Surely this would be an improvement upon the conventional reading?  In this case where speech is silvern, silence would be golden.

Trusting some Manager will take the matter up,

I remain, always yours sincerely,

A DUMB WAITER.

* * * * *

OPERATIC NOTES.

Monday.—­Faust and Foremost.  Miss EAMES better even than she was last week.  NED DE RESZKE not so diabolical a Mephistopheles as M. MAUREL.

  NEDDY RESZKE
  Not so goblineske,

and a stouter sort of demon, but of course a “bon diable.”

[Illustration:  Cards held by Druriolanus Operaticus.]

Wednesday.—­Romeo et Julietta. JACK and NED DE RESZKE Romeo and The Friar.  Why the waltz alone, which ought to be on every organ besides Miss EAMES’S, but which, strange to say, isn’t thoroughly popular, should be enough to make an Opera; but it’s like the proportion of one swallow in the composition of a summer, and, however well sung, it does not do everything.  It’s a dull Opera.

Thursday.—­Carmen again.  House not immense.  Persons “of note” chiefly on the stage.  JULIA same as before; therefore refer to previous notice.  Cab and carriage service after the theatres everywhere wants reforming altogether.  We may not be worse off than in any other capital of Europe, but we ought to be far ahead of them.

Somebody or other complained of my writing “GLU:CK” instead of “GLUCK,” He didn’t like the two dots; one too many for the poor chap, already in his dotage, so to relieve him and soothe him, I’ll write it “GLUCK,” and then he can go to the proprietor of “DAVIDSON’S Libretto Books” and ask him to take the dotlets off the “U:”  in GLU:CK.  I wonder if my strongly-spectacle’d fault-finder writes the name of HANDEL correctly?  I dare say so correct a person never falls into any sort of error; or if he does, never admits it.  I like it done down to dots, as “HA:NDEL,” myself; it looks so uncommonly learned.

Saturday.—­Tannhaeuser. Full and appreciative house to welcome the rentree of Madame ALBANI, who was simply perfection and the perfection of simplicity as the self-sacrificing heroine Elizabeth.  From a certain Wagnerian-moral point of view, no better impersonator,—­dramatically at least, if not operatically,—­of the sensual Falstaffian Knight could be found than Signer PEROTTI; and, from every point of view, no finer representation of the Cyprian Venus than Mlle. SOFIA RAVOGLI.  M. MAUREL was admirable in every way as the moral Wolframo, and Signor ABRAMOFF the gravest of Landgraves.  The full title of this Opera should be Tannhaeuser; or, The Story of a Bard who sang a questionable kind of Song in the highest Society, and what came of it.

Fine effect at end of First Act, when prancing steeds, with secondhand park-hack saddles, at quite half-a-crown an hour, are brought in, and, on a striking tableau of bold but impecunious warriors refusing to mount, the Curtain descends.