Blackwood's Edinburgh Magazine, Vol. 71, No. 438, April 1852

These are our wise saws; now for our modern instances. The night is cold. We have been busy all day, no matter in what occupation, even if it were writing a few pages in Maga; our chop is done; our lodging looks "lone and eerie;" of books for the moment we are tired; besides, our eyes require repose – our spirits need refreshment – the sight of human faces will be a charm – the sound of human voices will teach us to answer, as of old, to the "still, sad music of humanity;" we will wend our way to a theatre, and take an interest in the fates and fortunes, the loves and sufferings, of some lovely imaginary beings – and forget our bills, our labours, our disappointments, in following the strange eventful history that shall be unrolled before us, without any effort of our own. Muffling ourselves in our paletôt, and well enwrapt in a belcher fogle, we pursue our way through the still crowded streets, illuminated by the gorgeous windows, and find ourselves in the Haymarket. We are in ample time, and find the house only now beginning to fill. Let us look at the irreligious and disreputable pagans who occupy the boxes. Did you ever commit a murder, you old ruffian with the benevolent countenance so tenderly taking charge of those three blooming grandchildren of yours? You are a frightful hypocrite, sir, to look so calm and happy when you know very well that you come very often into this hotbed of iniquity, where you have constantly been taught to poison your oldest port in order to hocus and rob your friends. And as to you, you Messalina Manning! in the black satin, do you think all your graceful manners and pleasant smiles will conceal your real character from the Jeremiah Tawells and Doctor Dodds, who saw you bring your own nieces in your own quiet family coach into this high-school of Satan, where they will be most powerfully advised to deceive any husband they may catch, and elope with a captain in the Blues? The pit also is now nearly full. How we shudder to think of the forgers, swindlers, housebreakers, horse-stealers, drunkards, and smugglers, who are all looking so intolerably respectable, many of them accompanied by dowdy comfortable-looking companions, who pass themselves off for their wives, but all assembled here for the express purpose of taking lessons in depravity! Our eye is upon you – you there on the sixth bench from the orchestra! You are a farmer, sir, fresh from Essex; and having achieved an unenviable notoriety in Colchester, by perjury and highway robbery, you come up to perfect your education by listening to the shameful instruction communicated to you by an atrocious play. Yes, pig-stealer, our eye is upon you, and we give you up already, in spite of your expanse of greatcoat, and your shiny top-boots, your joyous face, and rubicund complexion, as a rascal fit only for transportation or the gallows. Mr Rush was once seen at a play! See, there is a quiver of expectation in the house – the curtain rapidly rises, and the play of "Woman's Heart" is begun. We are in a sculptor's studio; statues are placed all round the room; on a table is a block of marble just beginning to feel the breath of genius and flush into life; and on a sofa reclining in a graceful drapery, and watched by the intense eyes of the enraptured artist, we see a tall poetic-looking girl, with fine light hair parted on her majestic forehead, and an expression on her countenance as if she listened with her heart as well as with her ears. That is Isolina, a foster-sister of Angiolo the artist; his model, his all in all, his bride. Their language is charming, from its purity and affection; her voice is soft and low, an excellent thing in woman – but her motions have a strange constraint. She puts out her arms uncertainly; she stretches forth her feet searchingly; and with a full winning trustingness, places her hand on Angiolo's shoulder – for she is blind. But all other senses are sharpened to a painful degree. She feels his coldness in a single tone of his voice; detects the waning of the sympathy that once existed between them in the slightest motion of his form, and inquires with those sightless eyes, and scarcely in articulate words, what can be the reason of the change? He offers her the affection of a brother – the carefulness of a guardian; and she feels that she is deserted. Ambition has entered his heart. Princes invite him to their tables; the sovereign himself is honoured in the friendship of the artist and man of genius, who will bestow an immortality on his reign. There is no room for love in a heart so occupied, and he casts her off; not angrily, not even unkindly, but selfishly, and at the instigation of his pride. She throws herself for consolation on the kindness of the old peasant, the father of Angiolo, and the protector of her infancy; she utters no word against the deserter, but, as is the nature of woman's heart, loves him still. One interview she resolves to have, and finds her way to the magnificent palace in which