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slight cold and fever were contracted, attended with great determination of blood to the head. To relieve this, Dr. Templeton resorted to topical bleeding. Leeches were applied to the temples. In a fearfully brief period the patient died, when it appeared that in the jar containing the leeches, had been introduced, by accident, one of the venomous vermicular sangsues which are now and then found in the neighboring ponds. This creature fastened itself upon a small artery in the right temple. Its close resemblance to the medicinal leech caused the mistake to be overlooked until too late.

“N. B.—The poisonous sangsue of Charlottesville may always be distinguished from the medicinal leech by its blackness, and especially by its writhing or vermicular motions, which very nearly resemble those of a snake.”

I was speaking with the editor of the paper in question, upon the topic of this remarkable accident, when it occurred to me to ask how it happened that the name of the deceased had been given as Bedlo.

“I presume,” I said, “you have authority for this spelling, but I have always supposed the name to be written with an e at the end.”

“Authority?—no,” he replied. “It is a mere typographical error. The name is Bedlo with an e, all the world over, and I never knew it to be spelt otherwise in my life.”

“Then,” said I mutteringly, as I turned upon my heel, “then indeed has it come to pass that one truth is stranger than any fiction—for Bedloe, without the e, what is it but Oldeb conversed! And this man tells me that it is a typographical error.”

THE SPECTACLES

Many years ago, it was the fashion to ridicule the idea of “love at first sight;” but those who think, not less than those who feel deeply, have always advocated its existence. Modern discoveries, indeed, in what may be termed ethical magnetism or magnetoesthetics, render it probable that the most natural, and, consequently, the truest and most intense of the human affections are those which arise in the heart as if by electric sympathy—in a word, that the brightest and most enduring of the psychal fetters are those which are riveted by a glance. The confession I am about to make will add another to the already almost innumerable instances of the truth of the position.

My story requires that I should be somewhat minute. I am still a very young man—not yet twenty-two years of age. My name, at present, is a very usual and rather plebeian one—Simpson. I say “at present;” for it is only lately that I have been so called—having legislatively adopted this surname within the last year in order to receive a large inheritance left me by a distant male relative, Adolphus Simpson, Esq. The bequest was conditioned upon my taking the name of the testator,—the family, not the Christian name; my Christian name is Napoleon Bonaparte—or, more properly, these are my first and middle appellations.

I assumed the name, Simpson, with some reluctance, as in my true patronym, Froissart, I felt a very pardonable pride—believing that I could trace a descent from the immortal author of the “Chronicles.” While on the subject of names, by the bye, I may mention a singular coincidence of sound attending the names of some of my immediate predecessors. My father was a Monsieur Froissart, of Paris. His wife—my mother, whom he married at fifteen—was a Mademoiselle Croissart, eldest daughter of Croissart the banker, whose wife, again, being only sixteen when married, was the eldest daughter of one Victor Voissart. Monsieur Voissart, very singularly, had married a lady of similar name—a Mademoiselle Moissart. She, too, was quite a child when married; and her mother, also, Madame Moissart, was only fourteen when led to the altar. These early marriages are usual in France. Here, however, are Moissart, Voissart, Croissart, and Froissart, all in the direct line of descent. My own name, though, as I say, became Simpson, by act of Legislature, and with so much repugnance on my part, that, at one period, I actually hesitated about accepting the legacy with the useless and annoying proviso attached.

As to personal endowments, I am by no means deficient. On the contrary, I believe that I am well made, and possess what nine tenths of the world would call a handsome face. In height I am five feet eleven. My hair is black and curling. My nose is sufficiently good. My eyes are large and gray; and although, in fact they are weak to a very inconvenient degree, still no defect in this regard would be suspected from their appearance. The weakness itself, however, has always much annoyed me, and I have resorted to every remedy—short of wearing glasses. Being youthful and good-looking, I naturally dislike these, and have resolutely refused to employ them. I know nothing, indeed, which so disfigures the countenance of a young person, or so impresses every feature with an air of demureness, if not altogether of sanctimoniousness and of age. An eyeglass, on the other hand, has a savor of downright foppery and affectation. I have hitherto managed as well as I could without either. But something too much of these merely personal details, which, after all, are of little importance. I will content myself with saying, in addition, that my temperament is sanguine, rash, ardent, enthusiastic—and that all my life I have been a devoted admirer of the women.

One night last winter I entered a box at the P—— Theatre, in company with a friend, Mr. Talbot. It was an opera night, and the bills presented a very rare attraction, so that the house was excessively crowded. We were in time, however, to obtain the front seats which had been reserved for us, and into which, with some little difficulty, we elbowed our way.

For two hours my companion, who was a musical fanatico, gave his undivided attention to the stage; and, in the meantime, I amused myself by observing the audience, which consisted, in chief part, of the very elite of the city. Having satisfied myself upon this point, I was about turning my eyes to the prima donna, when they were arrested and riveted by a figure in one of the private boxes which had escaped my observation.

If I live a thousand years, I can never forget the intense emotion with which I regarded this figure. It was that of a female, the most exquisite I had ever beheld. The face was so far turned toward the stage that, for some minutes, I could not obtain a view of it—but the form was divine; no other word can sufficiently express its magnificent proportion—and even the term “divine” seems ridiculously feeble as I write it.

The magic of a lovely form in woman—the necromancy of female gracefulness—was always a power which I had found it impossible to resist, but here was grace personified, incarnate, the beau ideal of my wildest and most enthusiastic visions. The figure, almost all of which the construction of the box permitted to be seen, was somewhat above the medium height, and nearly approached, without positively reaching, the majestic. Its perfect fullness and tournure were delicious. The head, of which only the back was visible, rivalled in outline that of the Greek Psyche, and was rather displayed than concealed by an elegant cap of gaze äérienne, which put me in mind of the ventum textilem of Apuleius. The right arm hung over the balustrade of the box, and thrilled every nerve of my frame with its exquisite symmetry. Its upper portion was draperied by one of the loose open sleeves now in fashion. This extended but little below the elbow. Beneath it was worn an under one of some frail material, close-fitting, and terminated by a cuff of rich lace, which fell gracefully over the top of the hand, revealing only the delicate fingers, upon one of which sparkled a

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