A LADY AND GENTLEMAN IN A PECULIARLY PERPLEXING PREDICAMENT. Mrs. Waylett and Mr. Keeley were the lady and gentleman who were placed in the peculiarly perplexing predicament of making a second-hand French interlude supportable to an English Opera audience. In this they more than succeeded—for they caused it to be amusing; they made the most of what they had to do, which was not much, and of what they had to say, which was a great deal too much; for the piece would be far more tolerable if considerably shorn of its unfair proportions. The translator seems to have followed the verbose text of his original with minute fidelity, except where the idioms bothered him; and although the bills declare it is adapted by Mr. Charles Selby to the English stage, the thing is as essentially French as it is when performed at the Palais Royal, except where the French language is introduced, when, in every instance, the labours of correct transcription were evidently above the powers of the translator. The best part of the adaptation is the exact fitness of the performers to their parts; we mean as far as concerns their personnel. Of course, all the readers of PUNCH know Mr. Keeley. Let them, then, conceive him an uncle at five-and-thirty, but docking himself of six years’ age when asked impertinent questions. He has a head of fine auburn hair, and dresses in a style that a badaud would call “quiet;” that is to say, he wears brass buttons to his coat, which is green, and adorned with a velvet collar. In short, it is not nearly so fine as Lord Palmerston’s, for it has no velvet at the cuffs; and is not embroidered. Add white unhintables, and you have an imaginative portrait of the hero. But the heroine! Ah! she, dear reader, if you have a taste for full- blown beauty and widows, she will coax the coin out of your pockets, and yourselves into the English Opera House, when we have told you what she acts, and how she acts. Imagine her, the syren, with the quiet, confiding smile, the tender melting voice, the pleasing highly-bred manner; just picture her in the character of a Parisian widow—the free, unshackled, fascinating Parisian widow—the child of liberty—the mother of—no, not a mother; for the instant a husband dies, the orphans are transferred to convent schools to become nephews and nieces. Well, we say for the third time, conceive Mrs. Waylett, dressed with modest elegance, a single rose in her hair—sympathise with her as she rushes upon the stage (which is “set” for the chambre meublée of a country inn), escaping from the persecutions of a persevering traveller who will follow her charms, her modest elegance, her single rose, wherever they make their appearance. She locks the door, and orders supper, declaring she will leave the house immediately after it is eaten and paid for. Alas! the danger increases, and with it her fears; she will pay without eating; and as the diligence is going off, she will resume her journey,