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* Vide Betterton’s History of the Stage.

He was standing up. There was nothing particular or remarkable in his appearance, but the expression of his eyes could never be mistaken or forgotten. The heart of Stanton palpitated with violence,–a mist overspread his eye,–a nameless and deadly sickness, accompanied with a creeping sensation in every pore, from which cold drops were gushing, announced the. . . .

. . . . .

Before he had well recovered, a strain of music, soft, solemn, and delicious, breathed round him, audibly ascending from the ground, and increasing in sweetness and power till it seemed to fill the whole building. Under the sudden impulse of amazement and pleasure, he inquired of some around him from whence those exquisite sounds arose. But, by the manner in which he was answered, it was plain that those he addressed considered him insane; and, indeed, the remarkable change in his expression might well justify the suspicion. He then remembered that night in Spain, when the same sweet and mysterious sounds were heard only by the young bridegroom and bride, of whom the latter perished on that very night. “And am I then to be the next victim?” thought Stanton; “and are those celestial sounds, that seem to prepare us for heaven, only intended to announce the presence of an incarnate fiend, who mocks the devoted with ‘airs from heaven,’ while he prepares to surround them with ‘blasts from hell’?” It is very singular that at this moment, when his imagination had reached its highest pitch of elevation,–when the object he had pursued so long and fruitlessly, had in one moment become as it were tangible to the grasp both of mind and body,–when this spirit, with whom he had wrestled in darkness, was at last about to declare its name, that Stanton began to feel a kind of disappointment at the futility of his pursuits, like Bruce at discovering the source of the Nile, or Gibbon on concluding his History. The feeling which he had dwelt on so long, that he had actually converted it into a duty, was after all mere curiosity; but what passion is more insatiable, or more capable of giving a kind of romantic grandeur to all its wanderings and eccentricities? Curiosity is in one respect like love, it always compromises between the object and the feeling; and provided the latter possesses sufficient energy, no matter how contemptible the former may be. A child might have smiled at the agitation of Stanton, caused as it was by the accidental appearance of a stranger; but no man, in the full energy of his passions, was there, but must have trembled at the horrible agony of emotion with which he felt approaching, with sudden and irresistible velocity, the crisis of his destiny.

When the play was over, he stood for some moments in the deserted streets. It was a beautiful moonlight night, and he saw near him a figure, whose shadow, projected half across the street (there were no flagged ways then, chains and posts were the only defense of the foot passenger), appeared to him of gigantic magnitude. He had been so long accustomed to contend with these phantoms of the imagination, that he took a kind of stubborn delight in subduing them. He walked up to the object, and observing the shadow only was magnified, and the figure was the ordinary height of man, he approached it, and discovered the very object of his search,–the man whom he had seen for a moment in Valencia, and, after a search of four years, recognized at the theater.

. . . . .