the world, while we sit at home and tattle over the tea-things and marry when we're asked. And, à propos, how I longed to tell Aspasia that my heart is hers! But I am a man; it was for her to speak.
At last she pulled herself together with the self-assurance of a woman who knows that
[OUR MATCHES STRIKE ONLY ON THE TROUSERS.]
the weaker sex is at her mercy. "Dear Ariel," she began, and her deep mulierile notes vibrated through my fluttering chest; "dear Ariel, this halcyon eve, this ethereal air that breathes the subtle incense of eucalyptus—all, all, invite me to offer you
[LITTLE TEASERS.—For the liver. As used in the Russo-Japanese negotiations. The Arch-Prince General von Schplitviski sends us the following despatch:—"Plenipotentiary Ita Bino had a difference with me on the question of a peninsula. Two of your LITTLE TEASERS, however, came home to him, and he is now more amenable. You have my authority for stating that your system of internal adjustment has averted a disastrous and even stupid war."
[Left advertising.
OPERATIC NOTES.
Opening of Opera. Monday, May 13.—Crowded house. Grand Otello Co. unlimited. The Orchestra has been sunk four feet, thus giving Stalls clear view of stage. Druriolanus proposes a puzzler "Orchestra lowered," he says, "yet all performers in it hired!" Royal Highnesses present. Druriolanus, taking happy musical publishers' points of view, looks towards Royal Box and murmurs "'Royalties' on music." Albani surpasses herself as Desdemona: quite wonder that Otello-Tamagno has the heart to smother her with pillow after her song about the willow. Signor Pessina as Iago: rather a ponderous villain. Pecuniary operatic prospects exceptionally good: at all events, possessing Jean de Reszke, Tamagno, and Bertran, Druriolanus has "three tenners" in hand to start with.