Sir A.-Jack, Jack! what think you of blooming love-breathing seventeen?

Capt. A.-As to that, sir, I am quite indifferent: if ] can please you in the matter, 'tis all I desire.

Sir A.-Nay, but Jack, such eyes! such eyes! so innocently wild! so bashfully irresolute! Not a glance but speaks and kindles some thought of love! Then, Jack, her cheeks! her cheeks, Jack! so deeply blushing at the insinuations of her tell-tale eyes! Then, Jack, her lips! Oh, Jack, lips, smiling at their own discretion and, if not smiling, more sweetly pouting-more lovely in sullenness! Then, Jack, her neck! Oh! Jack! Jack!

Capt. A.-And which is to be mine, sir: the niece, or the aunt?

Sir A.-Why, you unfeeling, insensible puppy, I despise you! When I was of your age, such a description would have made me fly like a rocket! The aunt, indeed! Odds life! when I ran away with your mother I would not have touched any thing old or ugly to gain an empire!

Capt. A.-Not to please your father, sir?

Sir A.-To please my father-zounds! not to please— Oh! my father? Oddso! yes, yes! if my father, indeed had desired—that's quite another matter. Though he wasn't the indulgent father that I am, Jack.

Capt. A.-I dare say not, sir.

Sir A.--But, Jack, you are not sorry to find your mistress is so beautiful?

Capt. A. Sir, I repeat it, if I please you in this af fair, 'tis all I desire. Not that I think a woman the worse for being handsome; but, sir, if you please to recollect, you before hinted something about a hump or two, one eye and a few more graces of that kind. Now,

without being very nice, I own I should rather choose a wife of mine to have the usual number of limbs, and a limited quantity of back; and though one eye may be 'very agreeable, yet, as the prejudice has always run in favor of two, I would not wish to affect a singularity in that article.

Sir A.-What a phlegmatic sot it is? Why, sirrah, you are an anchorite! a vile, insensible stock! You a soldier! you're a walking block, fit only to dust the company's regimentals on! Odds life, I've a great mind to marry the girl myself!

Capt. A.-I am entirely at your disposal, sir; if you should think of addressing Miss Languish yourself, I suppose you would have me marry the aunt; or if you should change your mind, and take the old lady, 'tis the same to me-. -I'll marry the niece.

Sir A.-Upon my word, Jack, thou art either a very great hypocrite, or-but, come, I know your indifference on such a subject must be all a lie-I'm sure it must. Come, now, confound your demure face; come, confess, Jack you have been lying, ha'nt you? You have been playing the hypocrite, hey? I'll never forgive you, if you ha'nt been lying and playing the hypocrite.

Capt. A.--I am sorry, sir, that the respect and duty which I bear to you should be so mistaken.

г

Sir A.-Hang your respect and duty! But come along with hes to L.] I'll write a note to Mrs. Malaprop, and you shall visit the lady directly. Her eyes shall be the Promethean torch to you---come along, I'll never forgive you, if you don't come back stark mad with rapture and impatience-if you don't, 'egad, I'll marry the girl myself! [Exeunt, L.]

TABLEAUX

UNDINE.

HIS tableau will be made most beautiful and effect

THIS

ive if the following directions are observed. First a frame, six feet by four, is needed. For unreal, misty effect, a double thickness of black gauze should be used.

Place a mirror at an inclination which you can determine by experiment. Cover it with one thickness of black gauze, surround it with water-plants, vines, ivy, -anything to make it appear a natural piece of water; let there be tall flowers at the back, like lilies and iris, and low trees of picturesque form to represent bushes. These you can get of any florist, in pots, and the pots can easily be hidden behind the mirror in the hollow platform. A bough of pine nearer the foreground can be easily introduced by nailing it to a screen. The background should be gauze of a subdued green, and lilies on the surface of the mirror, pinned to the gauze stretched upon it, will cast soft reflections. Have real flowers if in season, artificial ones if not.

The Undine should be slender and fair; her dress of diaphonous white; her hair long and wet, and dripping. From her hands drops of water falling may be repreented by drops of crystal strung upon a hair or fine silk thread. Let a mild, suffused light shine dimly through the background, and let the cast light be placed at the left front corner of the picture, with a hemispherical reflector, and shining through a green glass. The reflec tion of the Undine in the mirror seems to make a move ment with her own body like a fountain.

OPHELIA.

For Ophelia use the same stage appointments as for Undine, altering the character of the surroundings a little, to give it a wilder expression.

The right hand of Ophelia should be seen clasping hold of an overhanging branch as if for support- the body thrown forward, the gauzy-white drapery of the overskirt pulled to the right. Let the hair of the Ophelia be very dark, and her face very pale, and her figure tall, slender, graceful; her eyes must look at nothing, and the action of her hand seem automatic as she drops the flower at which she does not look. Here a hair or invisible silk must be used to hold the flower; fasten the hair or silk to the root of the middle finger, that the action of the finger tips may be unencumbered. For this character you must choose a woman with some dramatic talent.

Let there be no color in the picture but a dull green. and perhaps a little purple among the flowers; let the rest be white, and let the light in the background be extremely faint, and the cast light at the right-hand upper corner in front be very brilliant, and cast directly upon the upper portion of Ophelia's face and body, and let a parabolic reflector be used and no glass, but the light pure and simple.

A MONK IN HIS CELL.

A frame about four feet, six inches square-varying a little with the size of the actor-will be large enough for the next picture, a "Monk in his Cell" by moonlight, meditating upon a skull. The window used in this should be a latticed frame containing no glass, and there should be neither top nor foot lights used here. Every light should be extinguished but one to the right of the picture, which shines through the window; a parabolic

reflector should be used, the rays cast directly upon the white-hued cowl of the monk, and making a shadow on the wall. The light must shine through glass of a cold shade of green "cathedral rolled." The wall of the cell can be perfectly represented by a screen papered with that coarse, heavy, gray paper, rough in surface, used sometimes without wadding beneath carpets,-a very thick paper, very cheap, and of a stone-gray. The actor can easily find at a wig shop a wig to represent a shaven head with the monkish fringe of hair; the dress can be made of black and white flannel or serge; the table of unpainted pine, made at any carpenter's, oiled down into a dull tone or made of weather-stained plank : there should be a rough seat of the same. A skull can be procured at any medical college, or of almost any physician. This is one of the simplest of all the tableaux, and one of the most effective, if the light be well arranged and the air of mystery be given to the shadows

A NUN AT HER DEVOTIONS.

"A Nun at her Devotions" is one of the simplest of all. It hardly needs description. A background of dark brown gauze, very faintly lighted at the upper right-hand corner; a dress of black serge or stuff, with black veil and white coif; a crucifix and rosary,-these are the very simple materials needed. Let the light fall from the left-hand upper corner in front, and use the parabolic reflector. Choose your nun for the beauty of her eyes, the regularity and refinement of feature, and the elegance of her hands.

THE HARVESTERS.

"The Harvesters" is capable of very exquisite effect if given with artistic sense and a judicious selection of

actors.