No lady is a lady without having a box at the Opera: so my Jemmy, who knew as much about music,—bless her!—as I do about sanscrit, algebra, or any other foreign language, took a prime box on the second tier. It was what they called a double box; it really _could_ hold two, that is, very comfortably; and we got it a great bargain—for five hundred a year! Here, Tuesdays and Saturdays we used regularly to take our places, Jemmy and Jemimarann sitting in front; me, behind: but as my dear wife used to wear a large fantail gauze hat, with ostrich feathers, birds of paradise, artificial flowers, and tags of muslin or satin, scattered all over it, I'm blest if she didn't fill the whole of the front of the box; and it was only by jumping and dodging, three or four times in the course of the night, that I could manage to get a sight of the actors. By kneeling down, and looking steady under my darling Jemmy's sleeve, I _did_ contrive, every now and then, to have a peep of Senior Lablash's boots, in the Puritanny, and once saw Madame Greasi's crown and head-dress in Annybalony. What a place that Opera is, to be sure! and what enjoyments us aristocracy used to have! Just as you have swallowed down your three courses (three curses I used to call them; for so, indeed, they are, causing a deal of heartburns, headaches, doctor's bills, pills, want of sleep, and such like)—just, I say, as you get down your three courses, which I defy any man to enjoy properly, unless he has two hours of drink and quiet afterwards, up comes the carriage, in bursts my Jemmy, as fine as a duchess, and scented like our shop. "Come, my dear," says she, "it's Normy to-night (or Annybalony, or the Nosey di Figaro, or the Gazzylarder, as the case may be); Mr. Coster strikes off punctually at eight, and you know it's the fashion to be always present at the very first bar of the aperture;" and so off we budge, to be miserable for five hours, and to have a headache for the next twelve, and all because it's the fashion! After the aperture, as they call it, comes the opera, which, as I am given to understand, is the Italian for singing. Why they should sing in Italian, I can't conceive; or why they should do nothing _but_ sing: bless us, how I used to long for the wooden magpie in the Gazzylarder, to fly up to the top of the church-steeple, and see the chaps with the pitchforks to come in and carry off that wicked Don June. Not that I don't admire Lablash, and Rubini, and his brother, Tomrubini, him who has that fine bass voice, I mean, and acts the Corporal in the first piece, and Don June in the second; but three hours is a _little_ too much, for you can't sleep on those little rickety seats in the boxes.