4.

_A few days later--Same scene_.

Enter a lady, purely the Gaul in face and gesture, excited though
decided in manner; with her two Frenchmen, the one a priest, the other
a man of law. Following, and looking grief-stricken to the last
degree, comes the youth of last scene. Vaura follows pale and sad, her
uncle's arm around her; priest takes a ring from Vaura's finger; with
a sharp instrument cuts it in twain. Lawyer takes a paper, reads,
holds it in view of all, then tears into smallest fragments. Youth
grows fearfully excited, tries to snatch it. Lady says a few words to
him, her teeth set; he yields in despair. They all then kiss the Book,
evidently making oath.

The past is again veiled, and we love the actors too well to endeavour
to solve what they have apparently sworn shall not be revealed. The
following eight years of Vaura's life have been spent chiefly at
Paris, at the Seminaire of Madame Rocheforte, bringing us to 1877, the
intangible present, a mere cobweb dividing as it does our past, as it
silently recedes from our winged future.