arrangements for leaving Middlemarch and going to London, till she felt assured that the coming would be a potent cause of the going, without at all seeing how. This way of establishing sequences is too common to be fairly regarded as a peculiar folly in Rosamond. And it is precisely this sort of sequence which causes the greatest shock when it is sundered: for to see how an effect may be produced is often to see possible missings and checks; but to see nothing except the desirable cause, and close upon it the desirable effect, rids us of doubt and makes our minds strongly intuitive. That was the process going on in poor Rosamond, while she arranged all objects around her with the same nicety as ever, only with more slowness—or sat down to the piano, meaning to play, and then desisting, yet lingering on the music-stool with her white fingers suspended on the wooden front, and looking before her in dreamy ennui. Her melancholy had become so marked that Lydgate felt a strange timidity before it, as a perpetual silent reproach, and the strong man, mastered by his keen sensibilities towards this fair fragile creature whose life he seemed somehow to have bruised, shrank from her look, and sometimes started at her approach, fear of her and fear for her rushing in only the
