It is otherwise with dramatic representations, and in these the authors have a great advantage. Let their characters separate as they will, or be engaged as they will, they can at any time, with the greatest ease, be brought together on the stage. The one enters from the one side, and the other from the other, and we do not much concern ourselves how or whence they come, taking it for granted that they are there, and that is enough. It is rather delightful to see a hero, in whom one had begun to take some interest, and whom he supposed to be far distant, exposed to dangers abroad and perfidy at home, all at once stalk majestically in from the side scene, and take his place before our eyes. It gives the heart a great deal of relief to see and know that he is there in person to stand up for his own injured rights. But in our own case there is no such expedient. Like the waggoner, we must return from the top of the hill, and bring up those of our characters that are left behind. At present we must return from the top of the great stair-case in Aikwood castle, into the housekeeper's cell on the ground floor. Charlie had made his escape almost unobserved; those next to him weening that he had only drawn a little back to keep a due distance between the witch and him, so that they pressed forward to the scene without regarding him. The crone continued her orgies, blowing her fire one while, and again stirring the liquid in the caldron; then making it run from the end of a stick, that she might note its state of gelidity. The friar addressed her in his usual stile of sonorous eastern eloquence; but she only regarded him by a slight stare, and a motion with her hand, as if she wished him and his group to disappear. She had taken them for spirits that she had conjured up, and perhaps thought they were come before the time; for in mumbling to herself, they at one time heard her saying, "So you are all there, are you? Well, I shall find you work. Sotter, sotter my wee pan." This scene went on for a considerable time without any variety, the witch attending solely to her caldron and her fire; the friar standing before the flame, and Tam and Gibbie, with their long kipper noses, peeping over his shoulder. The other three were behind these; the poet with his arm round Delany's waist, and the beautiful face of the boy Elias, the very picture of amazement personified, appeared below the friar's right arm. Scarcely could such another group be formed for the painter's eye. Here sat the witch, haggard and wild, close at the one cheek of the fire, watching over her caldron and infernal morsel with the utmost eagerness. There stood the gruff friar, with the keys of the castle in his right hand, and the dim lamp in his left, raised above his head; so that, from the two groups of light, the marked features of amazement could be distinctly traced; which, with the faint and yellowish hue of their complexions, made the whole highly picturesque.