Our English writers of _libretti_ are about as original as the rest of our dramatists. _The Bohemian Girl_ is not only identical in subject with _La Gitana_, but is a translation of an unpublished opera founded on that _ballet_ and written by M. St. George. The English version is evidently called _The Bohemian Girl_ from M. St. George having entitled his manuscript opera _La Bohémienne_, and from Mr. Bunn having mistaken the meaning of the word. It is less astonishing that the manager of a theatre should commit such an error than that no one should hitherto have pointed it out. The heroine of the opera is not a Bohemian, but a gipsey; and Bohemia has nothing to do with the piece, the action taking place in some portion of the "fair land of Poland," which, as the librettist informs us, was "trod by the hoof;" though whether in Russian, in Austrian or in Prussian Poland we are not informed. _La Zingara_ has often been played at Vienna, and I have seen _La Gitana_ at Moscow. Probably the Austrians lay the scene of the drama in the Russian, and the Russians in the Austrian, dominions. Fortunately, Mr. Balfe has given no particular colour to the music of his _Bohemian Girl_, which, as far as can be judged from the melodies sung by her, is as much (and as little) a Bohemian girl as a gipsey girl, or a Polish girl, or indeed any other girl. The _libretti_ of Mr. Balfe's _Satanella_, _Rose of Castille_, _Maid of Honour_, _Bondsman_, &c., are all founded on French pieces. Mr. Wallace's _Maritana_, is, I need hardly say, founded on the French drama of _Don Cæsar de Bazan_. But there is unmistakeable originality in the _libretto_ of this composer's _Lurline_, though the chief incidents are, of course, taken from the well-known German legend on which Mendelsohn commenced writing his opera of _Loreley_. [Sidenote: NATIONAL STYLES.]