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Thus, if any one should chance to see him shake out a garment, preparatory to laying it on his knee and mending it, there could be no reasonable cause for suspicion. Herr Stolz was nothing if not efficient. He held up the needle and poked the thread at its eye in truly feminine fashion.
Such was the sole epitaph and eulogy of Herr Heinrich Stolz, from his army. Meantime, Sergeant Mahan was prying loose the collie's ferocious jaws from their prey and was tugging with all his might to drag the dog off the shrieking spy. The throat-hold, he noted, was a bare inch from the jugular. The rest of the soldiers, rushing up pell-mell, helped him pull the infuriated Bruce from his victim.
"La Favorita," an opera in four acts, words by Royer and Waëtz, the subject taken from the French drama, "Le Comte de Commingues," was first produced at the Académie, Paris, Dec. 2, 1840, with Mme. Stolz as Leonora, Duprez as Fernando, and Baroelhst as Balthasar. Its success in England, where it was first produced Feb. 16, 1847, was made by Grisi and Mario.
Soon thereafter a Red Cross nurse Felicia Stuart by name had reported for duty at Paris, having been transferred thither from Italy, and bearing indubitable credentials to that effect. From carefully picked-up information Stolz had just learned of the expected arrival of the three troop-trains at the junction at nine that evening.
"Yes; there was a shoemaker, named Stolz, whom George had just paid for a pair of boots. Mr. Flanders, the jeweler, was there also, and he had his box of jewelry for George to lock up in the safe. There had been so many customers in his store that afternoon that he had not been able to take the box over before.
The spectacle of their admired dog-hero, so murderously mauling a woman of the Red Cross, dazed them with horror. "Take him AWAY!" bellowed Stolz, delirious with pain and fear. "He's KILLED me der gottverdammte Teufelhund!" And now the crazed victim's unconscious use of German was not needed to tell every one within hearing just who and what he was.
They are ably seconded by Levasseur, Madame Stolz who is well known in London, and the fine deep voice of Baroilhet, Boucher, Massol, and Mademoiselle Nau, possess a moderate share of talent, there are also others whose abilities are of minor force but sufficient to support the subordinate rôles.
Dein /Wohl/ is unser /Stolz/, dein /Leiden/, unser /Schmerz/, /Und/ Hendel's /Tempel ist der Musensoehne Herz/." These have no remarkable effect in English, as to us the words of Latin origin are often as familiar as those which have Teutonic roots; and these form the chief peculiarity of the style.
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