text: ) Full of her influence and not knowing there is such a place as Bedlam in the world he starts upon his legs makes two or three rapid strides up and down the room like a lion taking exercise or a lord of council and session in Scotland preparing to pronounce sentence and means to be delivered (mercy on us!) exactly opposite our chair! All are attentive to the godlike man; you might hear a pin drop: the subject is announced once and again in a very audible voice; the touch-paper is ignited the magazine will blow up presently! Incontinently we are rapt off to _Pere la Chaise_ where the great composer lies buried and a form of communication is made to us on this suitable spot that Bellini is _dead_; then comes in episode a catalogue of all the operas he ever wrote with allusions to each and not a little vapouring and pathos while a host of heroes and heroines we never before heard of is let loose upon us; presently a marked pause and some by-play makes it evident that he sees something and cannot see what the thing is; he shortly however imparts to us in confidence though in a very low tone for fear of disturbing it--he sees he assures us a female form stealing to the young man's tomb--the form of a widowed lady--who is she? _e la sua madre!_ This was startling no doubt; though we or many of us were like the cat in Florian to whom the monkey was showing a magic lantern _without a light_ and describing what she ought to have seen