A _yawn_, however gentle, Is to the face not ver_y orn_amental. At the very end of the piece, there is a skilful bit of rhyming. Psyche "comes down" and says:-- Now, stupid-- Why don't you speak the tag and finish, Cupid? _Cupid._ Because I'm in a fix, my charming friend. _Psyche._ How so? _Cupid._ The piece with your name ought to end; And, though I should give all my mind and time to it, I know that I shan't get a word to rhyme to it. _King_ (_cleverly_). There's Bikey. _Bacchus_ (_as if he'd hit it--rather_). Dikey! _Zephyr_ (_suggestively_). Fikey! _Venus_ (_authoritatively_). Likey! _Cupid_ (_who has shaken his head at each suggestion_). Pooh! _Chrysalis._ Oh! (_every one interested, as if she'd got it now_) Crikey! (_every one disgusted_). _Psyche._ Ma'am, that's vulgar, and won't do. _Grubbe_ (_calmly and complacently_). Ikey! _Cupid._ Absurd. I yield it in despair. Come--the finale; I'll commence the air (_sings two very high notes_--_all shake their heads_). _Mars._ Oh no! we cannot sing in such a high key. _Cupid_ (_joyfully to Psyche, catching the rhyme at once_). That's it. (_takes her hand--to audience_). Pray smile on Cupid. _Psyche._ And on Psyché. Among other "classical" burlesques may be mentioned Mr. Burnand's "Arion," seen at the Strand in 1871, with Mr. Edward Terry, Mr. Harry Paulton, and Miss Augusta Thomson; and H. B. Farnie's "Vesta," produced at the St. James's in the same year, with Mr. John Wood and Mr. Lionel Brough. Mr. Burnand's "Sappho" (1866), and "Olympic Games" (1867), also call for mention. John Brougham's "Life in the Clouds" belongs to 1840; Tom Taylor's "Diogenes and his Lantern" to 1849; the Brothers Brough's "Sphinx" to the same year; William Brough's "Hercules and Omphale" to 1864; and Mr. Reece's "Agamemnon and Cassandra, or The Prophet and Loss of Troy," to 1868. IV. BURLESQUE OF FAËRIE.