Summary

Portrait of Rosa Campbell Praed Rosa Campbell Praed The Soul of Countess Adrian — Chapter 10 (1891)

She gave those words now with a half-defiant unsexed air as of a coquette who knows the power of her wiles, and is determined, even at the cost of her fair fame, to bring the man to her feet. Then followed the scene with Antonio, in which Beatrice had always before been so tender, sweet, and womanly—so pure, that in the very faith and fortitude of her own purity she was free to come down and to defy conventionality, and bid her lover come up to her. Now—what had come over her? It was not a Duchess of Malfi, but a Catherine of Russia.
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Portrait of Rosa Campbell Praed Rosa Campbell Praed The Soul of Countess Adrian — Chapter 10 (1891)

London could do without Countess Adrian, but it could not calmly contemplate the loss of its Duchess of Malfi. Placards were posted at the theatre. Hurried rehearsals were called, and Beatrice's understudy stepped into prominence and exulted in secret over the calamity which had given her her great opportunity. The doctors agreed that the long trance was cataleptic, and that nothing could be done but to watch and wait. The two women lay, each cold and motionless, the living, to all outward semblance, as lifeless as the dead.
Source: Wikisource

Portrait of Rosa Campbell Praed Rosa Campbell Praed The Soul of Countess Adrian — Chapter 10 (1891)

Lendon could almost have wept tears of joy. Mrs. Cubison sent him away. Inskip and the doctors had agreed that sleep was the best restorer, and she wanted to keep the house as quiet as possible. She promised to telegraph, and told him that he might come back in the evening. He went to his studio and occupied himself feverishly during the intervals of the hourly bulletins which announced Beatrice's progress. The portrait of Countess Adrian, glowing with beauty and with all the appearance of inextinguishable life, stood in mockery upon its easel, and oppressed him like a living presence.
Source: Wikisource

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