In the Second Act, Kenilworth shown illuminated for the reception of _Elizabeth_--_Leicester_ having evidently borrowed one of the band kiosks from Earl's Court. _Elizabeth_, according to stage directions, should have entered "seated upon a magnificent white horse," but preferred to walk in. Possibly her steed detained by business engagements. As represented by Madame ARMAND, an easy-going, sunny-tempered sovereign, with an amiable dislike of any "unpleasantness" among her courtiers. The _Earl of Sussex_ the most impressive mute (next to his contemporary the _Earl of Burleigh_ in _The Critic_) on the boards,--nothing to do but look haughty, and at last, at the Queen's command, consent to become reconciled to _Leicester_,--but the subtle suggestion in his "shake-hands" that he did so on compulsion, and reserved himself the right of punching _Leicester's_ head at the first convenient opportunity, very artistically conveyed. Part most carefully thought out. The Revels cut short by the inconsiderate appearance of _Amy Robsart_ when they were just beginning, which must have been annoying for the Lady of the Lake, who had just arrived to pay homage to the Queen, and found herself obliged to get upon her floating island again, and go home in the most ignominious manner, without waiting even for the "shower of stars," which were to have fallen over the water. _Elizabeth_, however, seemed quite unruffled by the interruption, perhaps thinking that anything was a relief which put an end to the revels. _Finale_ to this Act dramatic, and well worked up. Third Act in two short _tableaux_, concluding with a duel and explanation (in two lines) between _Leicester_ and _Tressilian_, after which the opera ends abruptly with _Varney's_ highly ungentlemanly practical joke upon poor _Amy Robsart_, and _Leicester's_ request to _Tressilian_ to take his sword and run him through--which, however, he had no time to grant, as the curtain fell at that moment. After that, well-deserved floral tributes to Madame CALVÉ, and enthusiastic calls for singers, composer, manager, and carriages. * * * * * "FOLLOW ON!" (_A Cricketer's "Catch."_ AIR--"_Come Follow!_") _First Voice._ Come follow, follow, follow, follow, follow, follow on! _Second Voice._ Why then should I follow, follow, follow, why then must I follow, follow on? _Third Voice._ When you're Eighty runs or more behind our score you follow on! * * * * * ACCOMMODATING. _G. O. M._ (_to Radical Member_). My dear Sir, will _you_ vote for this clause? _Rad. Mem._ I will, Sir. What is it? * * * * * [Illustration: "TOO KIND BY HALF." _John Bull, A.B._ "THE MAN WHO LAYS HIS HAND UPON A WOMAN----" _Jacques Bonhomme._ "_PARDON, MON AMI!_ 'SAVE IN THE WAY OF _KINDNESS_----'"] * * * * * [Illustration: A NEW LANGUAGE. _Mamma_ (_severely_). "DON'T SQUINT, EFFIE, MY DEAR!"