the sculptor now pursues his art; fatigued with her walk, and overcome by her emotions, she lies down upon the sofa concealed in her cloak, and falls asleep. Angiolo comes in; his great friends visit him – a noble – a prince – and finally the duke. The beautiful girl is discovered, and makes an impression on the sovereign; but Angiolo is unyielding – a struggle there evidently is; but the world comes between him and the tenderness of his affection, and the blind girl finds that she is hopelessly forsaken. Two years have passed; her father, the Marquis of Albrizzi, has recognised her, taken her from the hands of the peasant, educated her, refined her, and by the touch of science removed the cloud from her sight, and she is now the noblest heiress in the land, and her hand is petitioned for by the duke. She rejects his suit, but agrees, at her father's request, to sit for her portrait to the most celebrated artist of his time. She has never seen Angiolo; the Marquis has made it imperative on the painter not to speak; for he dreads the effect of the recognition on his child, and in dumb show a very pretty scene takes place. But envy has been at work against the painter: a seditious picture, imitating his style, and even containing his forged initials on the canvass, has been exhibited in the market-place; a warrant has been issued for his arrest, and in the very midst of Isolina's vague anticipations and involuntary expectations – mysterious intimations, conveyed to her by magnetic sympathies, that her lover is before her – all doubts are converted into certainty, when the emissaries of the police rush into the room, attaint him of treason, and extract from him the indignant exclamation of his innocence. The voice has done it all! That sound has brought back all the past. Angiolo is hurried off to prison; but the purpose of Isolina is fixed. She follows him to his dungeon – obtains his pardon from the duke, who magnanimously foregoes his pretensions to her hand, brings better thoughts to Angiolo, whose infatuation was only momentary, and who had dearly paid, by two years of misery, for the heartlessness of his ambition; and even the proud Marquis is reconciled to the nuptials by the pleadings of his daughter, and the fame and genius of her lover.

Such is the feeble outline of the story. The language sometimes rises into exquisite poetry – is at all times smooth and graceful – and conveys a lesson, we think, that must "mend the manners and improve the heart." The authoress is the performer of the part of the heroine; and a charming performer of it she is. Never was anything more pure and classic than her appearance in the earlier scenes. The same feminine softness continues through the play, but elevated by occasional force and dignity when she "shapes her heart with woman's meekness to all duties of her rank." We will be bound to say, that not one thought unfit for cloistered nun or vestal pale was awakened throughout that play. The audience took a touch of decorum from the subdued and melting tenderness of the story; and even the oranges, soda-water, and ginger-beer, were announced to a thirsty and pleased audience in quieter tones than usual. The painter-sculptor was represented by Mr Barry Sullivan, a gentleman with a most Milesian name, but an unimpeachable English pronunciation. In this character there was no room for the display of tempestuous passion or energetic declamation; the flow of his words, as of his actions, was calm and equable; and if it had not been for the pleasantness of his look, and the gentlemanly propriety of his movements, it would have been impossible for him to regain the sympathies of the audience, after his cold rejection of the blind girl's affection. We confess we have not forgiven him for it yet; and if Isolina had been a sister of ours, nothing should have prevented our having a shot at him at twelve paces. Several of the other characters were executed in a very remarkable manner; and by the word "executed" here, we mean that they were fairly put to death. Some men have blank impassive features – mouths and eyes that have no expression at all; but compensate for it by the possession of legs of the most marked individuality, which there is no possibility of mistaking for anybody else's legs; regular, round, unfeatured sausages, which entirely destroy the assumption of any part by the unfortunate being who is perched upon them; but in this unchanging, stiff, unimaginative stolidity always reduce the Italian prince or Roman senator, or Grecian hero, to be nothing more nor less than plain Jack Vickers, or whatever his name may be, with his unimpulsive, unintellectual pins. A sad misfortune this; and the misery is aggravated by the apparent obtuseness of the owner of them, to the obvious bar they interpose between him and success in his profession. Can't those miserable individuals stuff the sawdust into different shapes, so as not to torment us for ever with Jack Vickers's legs? Come, let us off to the Adelaide gallery, and take a look at the Marionettes.

