Page:The Count of Monte-Cristo (1887 Volume 2).djvu/143

Rh tume, which it was evident, from the ease and grace with which she wore it, was her customary attire.

Behind her, but in shadow, was the outline of a man, whose features it was not possible to distinguish.

Franz could not forbear breaking in upon the conversation between the countess and Albert, to inquire of the former if she knew who was the fair Albanian opposite, since beauty such as hers was well worthy of being remarked by either sex.

"All I can tell you about her," replied the countess, "is, that she has been at Eome since the beginning of the season; for I saw her where she now sits the very first night of the theater's opening, and since then she has never missed a performance,—sometimes accompanied by the man who is with her, and at others merely attended by a black servant." "And what do you think of her personal appearance?"

"Oh, I consider her perfectly lovely—she is just my idea of what Medora must have been."

Franz and the countess exchanged a smile, and then the latter resumed her conversation with Albert, while Franz returned to his survey of the Albanian. The curtain rose on the ballet, which was one of those excellent Italian ballets, put on the stage by Henri, who has established for himself a great reputation throughout Italy for his taste and skill in the choregraphic art one of those ballets in which the whole corps, from the principal dancers to the humblest supernumerary, are all engaged; and a hundred and fifty persons may be seen exhibiting the same attitude, or elevating the same arm or leg.

The ballet was called "Poliska."

However much the ballet might have claimed his attention, Franz was too deeply occupied with the beautiful Greek to take any note of it, while she seemed to experience a childlike delight in watching it a delight contrasting strongly with the utter indifference of her companion, who, during the whole time the piece lasted, never even moved, but seemed to be enjoying bright celestial dreams, spite of the furious crashing din produced by the trumpets, cymbals, and Chinese bells in the orchestra.

The ballet at length came to a close, and the curtain fell amidst the loud plaudits of an enthusiastic audience.

Owing to the plan of dividing the acts of the opera with a ballet, the pauses are very short; the singers having time to repose themselves and change their costume while the dancers are executing their pirouettes and exhibiting their graceful steps.

The overture to the second act began; and at the first sound of the leader's bow, Franz observed the sleeper slowly arise and approach the