What a cunning master the great Herr Wagner is! For what emergency does he not provide? It was half-past eleven when the third act began. Die Walkueren had assembled in the dismal dell,--all but the den Walkuere, Brunhilde. Wotan is approaching on appalling storm-clouds, composed of painted mosquito-bars and blue lights. The sheet-iron thunder crashes; and the orchestra is engaged in another mortal combat with that revolutionary mugwump, the small reed-instrument, that persists in reforming the tune of the opera. Then the pale, sad man produces a large brass horn, big enough at the business end for a cow to walk into. It is a fearful, ponderous instrument, manufactured especially for "Die Walkuere" at the Krupp Gun Factory in Essen. It has an appropriate name: the master himself christened it the boomerangelungen. It is the monarch, the Jumbo of all musical instruments. The cuspidor end of it protrudes into one of the proscenium-boxes. The fair occupants of the box are frightened, and timidly shrink back. Wotan is at hand. He comes upon seven hundred yards of white tarletan, and fourteen pounds of hissing, blazing lycopodium! The pale, sad man at the other end of the boomerangelungen explains his wherefore. He applies his lips to the brazen monster. His eyeballs hang out upon his cheeks, the veins rise on his neck, and the lumpy cords and muscles stand out on his arms and hands. Boohoop, boohoop!--yes, six times boohoop does that brazen megatherium blare out, vivid and distinct, above all the other sixty instruments in the orchestra. Then the white tarletan clouds vanish, the blazing lycopodium goes out, and Wotan stands before the excited spectators. Then the pale, sad man lays down the boomerangelungen, and goes home. That is all he has to do; the six sonorous boohoops, announcing the presence of Wotan, is all that is demanded of the boomerangelungen. But it is enough: it is marvellous, appalling, prodigious. Whose genius but Herr Wagner's could have found employment for the boomerangelungen? We hear talk of the sword motive, the love motive, the Walhalla motive, and this motive, and that; but they all shrink into nothingness when compared with the motive of the boomerangelungen. THE WORKS OF SAPPHO It would be hard to say whether Chicago society is more deeply interested in the circus which is exhibiting on the lake-front this week, than in the compilation of Sappho's complete works just published in London, and but this week given to the trade in Chicago. As we understand it, Sappho and the circus had their beginning about the same time: if any thing, the origin of the circus antedated Sappho's birth some years, and has achieved the more wide-spread popularity.