A pretty place this. A long narrow room, with a slight elevation from the stage, filled with comfortable seats, and closed in at the upper end with a few private boxes. A snug warm habitable apartment; and the stage so small, so low, so narrow, that any of the magnates of Baker Street could find room for it at the end of their drawing-rooms. It doesn't seem more than about nine feet wide, and the proscenium not more than eight feet high. But the proportions throughout are excellently kept; and when the manager walks in, drest in the first style of fashion, and makes a bow to the audience, it is difficult to believe he is about a foot and a half in height; and not very easy to remember that he is merely a stuffed doll. There are some peculiarities, to be sure, about him, which lead you to perceive that he differs from other men. For instance, he comes in rolling sideways, and planting his feet upon the floor in a manner not usual among gentlemen of the present day; nor have we observed that he is imitated by this generation in having his motions steadied by a rope of considerable size attached to the top of his head. But he begins: his attitudes are very good; he suits the action to the word with unfailing correctness, and passes judgment on the different actors, who display their skill before him, with a force and acumen which we look for in vain in the Edinburgh Review. Signor Bari Tone is a singer of extraordinary power, and has a perception of the humorous yet unattained by Lablache. He expresses his sentiments on the legitimate drama with an uncompromising truthfulness, which gains our respect even when we differ from him in opinion; and, for our own parts, we consider that his annotations and emendations of the Swan of Avon are worthy of the earliest attention of Mr Charles Knight. A tremendous drama succeeds these introductory flourishes, and the actors exert themselves to the utmost in the Bottle Imp. They enter, we are bound to say, more into the spirit of the author than is usually the case at larger theatres among larger performers. Here there is no underling bending his listless eyes towards the pit in the midst of the very agony of the action, nor any apathetic murderer standing utterly unconcerned when on the eve of executing the fatal deed. Here all is in excellent keeping. The dull dead eyes of the puppets are all turned to the proper part of the stage; their stiff arms are raised in horror, or extended in surprise, at the fitting moment; and, with the exception of four, or perhaps five, of the principal actors in the real stage, we consider that there is less appearance of sawdust and wool in the dramatis personæ at this theatre than at – or – . Here, in this chosen temple of originality and genius, there is nothing to tempt the principal tragedian into tricks of voice or style: the wooden attitude and timber tones are here natural property of the intelligent puppet; no sudden contractions of the countenance convulse the features into an ideal ugliness, such as Fuseli might have envied after his supper of raw pork; no sudden exclamations distend these leather-covered bosoms, like alarms of fire and battle, to subside as suddenly into low whispers or inarticulate groans, like the last agonies of an expiring trombone. No, charming, natural, and truly business-like Marionettes! if one thrill of gratified ambition pervades your hearts at the perusal of these lines, our purpose will have been fully obtained. We pronounce you in your tout-ensemble the most perfect corps of artistes in London; and though we are bound to confess that your performance is tiresome after the first ten minutes, that after the first display of your mechanism you become positively a nuisance, from your imitating humanity so abominably, justice compels us to pass the same judgment on the great majority of your living brethren, larger than you – as merely mechanical, and not a whit more intelligent.

For, after all, what is the use of our Commissionership if we do not speak the truth? We say, then, that in few theatres of London can a fair representation be presented to the public of any dramatic work whatever, which contains more than one principal part; there is scarcely one theatre, in short, where a play can be acted. Let us not blame the unfortunate modern author, therefore, if he accommodates himself to circumstances, and produces a drama with one strongly developed character surrounded by nonentities. It is the sad necessity of his condition, entailed on him by the fact that there exists no power on any one stage of doing justice to more than one part. Mr Phelps, to whom every one interested in the British stage owes a deep debt of gratitude, may illuminate the suburban shades of Islington with flashes of power or pathos, with Hamlet or Othello – such as awakened the rapture or evoked the tears of the thousands of Drury Lane – but how is he supported? The Marionettes would be more natural, the Bateman monstrosities more richly endowed with the human voice divine! And the same holds good in almost every other theatre, unless that in some of them even the one redeeming actor is wanting. But are we less prepared to defend the stage for this? nay, are we less hopeful of its eventful restoration? By no means. The very darkness that has settled upon it at present, foretells the near approach of dawn. It will be found that the free trade in theatres, which was to fill our land with the highest works of art and noblest specimens of acting – which has scattered in a thousand small streams, too shallow to be fertilising, too slow to be sanitary, the majestic river which (contained within its just banks) was deep enough to bear the merchandise of Shakspeare and the war-galleys of the ancient dramatists – it will be found, we repeat, that Dramatic Free Trade has been a failure, and that we must go back to the grand old days of Protection, when native talent was supported by applauding millions in the companies of the larger houses; when the Keans and Kembles were not surrounded by shades and phantoms, but by the largest "thews of men;" when Young, Macready, Kemble, Elliston, Dowton, Liston, and Munden, trod the same boards; where Mrs Jordan's merry laugh had scarcely ceased to vibrate in our ears, till our eyes and hearts began to pay tribute to O'Neil.

