But, after succeeding with infinite trouble in striking the glass, a single form, the little figure of Juana, appeared upon the wall.  The young girl opened her window cautiously, saw the note, took it, and stood before the window while she read it.  In it, Montefiore had given his name and asked for an interview, offering, after the style of the old romances, his heart and hand to the Signorina Juana di Mancini—­a common trick, the success of which is nearly always certain.  At Juana’s age, nobility of soul increases the dangers which surround youth.  A poet of our day has said:  “Woman succumbs only to her own nobility.  The lover pretends to doubt the love he inspires at the moment when he is most beloved; the young girl, confident and proud, longs to make sacrifices to prove her love, and knows the world and men too little to continue calm in the midst of her rising emotions and repel with contempt the man who accepts a life offered in expiation of a false reproach.”

Ever since the constitution of societies the young girl finds herself torn by a struggle between the caution of prudent virtue and the evils of wrong-doing.  Often she loses a love, delightful in prospect, and the first, if she resists; on the other hand, she loses a marriage if she is imprudent.  Casting a glance over the vicissitudes of social life in Paris, it is impossible to doubt the necessity of religion; and yet Paris is situated in the forty-eighth degree of latitude, while Tarragona is in the forty-first.  The old question of climates is still useful to narrators to explain the sudden denouements, the imprudences, or the resistances of love.

Montefiore kept his eyes fixed on the exquisite black profile projected by the gleam upon the wall.  Neither he nor Juana could see each other; a troublesome cornice, vexatiously placed, deprived them of the mute correspondence which may be established between a pair of lovers as they bend to each other from their windows.  Thus the mind and the attention of the captain were concentrated on that luminous circle where, without perhaps knowing it herself, the young girl would, he thought, innocently reveal her thoughts by a series of gestures.  But no!  The singular motions she proceeded to make gave not a particle of hope to the expectant lover.  Juana was amusing herself by cutting up his missive.  But virtue and innocence sometimes imitate the clever proceedings inspired by jealousy to the Bartholos of comedy.  Juana, without pens, ink, or paper, was replying by snip of scissors.  Presently she refastened the note to the string; the officer drew it up, opened it, and read by the light of his lamp one word, carefully cut out of the paper:  Come.

“Come!” he said to himself; “but what of poison? or the dagger or carbine of Perez?  And that apprentice not yet asleep, perhaps, in the shop? and the servant in her hammock?  Besides, this old house echoes the slightest sound; I can hear old Perez snoring even here.  Come, indeed!  She can have nothing more to lose.”