nd promises to help him to
regain his sweetheart. John and his friend, who suddenly return, see
them together, and poor old John gets wildly jealous. But when he is
alone, he falls asleep and the faithful cricket prophetically shows him
his wife fast asleep in a dream, while a little boy in miniature
postilion's dress plays merrily in the background.

In the third act Dot adorns May with the bridal wreath, but the girl is
in a very sad mood. All at once she hears the sailor sing; Dot steals
away, and May vividly reminded of her old love by the song, decides to
refuse old Tackleton at the last moment, and to remain true to Eduard
until the end of her life. The sailor, hearing her resolve, rushes in
tearing off his false grey beard, and catches May, who at last
recognizes him, in his arms. Meanwhile Tackleton arrives gorgeously
attired; he brings a necklace of false pearls and invites May to drive
with him to the wedding ceremony in the church at once. A whole chorus
of people interrupt this scene however; they greet him, saying they are
his wedding guests, exciting the miser's wrath. At last May, who had
retired to put on her bridal attire, re-appears, but instead of taking
Tackleton's arm she walks up to Eduard, who courteously thanking the
old lover for the carriage standing at the door, suddenly disappears
with May. The {376} chorus detains the furious old Tackleton until the
lovers are well out of the way.

Meanwhile Dot has explained her behaviour to John, and whispering her
sweet secret into his ear, makes him the happiest man on earth.--The
cricket, the good fairy of the house, chirps sweetly and the last scene
shows once more a picture of faithfulness and love.

THE EVANGELIMANN.

A Musical Drama in two acts.

With Text and Music by WILHELM KIENZL.

The author has learnt a great deal since the days, in which he composed
Urvasi. His music has become more original and more independant of
great models. The new opera, while not so poetical is eminently
touching and true; the text, founded on fact, runs smoothly and is
cleverly done, the verses being well adapted to the music. Like
Verga's Cavalleria the subject is such as to be impressive even without
music.

It is necessary to explain the title of this opera, which signifies a
man who goes about reciting biblical verse after the fashion of street
singers. This means of earning a livelihood is unknown in Germany, but
forms a speciality in