When the applause elicited by this stroke of genius had ceased, Mr. Chickson (Signor Rodicaso) came rather awkwardly upon the stage.  His eyes (and, it might be added, his legs) rolled absently about, as if he were endeavoring to recall his part, or were in the inward act of composing a poem.

“Your future husband, Fidelia,” said the father.

Fidelia rose from her seat—­still imperturbable.

Chickson advanced with a sliding motion, and then paused, as if he had forgotten what to do.  Mrs. Slapman was heard to whisper something (probably the cue), but he only rolled his eyes heavily in response.  A look of displeasure marred her serene features, and, instead of fainting away in Signor Rodicaso’s arms, as she should have done, she dropped into the embrace of her father, taking that personage quite unexpectedly, and nearly knocking him off his chair.

Chickson projected himself forward at the same time to catch her, and, in so doing, lost his balance, and just escaped, by an effort, from sprawling on the floor.

Then he looked helplessly at the audience; and there was no longer any doubt entertained that Chickson was slightly intoxicated.  Getting drunk, now and then, was an infirmity of Chickson’s genius.

The stage manager had the good sense to ring down the curtain on this painful scene, and, the next moment, there was a dull sound, as of somebody falling on the floor behind the green baize.

After an interval of fifteen minutes—­protracted by the “unexpected indisposition” of the poet, and the consequent necessity of intrusting Signor Rodicaso to other hands—­the curtain rises again, and discloses Alberto in a humble cot, surrounded by three-legged stools, and other evidences of extreme poverty.  He is seated on a rickety table (in preference to the greater uncertainty of the stools), his arms are folded, and his head droops upon his breast.

In this attitude, he begins to soliloquize, and informs the audience (what they did not know before) that, from a clump of shrubbery, he had seen fully as much as they of the preceding scene.  He does not blame Fidelia.  Oh! no.  In her cruel dilemma, she could do no less.  But he curses—­and curses again—­and continues to curse for some time—­that Fate which deprives him of the “paltry means” (one hundred and seventy thousand florins) to buy off the “heartless monster” (Rodicaso).  Having wreaked himself upon Destiny to his own satisfaction, he suddenly remembers that he has not eaten anything for thirty-six hours.  He feels in all his pockets successively, but finds nothing.  He then draws from his bosom a portrait of his father, set with antique gems.  He gazes upon it reverently, kisses it, and says:  “Shall I part with this sacred memento for vulgar bread?  Never!  Let me die!” He restores the portrait to his bosom, folds his arms again, inclines his head, and shuts his eyes, as if preparing to expire comfortably.