in watching its mimic semblance through all phases of tragic suffering and sorrow, for she would see no comedies, and Shakespeare's tragedies became her study.
This lasted for a time, then the reaction came. A black melancholy fell upon her, and energy deserted soul and body. She found it a weariness to get up in the morning and weariness to lie down at night. She no longer cared even to seem cheerful, owned that she was spiritless, hoped she should be ill, and did not care if she died to-morrow. When this dark mood seemed about to become chronic she began to mend, for youth is wonderfully recuperative, and the deepest wounds soon heal even against the sufferer's will. A quiet apathy replaced the gloom, and she let the tide drift her where it would, hoping nothing, expecting nothing, asking nothing but that she need not suffer any more.
She lived fast; all processes with her were rapid; and the secret experience of that winter taught her many things. She believed it had only taught her to forget, for now the outcast love lay very still, and no longer beat despairingly against the door of her heart, demanding to be taken in from the cold. She fancied that neglect had killed it, and that its grave was green with many tears. Alas for Sylvia! how could she know that it had only sobbed itself to sleep, and would wake beautiful and strong at the first sound of its master's voice.
Mark became eventful. In his fitful fashion he had painted a picture of the Golden Wedding, from sketches taken at the time. Moor had suggested and bespoken it, that the young artist might have a motive for finishing it, because, though he excelled in scenes of that description, he thought them beneath him, and tempted by more ambitious
