andles,
the Host, and the sacred umbrella. Their mission at this hour of the
evening is that of administering the holy sacrament to a dying man, and
as they pass along the streets, it behoves all occupants of houses
within the route devoutly to acknowledge the procession as it passes.
The audience and actors accordingly kneel and cross themselves while the
holy functionaries and their sacrament are in view. One of the
ecclesiastical party enters the theatre and glances hurriedly within, to
see that all are in the approved attitude. I am thankful to find myself
doing as the good Catholics are doing, for I know that our visitor has
no respect of persons or creeds, and would call me to order without the
least hesitation, were I inclined to rebel. When the religious
'function' in the street (all public shows, from a bull-fight to high
mass, are called 'functions' in the Spanish language) is out of sight
and hearing, and the candles at the door are extinguished, the
spectators resume their seats, and the farce 'function' on the stage
proceeds.

CHAPTER XVIII.

MY DEBUT ON A CUBAN STAGE.

An Engagement--A Foreign 'Star'--A Benefit Night--A Local
Play--First Appearance--A Serious 'Hitch'--Re-engagement.

I have already noted how Nicasio and I have lent our art services at the
theatre whenever scenic decorations were required. Our colour boxes have
also been in demand on certain occasions when the leading performers
were particular respecting the correct pencilling of their eyebrows, the
effective corking of their cheeks, and other attributes of an actor's
'make-up.' Whenever an English play is wanted for adaptation to the
Spanish stage, the manager--very naturally--'falls back upon' the
Anglo-Saxon follower of the divine art of Apelles. Upon one occasion I
am required to translate the famous farce of 'Box and Cox'--a farce
entirely new to a Cuban audience and, consequently, a great success when
interpreted for them into choice Castilian.

One day, application is made to me by Senor Don Baltazar Telon y
Escotillon, impresario and first low comedian of the Teatro Real de
Cuba, who begs me, as a personal favour, to undertake an important role
in a new farce which he proposes to present to the Cuban public on the
occasion of his annual benefit.

The farce is from the pen of a popular Cuban author, and is called 'Los
Mocitos del Dia' (Fops of the Period). The subject of the play is of
local interest, with