"PAUL POTTER," a name hitherto historically associated with the celebrated "Bull," not Papal but pictorial, now about two centuries old, has hit the bull's-eye this time, and will realise a good round sum from JOHN "of that ilk." Thoroughly does PAUL deserve it for his audacious ingenuity and his daring disregard of dramatic conventionality. His third act, in which there is hardly any action until the second entrance of _Svengali_, is so contrived that a few persons narrating in dialogue what they are supposed to see happening off the stage, work up the excitement of the audience to such a pitch that they instinctively cry "hush!" in order that they too may join with the characters on the scene in listening to the voice of an invisible _Trilby_ singing the hackney'd ditty "_Ben Bolt_"! This is a triumph due to the dramatist, to Messrs. LIONEL BROUGH (_The Laird_), Mr. EDMUND MAURICE (_Taffy_), and Mr. PATRICK EVANS (_Little Billee_), with MRS. FILIPPI as _Madame Vinard_. In this scene Mr. TREE'S _Svengali_ is no longer the squalid _Fagin_, but is like the old pictures of PAGANINI, the famous violinist, decked with the jewellery of the once celebrated "Mons. JULLIEN." Now comes the exhibition of _Svengali's_ venomous hatred for _Little Billee_, in whose face he spits; a horrible and revolting thing to see done on the stage, even though we know he is "only purtendin'." For this disgusting exhibition of temper, he is half strangled by the Welsh giant _Taffy_. _Trilby_, no longer under the hypnotic influence of _Svengali_, sings horribly out of tune; the audience are supposed to rise in their wrath and threaten to wreck the house (rather a strong order this, but, as I have hinted, what no other dramatist dares POTTER dares); and then the miserable _Svengali_, after writhing and twisting in his last agony, and "doing a back-fall" across a table with his head downwards towards the foot-lights, his breath shaken out of his body, his hair out of curl, his eyes staring horribly, dies,--a terrible topsy-turvy death never before seen on any stage. In the last Act poor ill-used _Miss O'Ferrall_ also dies. The dramatist has prevented this scene from being an anti-climax, wherein lay the danger, by preparing the audience with a weird story told by _Zouzou_ (Mr. HERBERT ROSS) of his having seen the ghost of _Svengali_, who, soon afterwards, appears as a portrait of himself--not "a speaking likeness," as he does not utter a syllable,--done in "luminous paint," within a picture-frame which has been forwarded as a nice little wedding present to _Miss O'Ferrall_ on the eve of her marriage with _Little Billee_, accompanied by a letter in _Svengali's_ handwriting, sent probably through the infernal agency of the Dead Letter Office authorities. Thus the Satanical _Svengali_, taking a hint from the Commendatore's statue in _Don Giovanni_, dominates the play till the final descent of the curtain.