Modern fiction abounds with examples to the purpose. There is Colonel Whyte Melville’s remorseful woman of the world bidding her young friend good night, and meaning it all the more because her own good nights are dead and gone: “What would I give to yawn as honestly as you do, and to sleep sound once again, as I used to sleep when I was a girl!” There is Mr. Trollope’s Lady Mason, so wistfully, so vainly longing for rest—to be able to lay aside the terrible fatigue of being ever on the watch. From the burden of that necessity she has never been free since her crime was first committed. “She had never known true rest. She had not once trusted herself to sleep without the feeling that her first waking thought would be one of horror, as the remembrance of her position came upon her.” As with the royal lady pictured by the laureate,— “Many a time for hours In the dead night, grim faces came and went Before her, or a vague spiritual fear— Like to some doubtful noise of creaking doors, Heard by the watcher in a haunted house, That keeps the rust of murder on the walls— Held her awake. Or if she slept, she dream’d An awful dream ... ... and with a cry she woke. And all this trouble did not pass, but grew.” There is Donatello, in Hawthorne’s “Transformation,” succumbing to a stupor, which he mistakes for such drowsiness as he has known in his innocent past life. There is Albert Maurice, in “Mary of Burgundy,” gazing on the Vert Gallant of Hannut as he lay in a deep, sweet sleep—so calm and tranquil, though within the walls of a prison, suffering from injuries, and exposed to constant danger; gazing with a sense of envy and regret, “which few, perhaps, can appreciate fully, who have not felt the sharp tooth of remorse begin its sleepless gnawings on the heart. He would not have disturbed such slumbers for the world; and, withdrawing again with a noiseless step, he retired to his own chamber, and cast himself down upon his bed, to snatch, at least, that heated and disturbed sleep, which was all the repose that he was ever more to know on earth.” To such as him can nothing bring back, in the hour and power of darkness, more than an embittered memory of times “When that placid sleep came o’er him Which he ne’er can know again.” An innocent comforter in a modern tragedy offers a disquieted spirit the assurance, as regards the object of his disquiet, that “’twill away in sleep.” But his answer is,— “No, no! I dare not sleep—for well I know That then the knife will gleam, the blood will gush, The form will stiffen!”