[Exeunt “B. and S.”]

* * * * *

[Illustration:  FROM THE PARTICULAR TO THE GENERAL.

“I SAY, OLD CHAPPIE—­WHAT TREMENDOUS HIGH CHAIRS YOU’VE GOT—­ONE’S FEET POSITIVELY DANGLE!”]

* * * * *

THE SONG OF THE BAR.

  Work, work, work! 
    Sang HOOD, in the “Song of the Shirt,”
  Of the seamstress slave who worked to her grave
    In poverty, hunger, and dirt. 
  Work, work, work! 
    The Bar-maid, too, can say,
  Work for ten hours, or more;
    Oh, for “eight hours” a day!

  Is she a happier slave
    Where gilding and mirrors abound? 
  Of what can she think when eternal drink
    Is the cry of all around? 
  Stand, stand, stand! 
    Serving sots from far and near;
  Stand, stand, stand! 
    More whiskey!  More brandy!  More beer!

  Possibly some one may say,
    “What can that matter to us? 
  She is frail, frivolous, gay;
    She is not worth a fuss.” 
  Prig, all her life is a snare,
    You, so excessively good,
  Would pity her rather if there
    Once for ten hours you stood.

  How would you feel at the end? 
    You may not think she is fit,
  Quite, for your sister’s friend—­
    Is she too wicked to sit? 
  Stand stand, stand! 
    In the smoke of pipe and cigar,
  Always to think of eternal drink;
    Oh, pity the Slave of the Bar!

* * * * *

BY A RIBBON GIRL WHO HAS BEEN TO FRANCE.—­“Sure the town itself must be full of go-a-head young women that a decent female wouldn’t be seen spaking to—­else why is it called Belle-Fast?”

* * * * *

THE OPERA IN THE FUTURE.

(AS SUGGESTED BY “MUSICAL PAUPERS.")

SCENE—­Interior of Covent Garden on a Subscription Night.  The house is filled in the parts reserved for Subscribers.  The remainder of the Auditorium is less crowded.  The Overture is over, when there is a loud cry for the Manager.  Enter before the Curtain Courteous Gentleman, who bows, and waits in an attitude of respectful attention.

Person in the Amphitheatre. I say, Mister, look ’ere, after charging me sixpence for a seat, I’m ’anged if they don’t want an extra penny for a bill of the play.

Courteous Gentleman. Highly improper, Sir.  I will look into the matter to-morrow, and if you are kind enough to identify the attendant who has attempted this overcharge, I will have him dismissed.  And now, with your permission, your Royal Highnesses, my Lords, Ladies, and Gentlemen, we will go on with the Musical performances.

    [The Opera continues.  At the end of the Third Act there
    is another cry for the Manager.  The Courteous Gentleman
    re-enters before the Curtain, as before.