get a French Opera, or a Dutch one, just as at an oyster-shop—­but perhaps this is not quite the illustration I should like, as, at an oyster-shop, they do ask you which you will have, “Natives,” or “Seconds,” or “Anglo-Dutch”; and, when you can’t afford Natives, you put up with an inferior quality at a lesser price.  But if that oyster-seller called his shop “The Native-Oyster Shop,” should I have any ground of action against him for selling any other oysters except Natives?  No.  But then he would ask me “If I wanted Natives or not?” And if I said “Yes,” he would give me Natives.  Now I admit I do not ask the Public at the doors Which will you have? because I may not be able to have an English Opera always on tap, so to speak.  Metaphors a bit confused, but you know what I mean.  If I had a few English Operas on tap I might turn ’em on, say, on Mondays, Wednesdays and Fridays:  English Opera by English Composers on those days, and on the other days, any Operas by any Composers.  But if the Public won’t come on the English Opera nights, and will come on the other nights?  What then?  Why obviously I must keep my Natives (if I have any) in a barrel, and deal only with the foreign supply.  “Blame not the Bard”—­I mean blame not the patriotic man of business, but let our cry be “Art for Art’s sake,” and the English Opera for ever! that is, as long as Art and English Opera pay.

Yours,

A MANAGER FIRST AND ANYTHING YOU LIKE AFTERWARDS.

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LATEST FROM SHOTSHIRE.—­The only appropriate beverage for a Sportsman out shooting,—­why “Pop” to be sure.

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