And they go in search of the cold ham and beer which the beneficent GRAU has kindly provided. Refreshed by much beer, and enlivened by the cheery influence of the genial sandwich, they return for a few more hours of soliloquy and dialogue. Time passes slowly, but surely. At last we reach an act in which SEEBACH walks quietly across the stage. The curtain instantly drops amid the sobs of the excited audience. 1ST GERMAN. "Lend me your handkerchief, my friend, that I may wipe away my tears. I have a sausage wrapped up in mine, but what are sausages compared with art! How divinely SEEBACH walks. To me, she seems like an incarnation of Pure Reason, an Avatar of the spirit of transcendental philosophy. Come, we will pledge her in beer." 1ST AMERICAN. "What are they making all that row about--just because SEEBACH walked across the stage? Why, she never said a word." 2D AMERICAN. "Let's go round to the hotel and take a quiet sleep till she comes on again. I've got my night-clothes with me. Always bring 'em when I go to see German tragedy." Then ensue other hours of dialogue, interspersed with soliloquies of half an hour each. Interspersed also with perpetual dropping of the curtain, whereby the play is made to last some eight or ten hours longer than would otherwise be the case. Most of the German music that has been written during the last three centuries is played by the orchestra during these intermissions. But in course of time SEEBACH gives us the Garden scene, winning our frantic admiration by her inimitable tenderness and grace, and finally we reach that grandest scene ever written by dramatist, that most pathetic poem ever conceived by poet--the meeting of "FAUST" and "MARGARET" in prison. At last we are more than repaid for the dreary hours that have gone before. We have seen SEEBACH'S "MARGARET"--the most powerful, the most pathetic, the most beautiful, the most perfect creation of the stage. And as we pass slowly up the tortuous, steep stairways of the theatre, while the Germans, all talking at once, burden the air with unintelligible gutturals, you say to me--if you are the intelligent person that you ought to be--"SEEBACH is the greatest actress of this century--greater than RISTORI, subtler and more tender than RACHEL." With which opinion the undersigned concurs with all the emphasis of conviction; and over our late breakfast, to which we immediately sit down, we discuss the question, Which is the greatest--the poet who drew "MARGARET," or the actress who made the poet's picture warm with passionate life? MATADOR. * * * * * Absolutely True. For the last fifty years or so the metaphysical thinkers of Germany have been engaged in seeking for the Absolute. From present indications it would seem as though they are about to find it--where perhaps they least expected it--in the imperial reign of King WILLIAM, aided and abetted by Count VON BISMARCK. * * * * *