hing half an hour
from his favourite recreation, gives a decided turn to the politics of
a party by the cogency of his reasoning and the brilliancy of his
arguments. The Earl of F------has a grand box on the ground tier, for
the double purpose of admiring the chaste evolutions of the sylphic
daughters of Terpsichore, and of being observed himself by all the
followers of the cameleon-like, capricious goddess, Fashion.

The G------B-----, the wealthy commoner, Fortune's favoured child,
retains a box in the best situation, if not on purpose, yet in fact, to
annoy all those within hearing, by the noisy humour of his Bacchanalian
friends, who reel in at the end of the first act of the opera, full
primed with the choicest treasures of his well stocked bins, to quiz the
young and modest, insult the aged and respectable, and annihilate the
anticipated pleasures of the scientific and devotees of harmony, by the
coarseness of their attempts at wit, the overpowering clamour of their
conversation, and ~201~~ the loud laugh and vain pretence to taste and
critic skill.

The ministerialists may be easily traced by their affectation of
consequence, and a certain air of authority joined to a demi-official
royal livery, which always distinguishes the corps politique, and is
equally shared by their highly plumed female partners. The opposition
are equally discernible by outward and visible signs, such as an assumed
nonchalance, or apparent independence of carriage, that but ill suits
the ambitious views of the wearer, and sits as uneasily upon them as
their measures would do upon the shoulders of the nation. Added to
which, you will never see them alone; never view them enjoying the
passing scene, happy in the society of their accomplished wives and
daughters, but always, like restless and perturbed spirits, congregating
together in conclave, upon some new measure wherewith to sow division
in the nation, and shake the council of the state. And yet to both
these parties a box at the opera is as indispensable as to the finished
courtezan, who here spreads her seductive lures to catch the eye, and
inveigle the heart of the inexperienced and unwary.

But what has all this to do with the opera? or where will this romantic
correspondent of mine terminate his satirical sketch? I think I hear
you exclaim. A great deal more, Mr. Collegian, than your philosophy
can imagine: you know, I am nothing if not characteristic; and this, I
assure you, is