"Oh, God forgive me!" ejaculated the miserable youth, as, holding his hand on his brow, he rushed out of the room and sought his bed-chamber. Was there ever such a night before the day, of all days auspicious to mortals, of the culminating joy of human life! Could he not find refuge in sleep, where the miserable so often seek to escape from the vibrations of the leaping, palpitating nerve, inflamed by the fever of life? A half-hour's dreamy consciousness, an hour's vision of returning images, rest and unrest, haunting scenes woven by some secret power, so varied, so ephialtic, so monstrous, yet all, somehow or another, however unlike the reality, still vindicating a connection. Why should Sweet Marjory be in the deep recesses of the pine wood, resting by his foaming steed, with his mother sitting and breathing hope's accents in her ear, and ever and again calling on him in sobbing vocables to return from his pursuit of another? He would return. The charm of her sweet voice is felt to be irresistible; yet it is resisted. And though he looks back only to see her by the flaught of the lightning that plays among the trees, his steps are forward, where Devil Isobel charms him with a song, in comparison of which the magic of the sirens is but the rustle of the reed as it swerves in the blast. He struggles, and seizes the stems of the pines to hold him from his progress and keep him steady; and he writhes as he finds he cannot obey the maternal appeal to a son's love. All is still again, and there is rest, only to be alternated by the recurring visions always assuming new forms, changing and disappearing, flaring up again, and then the deep breast-riding oppression, and those hollow moans, which never can be imitated by the waking sense, as if Nature preserved this domain of the spirit as an evidence, in the night of the soul, that there is another world where the limbo of agony is not less certain than the heaven which is simulated by sweet dreams.