class="sc">Druriolanus himself, "Iboss." Monsieur Ybos belongs to the school of Signor Vibrato. Energetic but too angry with Valentina, when she confesses that she loves him. Ella Russell magnificent as sleeveless Queen. Ned de Reszké the best possible Marcello. As Druriolanus, dropping into poetry, observes—

Monsieur Dufriche as San Bris, "quite the brie," or cheese. Madame Tetrazzini a dramatic Valentina. Dan Drady a first-rate Conte di Nevers-too-late-to-mend. Curfew-Watchman in perfect tune. Soldiers' rataplanatory chorus very nearly perfection at finish, though starting shakily. Little Palladino danced so delightfully as even to bewitch the Hug-me-not soldiers. I've seen this Opera any number of times, and I have been at considerable trouble and expense to master the plot. An idea strikes me. I shall publish Examination Papers on Popular Operas. What the prize will be for the one who answers correctly from memory, without reference to any libretto, is a matter for further consideration. Here is a specimen of examination paper on the Huguenots:—

Act I.—Why is Raoul blindfolded?

What is Miss Valentine doing in somebody else's house?

Why does Raoul's servant come in and sing a hymn?

Why is he apparently pleased when Raoul is blindfolded and taken away?

Raoul di Nangis Ybos. "'Tu m'ami!' How dare you! 'Tu m'ami!' I can't tell you how angry I am with you. I'll vibrato you!"

[Shakes himself, and her at the same time.]

Act. II.—Account for the dresses of the bathing-women who come in and dance before the Queen. Where are the machines?

What is the Page's song, "No, no, no, no!" about?

Is Raoul in love with the Queen, or the Queen with Raoul? In either case account reasonably for the subsequent conduct of each of them.

What is the Queen singing about at commencement of Act?

Act III.—What is Valentine doing out in the streets, in a wedding-dress, late at night?

Why do the women turn their backs on the church when they kneel in the streets to say their prayers? Is there no more kneeling-room inside the church? If so, why are people still being admitted while the women are kneeling outside? What service should you say was going on?

Where do the Maritanas with tambourines all come from? And why? Are they the bathing-women in another costume? If so, show their connection with the plot.

After the curfew has sounded, and a man with a lantern has sent everyone to bed, why do all the people suddenly come out of bed again, every one of them all dressed and ready for anything?

What is the Queen doing riding about the town at night on a white horse?

Act IV.—Don't you think the Conspirators are very simple-minded people, not to look behind the curtain where Raoul is hidden? What have the nuns to do with the blessing of the daggers? Wouldn't they be rather in the way in a conspiracy?

On what storey does the action of Act IV. take place, and what is the height from the ground that Raoul has to leap when he jumps out of the window?

There used to be a Fifth Act, with a grand trio and chorale, what has become of it? If played, does anyone stop to hear it? If not played, can audience sue the management, or demand their money back?

Unexpected effect. Sudden appearance of representative of Katti Lanner.

Thursday.—Memorable for two rentrées and one first appearance. Rentrée of Madame Etelka Gerster, rentrée of Ravelli, and first appearance, on stage, this season, of Covent Garden Cat. Trying position for the sleep-walking heroine in bed-room scene, when the Covent Garden Cat (who was in front last Tuesday night, when she ran round the ledge of the pit tier in humble imitation of little Laurie at Pantomime time) suddenly rushes from under the bed, and after nearly frightening into fits naughty little Lisa Bauermeister, who happens to be hiding there, walks with tail erect quietly across the stage, and makes a good exit R. 2. E. Count Edouard, in commencement-of-nineteenth-century hat and coat, finished off with trousers and patent-leather boots of date A.D. 1890, much amused. Amina supposed to be walking in her sleep, can't possibly take notice of animal, but House in chuckles, as an audience always is, whenever the harmless and quite unnecessary cat appears upon the stage. Rentrée of Ravelli, in first-rate voice. Everyone charmed with him, and with Ned de Reszké. Signor Rinaldino an amusing Alessio, and Madame Sinico tunefully affectionate as the devoted and sympathetic Mamma of the Aminable heroine. Melodies of our childhood, delightful to hear them again; and the good old-fashioned Italian Opera terminations to the choruses admirably rendered.

Friday.—"Dr. Faust, I presume?" I wasn't there. Opera went on, I believe, in my absence.

Saturday.—La Traviata. Ella Russell at her best. Tenor Montariol not quite at his best as that despicable character Alfredo. M. Palermini (why not "Old Pal"?) very good as Giorgio Germont. The magnificently-attired chorus enjoy themselves amazingly at supper in Act I., for Violetta, when she does do the thing, does it well, and there are certainly not less than four bottles of champagne among a hundred guests.

Questions for Examination Paper.—At whose house does this supper-party take place? Why do all the guests leave at once? Why is everyone in a Charles the Second costume except Violetta, who is in fashionable evening dress of 1890? Who is the young lady whom Violetta so affectionately kisses? and what, if anything, has she to do with the plot?

In Act III.—Is it a bal masqué? If not, what is it, and where? What is the simple game of cards which Alfredo plays with such enthusiasm? Who wins? and how much?

CAUTION.

Married Sister. "And of course, Laura, you will go to Rome or Florence for your Honeymoon?"

Laura. "Oh dear, no! I couldn't think of going further than the Isle of Wight with a Man I know little or nothing of!"