To personal charms The Belle of the Opera adds a cultivated taste for music—a taste which she indulges at the fountain-head of such enjoyments. But does she less, on that account, or rather on _these_ accounts, (beauty and musical taste, namely,) fulfill her mission at home? Does the lesson of virtue which the accomplished mother gives to her young child, fall less _impressively_ on the heart because the infant pupil, in looking upward, gazes into a face replete with all of earthly beauty? Is there not a certain coincidence between the looks of his beloved teacher and the excellence of her delightful instruction? or rather, does not her beauty tend to make these lessons delightful? And if the charm for the child is the morning or evening hymn, does not the sacred simplicity of the text drop with extraordinary unction on the ear, if conveyed in the rich melody of a cultivated voice. I might thus enumerate all the high attainments, and show how each becomes _useful_; but it is enough to have it understood, that the true, the great value of all these high gifts and extraordinary cultivation is derived from their influence, when combined, to form the character of the possessor. The Belle of the Opera is also The Belle of the Ball-room. The same variety of characteristics, without a necessity for the same attainment, marks each, and both are liable to be set down by a superficial observer, as destitute of any qualities, except those which distinguish them in the places of amusement. May not the Belle of the Opera, or the Belle of the Ball-room, be the guardian genius of the sick chamber, the faithful, devoted director of the nursery? I knew The Belle of the Opera, and she was as fond of the dance as of the song, and shared in both in the social circle, and enjoyed them in _others_ in more public displays. Her buoyant spirits, her happy gayety of disposition, made her the marked object of admiration in all parties in which she shared—the first to propose that in which all could gracefully and appropriately join, and the last to propound a thought that could cast a gloom over the countenance of a single being around her. She seemed so much the spirit of the joyous assembly, that serious thought, deepth of feeling, or firm principles of good, were not suspected by those incapable of looking into the heart. The Belle of the Opera was deemed by such, one set apart for the enjoyment of the opera and the dance, and to be without life when without these means of life’s pleasures; to have no sympathy with her kind, excepting through music and display, and to reckon none among her intimates but the light-hearted and the gay. Men may be thus exclusive, but women are not.