"What is most distinctive in the zarzuela is its low comedy and Spanish _sal_, together with that peculiar indiscipline so well exemplified by _The Land of Joy_. In other words, the zarzuela is a state of mind, just as Spanish music is an expression of Spanish life, and unintelligible without some understanding of its symbols. "It would be safe to say that every zarzuela has either a realistic low comedy element or otherwise exhibits some direct form of theatricalism, differentiating it in this respect from works of a purely artistic category. Yet it is difficult to draw the line. The zarzuela is not without a tang similar to that of our burlesque stage. The analogue would be American burlesque written by playwrights of high intelligence. Had Harrigan's _Mulligan Guards Ball_ been compressed into one act, it would have been a typical zarzuela." P. 65. "_La Gran Vía_": See note to page 14. P. 65. "Usually four separate zarzuelas are performed in one evening before as many audiences": At the Apolo. "The evening is divided into separate sections--four or five are the usual number," writes Mr. Underhill. "These are called _funciones_, each consisting of a single play. If the first _función_ begins at eight, the second will follow at nine or nine-fifteen, the third at ten, the fourth shortly after eleven, and the last, which is commonly a farce, appealing perhaps to the less puritanical elements in the community, at twelve or a quarter after twelve. A similar system prevails in the afternoons. There is considerable variation in the hours of the _funciones_ in different cities, according to the character and habits of the population. In some theatres performances are practically continuous.... A separate admission is charged to each _función_.... Spacious and comfortable waiting rooms are provided in which the audience gathers for the succeeding _función_ previously to the conclusion of that actually in progress, so that the delay incident to the necessary change is reduced to a minimum, never exceeding a quarter of an hour. Meanwhile ushers circulate through the aisles and boxes taking up the tickets of those who remain, although in these popular theatres the reconstitution of the audience is practically complete." P. 69. "_villancicos_": On the program of the second historical concert given by M. Fétis in Paris, November 18, 1832, devoted to music of the sixteenth century, I find: "_Vilhancicos espagnols, à 6 voix de femmes, avec 8 guitars obligées, composés par Soto de Puebla et exécutés dans un concert à la cour de Philippe II (1561)._" P. 70. George Henry Lewes gives some account of the drama in Spain, touching on the zarzuela, in Chapter XIV of "On Actors and the Art of Acting." P. 70. "the Italian opera": In Gautier's day Bellini was the favourite composer (see P. 215, "Voyage en Espagne").