That theatres as places of amusement should die out we hold to be impossible. What is, therefore, to be done, is to fit them for the high uses to which they may be applied, by obtaining for them the support of a class of people, whose mere presence would be at once a cause and a guarantee of the improvement both of plays and actors. One noble personage, whom it is every Englishman's privilege to "love, honour, and obey," sets a good example in this behalf. In the halls of Windsor, Shakspeare's voice is heard; surrounded by knights and nobles, by dames and demoiselles, she disdains not to shudder at the villanies of King John, or melt at the relentings of Hubert; to glow with patriotic pride at the denunciation of the Italian priest, or to refresh herself, after the excitement of "Macbeth," with the sparkling wit and genial humour of some of our modern dramatists. Who are the audience there? Her sage cousins and counsellors, her statesmen, warriors, nobles, matrons as spotless as Cornelia, maidens with their blue veins filled with the blood of Saxon Thanes and Norman conquerors: nor are there lacking the representatives of law and learning; the masters of the noble seminary beyond the walls, the dignitaries of the most tolerant, the most pure, the most intellectual Church that ever was set up as a guide and teacher among men: and what is the result? Is there any shock given to the most sensitive feeling by word or act? Are the young scions of the house, the future hopes of England and the world, contaminated by what they see or hear? Not at all. They hear

"The quality of mercy is not strained,But droppeth like the gentle dew from heaven."

They hear

"The power I have upon you is to pardon."

And who can tell what may be at some future time the result on the happiness of one hundred millions of subjects, of sentiments like these implanted in so pure a soil? The actor's province is not far distant from the preacher's. A happy time, if it should ever arrive, when this unity of purpose will be acknowledged by both, when the "reverend gentleman" will think it no part of his calling to rail upon the stage; and the actor will not find a strong inclination to retort by accusations of Mawworm and Tartuffe. But an objection is made in many quarters more to the theatre than to what is represented there. A play in a drawing-room is very different from a play at the Haymarket. One is all correct and proper; the other wicked and intolerable. This objection must therefore arise either from the different characters of the performers or of the audience. An officer of the Guards, who is great at theatricals, is an edifying sight in the part of Joseph Surface in the hall of a great country house in the Christmas week; and the same part is revolting and dangerous in the hands of poor Bob Finings on the regular stage. And yet the Honourable Captain Muff has been before the Consistory Court, has also made a brilliant appearance in Basinghall Street, has shot his kindest friend at Chalkfarm, and is an authority in the betting-ring second only to Mr Davis. Bob Finings is a steady, dull, respectable man, who has seen hard times, and struggled manfully against them; has brought up his children to honest callings, and totters through the part with the most helpless and reassuring imbecility. Is there danger there? But if the cases were reversed, and poor Bob Finings were the roué, and the honourable captain the respected pater-familias, why should that interfere with our appreciation of their dramatic skill? Surely most inoffensive would the wildest of Bob's transgressions be to the morals or feelings of the spectators in the boxes, pit, or gallery, who were never brought into contact with him in any other character than that of Joseph Surface, and neither sup with him after the play, nor waltz with him after the supper, as might possibly be the case with the gallant Lothario Muff. Then it must be the miscellaneousness of the company assembled in a theatre. Less select, certainly, than in the county gathering to the private play; but surely quite as safe. Is there a magnetic sympathy with vice that makes one or two sinners, locked up, we will suppose, in a private box, the electro-biologists of the whole assembly? Insolent faces will occasionally be turned to where we sit, hair-covered faces, and eyes that are uncomfortable to look upon; foreign-looking men dressed in the extremest fashion of Paris or Vienna, but whether British imitation or the real article is quite immaterial; – to this vulgar and audacious stare we shall certainly be exposed. But not more than in the street, or in the park, or in the Crystal Palace, or occasionally in a Belgravian chapel of ease to Rome, where we have observed the rosaried nun by no means inconvenienced by the unmistakable glances of those whiskered pandours. But let us, for the satisfaction of all squeamish spinsters, and for the honour of the Haymarket lessee, announce a small fact which we think redounds greatly to his honour. Brazen-faced men in elegant apparel, it is, of course, impossible to exclude, but