_Louis._ My dagger awaits you--for your blood I faint! _Renaud._ Your dagger awaits--you'_d aggerawate_ a saint. In the final tableau, Chateau Renaud is advised to take some brandy; but he asks instead for "a go of gin--I want the _gin-go_ spirit." The latest of the burlesques on this subject was supplied--also for the Royalty--by Mr. Cecil Raleigh, whose "New Corsican Brothers" played in 1889, had more than one whimsical feature to recommend it. One of the brothers (Mr. Arthur Roberts) was supposed to be an English linen-draper, who, whenever anything was happening to the other brother, had a wild desire to measure out tape--and so on. The dialogue was in prose. "Belphegor," the generic name bestowed upon the numerous adaptations of "Paillasse," gave birth to at least one travestie of importance--that by Leicester Buckingham, which saw the light at the Strand in 1856, the year in which Charles Dillon played in one of the adaptations (at the Lyceum). "The Duke's Motto," in which Fechter "starred" at the same theatre, was the origin of H. J. Byron's "The Motto: I am 'All There'"--a piece seen at the Strand in 1863, with Miss Maria Simpson as the Duke Gonzaque, George Honey as Lagardère, and Ada Swanborough and Fanny Josephs as Blanche and Pepita. Among much which is mere punning, though deter enough for that commodity, I find this little bit of social satire:-- Receipt to make a party:--First of all, Procure some rooms, and mind to have 'em small; Select a good warm night, so draughts may chill 'em; Ask twice as many as it takes to fill 'em; For though the half you ask may not attend, The half that comes is sure to bring a friend; Select a strong pianist, and a gent Who through the cornet gives his feelings vent; Give them some biscuits, and some nice Marsala; Make a refreshment-room of the front parlour; Garnish with waltzes, flirtings, polking, ballads, Tongue, fowl, and sandwiches, limp lobster salads, Smiles, shaking hands, smirks, simpers, and what not; Throw in the greengrocer, and serve up hot.