From the Easy Chair, vol 1 | Page 5

Every part is adapted to every other, and, in the key, the whole is harmonious. Hermann, for instance, the basso, who sang Mephistopheles, would have been quite perfect if he had only remembered this. But he forgot that Mephisto is a sly and subtle devil. He caricatured him. He made him a buffoon and repulsive. Such extravagance could not have imposed upon Faust or Martha; yet we all agreed that it was very fine, and amiably applauded what no opera-goer of sense could seriously approve.
You think that this is taking syllabub seriously, and that the circumstances of the time had made the Easy Chair hypercritical. No; it was only that there comes a time in theatre-going when the boxes are more interesting than the stage. The mimic life fades before the real. In the midst of the finest phrases of the impassioned Herr Faust, what if your truant eyes stray across the parquette and see a slight, pale figure, and recognize one of the bravest and most daring Union generals, whose dashing assaults upon the enemy's works carried dismay and victory day after day? Herr Faust trills on, but you see the sombre field and the desperate battle and the glorious cause. Gretchen musically sighs, but you see the brave boys lying where they fell: you hear the deep, sullen roar of the cannonade; you catch far away through the tumult of war the fierce shout of victory. And there sits the slight, pale figure with eyes languidly fixed upon the stage; his heart musing upon other scenes; himself the unconscious hero of a living drama.
Or, if you choose to lift your eyes, you see that woman with the sweet, fair face, composed, not sad, turned with placid interest towards the loves of Gretchen and Faust. She sees the eager delight of the meeting; she hears the ardent vow; she feels the rapture of the embrace. With placid interest she watches all--she, and the sedate husband by her side. And yet when her eyes wander it is to see a man in the parquette below her on the other side, who, between the acts, rises with the rest and surveys the house, and looks at her as at all the others. At this distance you cannot say if any softer color steals into that placid face; you cannot tell if his survey lingers longer upon her than upon the rest. Yet she was Gretchen once, and he was Faust. There is no moonlight romance, no garden ecstasy, poorly feigned upon the stage, that is not burned with eternal fire into their memories. Night after night they come. They do not especially like this music. They are not infatuated with these singers. They have seats for the season; she with her husband, he in the orchestra chairs. She has a pleasant home and sweet children and a kind mate, and is not unhappy. He is at ease in his fortunes, and content. They do not come here that they may see each other. They meet elsewhere as all acquaintances meet. They cherish no morbid repining, no sentimental regret. But every night there is an opera, and the theme of every opera is love; and once, ah! once, she was Gretchen and he was Faust.
Do you see? These are three out of the three thousand. There is nothing to distinguish them from the rest. Look at them all, and reflect that all have their history; and that it is known, as this one is known, to some other old Easy Chair, sitting in the parquette and spying round the house. "All the world's a stage, and men and women merely players."
Is it quite so? Are these players? The young pale general there, the placid woman, the man in the orchestra stall, have they been playing only? There are scars upon that young soldier's body; in the most secret drawer of that woman's chamber there is a dry, scentless flower; the man in the orchestra stall could show you a tress of golden hair. If they are players, who is in earnest?

EMERSON LECTURING.
Many years ago the Easy Chair used to hear Ralph Waldo Emerson lecture. Perhaps it was in the small Sunday-school room under a country meeting-house, on sparkling winter nights, when all the neighborhood came stamping and chattering to the door in hood and muffler, or ringing in from a few miles away, buried under buffalo-skins. The little, low room was dimly lighted with oil-lamps, and the boys clumped about the stoves in their cowhide boots, and laughed and buzzed and ate apples and peanuts and giggled, and grew suddenly solemn when the grave men and women looked at them. At the desk stood the lecturer and read his manuscript, and all but the boys sat silent and inthralled by the musical