The next scene takes place in an ante-chamber to the queen's apartment. Carlos is in conference with a page belonging to the queen, who has privately brought him a letter and a key. In a tumult of contending feelings, the prince breaks the seal, and at the same moment duke Alba crosses to the inner chamber. The letter is in a female hand, and appoints a meeting in a cabinet attached to her majesty's apartments, safe from intrusion, where the writer promises that “the reward of love” shall be bestowed. Carlos is ignorant of the queen's hand writing, but does not for a moment imagine the letter to be from any other than herself. In this supposition he is confirmed by the page, whom he knows to belong to Elizabeth, and who replies to his eager questions that the letter was given him by “her own hand.” The possessor of the hand is not named by either—and hence arises the mistake. The surprise and agitation of the prince are extreme; yet in the bitterness of a spirit wounded by unkindness, he does not hesitate to accept the bliss he fancies offered to him. Before he can escape from the ante-chamber, Alba enters and requests a conference. A long interview follows, which at length, in spite of the studied calmness of the duke, terminates in a dispute; both draw their swords, but are interrupted by the queen, who rushes from her chamber. The effect of her appearance is instantaneous; Carlos at a word of remonstrance from her, drops his sword, and embracing Alba asks his forgiveness. The queen, accompanied by the duke, returns into her closet. We are next introduced into a cabinet, where the Princess of Eboli, fancifully dressed, is playing on the lute. She is enamored of the prince, and is anxiously awaiting the return of the messenger, by whom she despatched her letter. The page of the preceding scene appears—she starts up and hastily questions him; he relates the words and the emotion of the prince on the reception of the billet, and informs her that he may be momentarily expected. The boy is dismissed, and Carlos enters the cabinet by means of the key conveyed to him by the page. His surprise at finding himself alone with the princess of Eboli, his embarrassment, and efforts to explain his apparently unexpected appearance, are almost amusing. The graceful and animated conversation of the lady does much to remove the first awkwardness of his mistake, and he becomes insensibly interested, though quite unable to account for the apparent pleasure with which his fancied intrusion is received. The princess informs him of the king's design to bestow her hand upon Don Ruy Gomez, Count of Silva, and of her aversion to the match; and wishes to be guided by his counsel, which she asks as from a dear friend. Her sentiments on love excite the admiration of the prince, who nevertheless seems marvellously ignorant of the drift of all her intimations.