But, more than all, it certainly is no place for the production of so revolting a scene as the open license of the ball, or the more quiet but quite as offensive supper-party after it. Real water, real horses, and real elephants have been banished from the stage, it being found that the real things interfere essentially with the truthfulness of the scene. A great distinction should always be taken between mere representation and identity--a difference clearly established and rigidly preserved between the fiction and the fact, or why not have a real fight with true swords? Why not go back at once to Thurtell's gig and Weir's pistol? Now, in the instance of the carnival ball, the resemblance is carried beyond all bounds. It ceases to be an imitation, and becomes a reproduction. We will be bound to say, at no saturnalia in the opera ball-room of Paris was there ever exhibited a wilder scene of revelry and debauch--women, indelicately clothed in male attire, whirl in fantastic attitudes to a noisy crash of music--their voices in the mad excitement of the moment are joined to the noise of the orchestra; petticoats, where preserved at all, assume the dimensions of kilts; it is evidently the crowning hour of the night's festivity--modesty, decorum, propriety, all laid aside, and a grinning buffoon in white gown, with chalk-covered face and ludicrous contortions, adding a new feature of disgust to the display, which is sickening enough already. We can easily imagine that this vivid scene may have injurious effects--that it may be even more hurtful than a visit to the original meeting would have been; for there is probably here a heightening of the attractions of the show, in as much as the dancers are chosen for their beauty, and the dresses selected for the very purpose of captivation and allurement. If such a scene was required at all, it should, certainly, have been produced in a less attractive form. We should not have been so severe on this subject if we did not feel that no theatre in London less needs to depend on such displays for success. No theatre in London has it so completely in its power to show to what noble uses a stage may be applied; for on none is there so near an approach to the ancient glory of the drama in the skill and _ensemble_ of the actors. Exercising talents like these on ghosts and festivals is a mere waste of power. It is turning a steam-engine to the manufacture of pins--of pins that are useless in spite of their polished heads, and poisonous if they penetrate the skin. Let not this one departure from taste be urged against theatrical amusements in general, or the entertainments at this house in particular. It is a French importatation--this ghostly melodrama, this unmeasured ball. But Shakspeare is here with his English heart, and "empire absolute" over the feelings. The poetry of "Twelfth Nigh" alternates with the wondrous picture in the "Merry Wives of Windsor." The gentle Viola speaks in