with perhaps a vague idea that some new event would grow out of Westervelt’s proposed interview with Zenobia. My own part in these transactions was singularly subordinate. It resembled that

of the Chorus in a classic play, which seems to be set aloof from the possibility of personal concernment, and bestows the whole measure of its hope or fear, its exultation or sorrow, on the fortunes of others, between whom and itself this sympathy is the only bond. Destiny, it may be, — the most skilful of stage managers, — seldom chooses to arrange its scenes, and carry forward its drama, without securing the presence of at least one calm observer. It is his office to give applause when due, and sometimes an inevitable tear, to detect the final fitness of incident to character, and distil in his long-brooding thought the whole morality of the performance.