Punch, Or The London Charivari | Page 9

_Q._ In like manner a Patentee, who
invents a most useful article, enjoys (for a consideration) a monopoly
of its sale, does he not? _A._ For fourteen years. This enables him to
recoup himself for the thought and labour he has employed in the most
useful article's construction. _Q._ If Author and Inventor were allowed
an absolute monopoly of the profits arising out of their brain-work, it
would be immoral? _A._ No doubt, as the individuals would benefit at
the cost of the community. _Q._ Why should a butterman, then, have
an absolute right in the sale of his butter? _A._ Because butter is butter,

and brains are merely brains. _Q._ And would it not be for the benefit
of the community if the landowner of a freehold were deprived of his
rights after a term of years, and his holding be given to the public?
_A._ Oh dear, no! Land, as RUDYARD KIPLING would say, "is quite
another story!"
* * * * *
COUNSEL'S MOTTO (_objected to in the Committee
Rooms_).--"Absence makes the fees grow stronger."
* * * * *
[Illustration: NOT CAUGHT YET!
MASTER LONDON-COUNTY-COUNCIL. "IF I CAN ONLY GET
NEAR ENOUGH!!!"]
* * * * *
OPERATIC NOTES.
[Illustration: "Oh, I mustn't Catch the Speaker's Eye!"]
The first night of the Mixed Italian Opera Season, 1891. We open with
GLÜCK's _Orféo_, and, in a strong opera-glass, we drink to
DRURIOLANUS OPERATICUS, and say, "Here's G-luck t'you!"
Nothing can begin the season better than the appearance of GIULIA
and SOFIA RAVOGLI--specially GIULIA--"There's something 'bout
GIULIA So werry peculia'"--(_Old Song_)--in this short Opera, that is
to say, an Opera which should be short were it not for the "waits"
between the Scenes and Acts, which, as it is in the nature of weights to
do, must always make even the lightest Opera seem heavy. Mlle.
GIULIA sang and acted perfectly. Her rendering of the last song was
most pathetic. This delicious melody the audience would have had over
and over again, not in merry mood, for we are never merry in the
hearing of such sweet music, but in appreciative sympathy with the
woes of Orpheus so sweetly expressed. The lines in Bombastes rise in

my memory:--
"So ORPHEUS sang of old, or poets lie, And--"
On consideration, however, I will not quote the remainder, but will say
simply that we were all charmed. Welcome, at the commencement of
another season, to Mlle. BAUERMEISTER, appearing as Cupid.
To-morrow she will be _Dame Marta_! Wonderful! "Time cannot stale
her infinite variety." How is it, O _première danseuse_, my pretty
pretty Polly Hop-kino PALLADINO, Principal Shade among all these
Happy but Shady characters, that thou didst not choose a classic dance
in keeping with the character of the music and of the ideal--I distinctly
emphasise "_ideal_"--surroundings? What oughtest thou to represent in
the Elysian Fields? A Salvationised "Dancing Girl," without bonnet and
tambourine? Nay, not so; but rather the very spirit of classic grace and
elegance, moving rhythmically to melodious measure. In such a Scene
as this ought to be, we want as much idealism as your graceful art can
lend, otherwise we are only among our old friends, "the ladies and
gentlemen of the Chorus"--bless em!--representing most substantially
the "Shades of the Blessed," who appear to be Shades of every colour.
GIULIA RAVOGLI, however, kept us entranced in the ancient classic
land where once we used to wander. "_Vive Lemprière!_"
[Illustration: Talking about Marguerite behind her Back; or, "'Tails' out
of School."]
Second Night.--_Faust_, with a new _Marguerite_, Gay dog, Faust.
How many Marguerites have there been even in my time! Same old
story. Faust not a whit improved by experience--going on just the same
as ever. His new Marguerite does credit to his choice, for Mlle.
EAMES--(isn't she Miss EAMES, and neither Mademoiselle nor
Signora? And doesn't she hail from Columbia?--but no matter)--is a
sweet-looking _Marguerite_, with a voice as true as is her heart to
Faust. A genuine _Gretchen_, simple not brilliant. Brilliancy she leaves
to property diamonds, but awakes enthusiasm, by her judicious acting
over the inert body of _Valentine_, when she attempts no sudden
Colwell-Hatchney shriek, always so perilous. Signor PEROTTI looked
as Faust might have done, had he been elected an Alderman of the City

of London and acted up to the character. If DRURIOLANUS had lent
him his Sheriff's chain to wear, Signor PEROTTI would have been
perfect, that is from this point of view. M. MAUREL excellent as
Mephisto in a new suit of clothes. He appears now as "The Gentleman
in Grey"--rather suggestive of his having become a Volunteer, and a
member, of course, of "the Devil's Own." Imagine Mephistopheles
re-dressed at last! On both nights Signor MANCINELLI, the
Conductor, seemed pleased, and that's something.
[Illustration: The New Faust, a mixture of Henry