the moment the royal patronage was extended to the theatre, most rigid orders were given to the door-keepers and attendant police to exclude every brazen-faced personage of the other sex, however elegant might be her apparel. This holds good, not only on the evenings on which royalty condescends to share the gay or sad feelings of loyalty, but on all nights and on all occasions. This is a sacrifice to propriety and decorum, which persons acquainted with the interior workings of a theatre have stated to us to amount to several thousands a-year. Independent of the five-shilling payments made every night by forty or fifty of the Jezebels who used to flaunt in the upper circle, it is a moderate calculation to assume that the attraction of their presence allured to the theatre at least double that number of Tittlebats, and the other pillars of Mr Tagrag's establishment; and if any person with a competent knowledge of arithmetic will find out the sum total of a hundred and fifty crowns, and multiply it by six, he will find out the weekly effect on the treasury, of this very noble and praiseworthy conduct. The royal box brings in about two hundred a-year, and can never be let for the benefit of the theatre on the most crowded nights. Go, therefore, in perfect safety to the Haymarket. If wickedness is there, it is completely in eclipse. Go, and the farces will improve in humour and refine in plot; Buckstone will be as ridiculous as ever, and give full scope to his wit and drollery without the slightest touch of the buffoon.

In all the theatres of London, a race is run in the variety and beauty of the decorations. If actors have fallen off, the scene-painter and machinist are in the ascendant. Now, this is far from a good sign, or, in the end, of any good effect in the advancement of the drama. A decent amount of illustration is indispensable – a proper attention to truthfulness of costume is highly commendable; but truly absurd is it to see the length to which this zeal is carried. In the Elizabethan time, the spectator was informed of the scene of the play by a board with the name of the locality suspended from the roof. Side-scenes then crept in; appropriate dresses were introduced at a later period; and now there is not a button wrong, not a single anachronism in the shape of a shoe, or ribbon of a cap; gorgeous landscapes are presented to the eye; noble chambers open their treasures of furniture and vertu; and in the midst of all this internal improvement, the histrionic, art diminishes day by day. "Man is the only plant that dwindles here." Thus we find that almost every manager plumes himself on restoring Shakspeare when he surrounds the play with gorgeous accessories – when the balcony scene is painted by Stanfield, or the hall of Macbeth's castle by David Roberts. This is the mode of decoration adopted by the warriors of old, when they covered the Roman traitress with their ornaments of silver and gold. This is to smother Shakspeare, not to illustrate him. This is to bury Cæsar, not to praise him. Let us assure those enterprising caterers for the public, that a play well acted is worth all the correct dresses, and all the befitting scenery in the world. Half the money wasted on these expensive accessories would tempt men of talent and education once more to look to the stage as a profession. Rather give us Burbage as Coriolanus in Sir Philip Sidney's clothes, than a modern declaimer in the most faultless of togas. But when scenery, dresses, and decorations, from being the casual accompaniments of a noble tragedy, which they only encumber with their help, form of themselves the staple commodity with which an appeal is made to the favour of the town, the matter becomes of very serious importance, and is probably more injurious to the dramatic taste than anything that can be named. Nothing has so depreciated the drama as the frequency, during late years, of burlesques – a contemptible species of entertainment, where parody is substituted for wit, and glitter and show for interest or language. A fairy tale, that enchanted our childhood, is chosen for a theme, and soon stript, by the ruthless playwright, of all its poetry and romance. Aladdin makes puns about the Crystal Palace. Camaralzaman and Badoura are witty about the electric telegraph; and all the time their miserable jargon is illustrated by the scenery of men of genius – with landscapes that Poussin would not be ashamed to own, and wing-covered nymphs that would have been the astonishment of all the glowries. Why vulgarise the fairy mythology by mixing it up with the oratory of the cabstand? Why not leave it as they find it? – and if they are determined to lavish ornament on whatever they produce on the stage, why not give us, from end to end, a real dear old fairy story, with scenery as gorgeous as they please – strange apparitions of power or beauty – clothing the tale in language fit for the fairy interlocutors; and show us all the spouting waterfalls, and ticking clocks, and chattering pages, and lovely companions, of Tennyson's "Sleeping Beauty?" In