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The sudden revolution in the Prior's manners we have before noticed, and it is indeed so outre, that a number of the audience imagined a great secret was to come out, viz.: that the Prior was one of the many instances of a youthful sinner metamorphosed into an old scold, and that this Bertram would appear at last to be his son. Imogine re- appears at the convent, and dies of her own accord.
For the rest, Imogine, who now and then talks deliriously, but who is always light-headed as far as her gown and hair can make her so, wanders about in dark woods with cavern-rocks and precipices in the back-scene; and a number of mute dramatis personae move in and out continually, for whose presence, there is always at least this reason, that they afford something to be seen, by that very large part of a Drury Lane audience who have small chance of hearing a word.
Aldobrand on his road homeward, and next Imogine in the convent, confessing the foulness of her heart to the Prior, who first indulges his old humour with a fit of senseless scolding, then leaves her alone with her ruffian paramour, with whom she makes at once an infamous appointment, and the curtain drops, that it may be carried into act and consummation.
Observe too these images stand unique in the speeches of Imogine, without the slightest resemblance to anything she says before or after. But we are weary. The characters in this act frisk about, here, there, and every where, as teasingly as the Jack o' Lantern-lights which mischievous boys, from across a narrow street, throw with a looking-glass on the faces of their opposite neighbours.
We are at length introduced to the Lady Imogine, who, we learn, had not rested "through" the night; not on account of the tempest, for "Long ere the storm arose, her restless gestures Forbade all hope to see her blest with sleep." Sitting at a table, and looking at a portrait, she informs us First, that portrait-painters may make a portrait from memory,
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