Ah! what a yearning tenderness glorified the woman's frozen face, as the flowers in her hand babbled of the blue eyes that had looked last upon them, of the childish fingers that brushed the dew from their purple velvet, of the dainty, almost infantile, lips that had fondly pressed them, of the holy prayer breathed over them, that ere the time of violets came again mother and child might be reunited. Just now she dared not read the letter, dared not surrender to the softening influences that might melt the rigid purpose of her soul, and, kissing the flowers reverently, the mother laid them aside until a more convenient season, and began to walk slowly to and fro.... The play that night was "Kenilworth," and had been cast to admit some alterations made in the dramatization by Madame Orme, who frequently introduced startling innovations in her rendering of her parts, and in almost all her favourite _roles_ refused rigid adherence to the written text. The reputation of her beauty and former triumphs, the success achieved on the previous nights, and certain tart criticisms upon the freedom of her interpretation of Scott's lovely heroine--Leicester's wife--combined to draw a crowded house; and ere the curtain rose every box was occupied save one on the second tier near the stage. As the crash of the orchestra died away, and the play opened with the interview between Lambourn and Foster, followed by Tressilian, and the encounter with Varney, the door of the box opened, and the American minister entered, accompanied by a lady and gentleman, who, after seating themselves and gathering back the folds of the box curtains, proceeded to scan the audience. As they disposed themselves comfortably a white-haired man, watching through a crevice in the side scene, scribbled on a piece of paper which was handed into the dressing-room: "Second box, second tier, right-hand side. Two gentlemen, and a lady wearing a scarlet cloak."