this the airy dances, and splendid robes, and marble palaces, would all be in keeping. The eye would be pleased without the taste being offended; and there would be no tremendous burst of human passion cast into the background by the predominance of hats and feathers. "King John" at the Princess's, we pronounce, on this ground, to be a great success as a spectacle, but a failure as a play. Mr Kean has great merits; quick appreciation, sound intelligence, and occasionally a burst of something which, if it is not genius, is describable by no other word; but he is certainly mistaken in relying so much on the resources of his painter and costumier. The chivalrous audacity of Wigan is sufficient of itself to attract attention, which is too likely to be distracted by the magnificence of the scene in which it is displayed by that versatile and accomplished actor. John himself ceases to be the human centre figure in a group of other men – with passions, fears, remorses, all chasing each other along his cruel and haggard countenance – and becomes the centre figure of a noble historic tableau, where the words even of Shakspeare grow subsidiary to colour and effect. But let us go into that prettiest of theatres in Oxford Street, ascend the handsome steps into the dress circle, and see what entertainment is provided by the present bearer of the name of Kean. The playbills tell us the name of the drama to-night is the "Corsican Brothers;" so with vague reminiscences of old Madame Mère, and the four young Buonapartes in the attorney's mansion in Ajaccio, we wait for the drawing up of the curtain. The house is quite full. The stage is admirably commanded from all parts of the building; the boxes are most comfortable and wide; a thousand expectant faces are all turned towards the scene; a great crash takes place among the fiddles; a little bell rings, and we are in a room in the house of the Dei Franchis, a poor but noble family of Corsica. A maid is singing at her wheel – a song which was evidently not the composition of either Burns or Moore – and is interrupted by the entrance of a traveller, who brings a letter of introduction from Paris from Louis Dei Franchi, a son of the house, who has resided there for some time. The countess comes in and receives him graciously. Fabian Dei Franchi, the stay-at-home brother, also is very kind, and inquires anxiously after Louis's health. He is well, and happy; but the stranger has not seen him for three weeks! Fabian makes a motion of disappointment. "I have heard of him more recently." – "How? – when?" exclaims the mother. – "Last night," replies Fabian; "and he is ill." He takes the stranger apart; hurriedly tells him not to be incredulous, or, at all events, disdainful, of their old Corsican superstitions; informs him that he and his brother are twins, and so like each other as to be almost undistinguishable; that from their birth, absent or united, a strange sympathy exists between them; that one cannot experience joy or grief that is not in this mysterious manner shared by the other; and, seeing a smile on the gay Frenchman's countenance, he relates an anecdote of a similar case which occurred three hundred years before, and in the very house in which they then stood. A strange wild story it was, and prepares us for what is to come. To prepare us also for the bitterness of a Corsican vendetta, a tumultuous scene is introduced of the compulsory reconcilement of a quarrel between two peasants, which, in a few years, had cost nine lives, and took its origin from some indignity offered to a hen of the Orlandos. Colonna makes the amende by presenting his adversary with a white cock; and Fabian is again left alone. The stage grows dark; something wild and unearthly is felt in the sudden hush of the dim hall; he sits down at the side to write to Louis. "Brother," he says, "I feel so miserable, that I am certain you are in pain. Write – write!" While he is setting down these words, a pallid, dreadful countenance rises from the boards at the other end of the stage – rising gradually and without sound – neck, shoulders, body – and advancing at the same time towards the table at which Fabian writes; it reaches its feet when it comes within touch of his shoulder. The features of the brothers are the same; the height, the figure, even the dress – for Fabian has taken off his coat before he began to write, – and all the difference is a speck of blood on the left breast of Louis' shirt; and gazing on the group before him, (for the mother has entered in the mean time,) he slowly sinks. But this is not the end. The window at the back of the hall opens, and through that vista, what do we see? The brother exactly as we saw him a moment before, lying dead beneath the stump of a tree, supported in the arms of his seconds – a gentleman in his shirt sleeves wiping his sword – two other gentlemen in attitudes of watchfulness: it is the Bois de Boulogne; a duel has been fought. Louis dei Franchi is the victim, and the drop-scene falls, leaving the Countess and Fabian transfixed with horror at this wondrous sight.