Ah, here I am again!--I know this scene, In which, when I was young, so oft I've been. I recognise each spot I see around, The stocks know me, and well I know the pound! The sight of these my eyes with tears is filling: I knew that pound when I had not a shilling! Molly, walking in her sleep, enters Rodolpho's apartment, and is found there by Swelvino, but is vindicated, like her prototype in the opera, by being subsequently discovered in a somnambulant condition. The story of "La Sonnambula" is, in fact, followed closely, but caricatured throughout. W. Rogers, who was the Swelvino, and Mitchell, who was the Molly, appear to have been highly successful in exciting the hilarity of their audiences. The latter portrayed the heroine as "a waddling, thick-set, red-and-ruddy, blowzy-faced goblin, with turn-up nose and carroty hair, wrapt in a pea-soup or camomile-tea-coloured negligée, and carrying," in the sleep-walking scene, "a farthing rushlight in one of Day & Martin's empty blacking-bottles." Of Swelvino's appearance we may judge from a remark made by Molly to her lover:-- I, by looking in your face, can tell What are your feelings excellently well. Oh, yes! the fulness of that ruby nose Your love for me doth passing well disclose; Your agitated whisker shows full well What throbs of passion underneath it dwell! The two other skits upon the opera were the work of H. J. Byron, who produced the first at the Prince of Wales's in 1865, under the title of "La! Sonnambula! or the Supper, the Sleeper, and the Merry Swiss Boy; being a passage in the life of a famous 'Woman in White': a passage leading to a tip-top story." Miss Marie Wilton was the Merry Swiss Boy (Alessio); Miss Fanny Josephs was Elvino; Mr. Dewar, Rodolpho; "Johnny" Clarke, Amina; Miss Bella Goodall, Lisa; Mr. Harry Cox undertaking the _rôle_ of "a virtuous peasant (by the kind permission of the Legitimate Drama)." This was Miss Wilton's first production at the Prince of Wales's, and it was a great success. In 1878 Byron brought out at the Gaiety a piece which he called "Il Sonnambulo, or Lively Little Alessio." In this he introduced several variations on the operatic story; making the Count (Edward Terry) the somnambulist, instead of Amina--in burlesque of Mr. Henry Neville's sleep-walking scene in Wilkie Collins's "Moonstone." Miss Farren was the lively little Alessio, and Mr. Royce the "local tenor," Elvino.