sometimes."

Still, I could not control my excitement.

Emmeline's hand was convulsively clutching at the velvet-covered
balustrade of the box.

"It'll be all right," I repeated to myself.

But when the moment came for the king to bless the bridal pair, and
there was no Lohengrin to bless, even the impassive Sir Cyril seemed
likely to be disturbed, and you could hear murmurs of apprehension
from all parts of the house. The conductor, however, went doggedly on,
evidently hoping for the best.

At last the end of the procession was leaving the stage, and Elsa was
sitting on the bed alone. Still no Lohengrin. The violins arrived at
the muted chord of B flat, which is Lohengrin's cue. They hung on it
for a second, and then the conductor dropped his baton. A bell rang.
The curtain descended. The lights were turned up, and there was a
swift loosing of tongues in the house. People were pointing to Sir
Cyril in our box. As for him, he seemed to be the only unmoved person
in the audience.

"That's never occurred before in my time," he said. "Alresca was not
mistaken. Something has happened. I must go."

But he did not go. And I perceived that, though the calm of his
demeanor was unimpaired, this unprecedented calamity had completely
robbed him of his power of initiative. He could not move. He was