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their appearance, at the hazard of an alternative too dreadful for the greatest valor to risk.
The final argument which he used with his mistress was, the very excess of that love, and the very position in which it stood at that bridal moment, to which he in vain appealed. He showed how it had ever and irremediably been the custom to estimate the fighter's love by the measure of his courage; the more “apparent” the risk (for he pretended to laugh at any real danger), the greater the evidence of passion and the honor done to the lady; and so, after many more words and tears, the honor was to be done accordingly, grievously against her will, and custom triumphed. Custom! That “little thing," as the people called it to the philosopher. “That great and terrible thing," as the philosopher justly thought it. To show how secure he was, and how securer still it would render him, he made her promise to be there ; and she required little asking: for a thought came into her head, which made her pray with secret and sudden earnestness to the Virgin ; and the same thought enabled her to give him final looks, not only of resigned lovingness, but of a sort of cheered composure ; for, now that she saw there was no remedy, she would not make the worst of his resolve, and so they parted.
How differently from when they met! and how dreadfully to be again brought together!
The day has arrived; the great square has been duly set out; the sand, to receive the blood, is spread over it; the barricadoes and balconies (the boxes) are all right; the king and his nobles are there ; Don Alphonso and his Lucinda are there also; he, in his place on the square, on horseback, with his attendants behind him, and the door out of
which the bull is to come, in front; she, where he will behold her before long, though not in the box to which he has been raising his eyes. All the gentlemen who are to fight the bulls, each in his turn, and who, like Alphonso, are dressed in black, with plumes of white feathers on their heads, and scarfs of different colors round the body, have ridden round the lists a quarter of an hour ago, to salute the ladies of their acquaintance; and all is still and waiting. The whole scene is gorgeous with tapestries, and gold, and jewels. It is a theatre in which pomp and pleasure are sitting in a thousand human shapes to behold a cruel spectacle.
The trumpets sound; crashes of other music succeed; the door of the stable opens; and the noble creature, the bull, makes his appearance, standing still awhile, and looking as it were with a confused composure before him. Sometimes when the animal first comes forth, it rushes after the horseman who has opened the door, and who has rushed away from the mood in which it has shown itself. But the bull on this occasion was one that, from the very perfection of his strength, awaited provoking. He soon has it. Light, agile footmen, who are there on purpose, vex him with darts and arrows, garnished with paper set on fire. He begins by pursuing them hither and thither, they escaping by all the arts of cloaks and hats thrown on the ground, and deceiving figures of pasteboard. Soon he is irritated extremely; he stoops his sullen head to toss; he raises it, with his eyes on fire, to kick and trample; he bellows; he rages; he grows mad. His breath gathers like a thick mist about his head. He gallops, amidst cries of men and women, franticly around the square, like a racer, following and followed by his tormentors; he tears the horses with his horns; he disembowels them; he tosses the howling dogs that are let loose on him ; he leaps and shivers in the air like a very stag or goat. His huge body is nothing to him in the rage
and might of his agony.
For Alphonso, who had purposely got in his way to shorten his Lucinda's misery (knowing her surely to be there, though he has never seen her), has gashed the bull across the eyes with his sword, and pierced him twice with the javelins furnished him by his attendants. Half blinded with the blood, and yet rushing at him, it should seem, with sure and final aim of his dreadful head, the creature is jusť upon him, when a blow from a negro who is helping one of the pages, turns him distractedly in that new direction, and he strikes down, not the negro, but the youthful, and in truth wholly frightened and helpless, page. The page, in falling, loses his cap, from which there flows a profusion of woman's hair, and Alphonso knows it on the instant. He leaps off his horse, and would have shrieked, would have roared out with horror ; but something which seemed to wrench and twist round his very being within him, prevented it, and in a sort of stified and almost meek voice, he could only sobbingly articulate the word, “Lucinda !” But in an instant he rose out of that selfpity into frenzy; he hacked wildly at the bull, which was now spinning as wildly round; and though the assembly rose, crying out, and the king bade the brute be dispatched, which was done by a thrust in the spine by those who knew the trick, (ah! why did they not do it before ?) the poor youth has fallen, not far from his Lucinda, gored alike with herself to death, though neither of them yet expiring
As recovery was pronounced hopeless, and the deaths of the lovers close at hand, they were both carried into
LOVE AND WIĻL.
INDING, upon inquiry, that Steele's little
periodical paper, called “The Lover,” is still less known than we supposed, we shall here give some account of it, and then pro
ceed to some other reflections to which it has given rise. We have already intimated,* that it was one of the numerous publications of the kind to which Steele's necessities and lively impulses united gave birth, and which, for similar reasons, were speedily brought to a close. Tonson collected the forty papers of which it consisted into a duodecimo volume, in which he included a political paper entitled “ The Reader,” which reached only its ninth number; and this is the book now before us. The dedication to Garth is surmounted by one of those rude little wood-cuts or copperplates, half flower and half figure, formerly, we believe, called head-pieces (perhaps still so, otherwise we know not the technical word). It presents us with Sir Samuel's coats of arms (two lions passant gardant between three-cross crosslets) supported, or rather attended, by two Cupids : one with a lyre for the doctor's poetry, and the other holding his professional emblem, the staff of Æsculapius. The first number is, in like manner, graced with a head of Queen Anne, and so is that of “The Reader.” We reckon upon our own reader's not being averse to the mention of these amenities, partly from his love of anything connected with books, and
* In an article on “Garth, Physicians, and Love Letters,” in “Men, Women, and Books." - ED.