ther operas. The late M. Jullien
introduced quite a troop of cavalry in his "Pietro il Grande," but
this homage to horseflesh notwithstanding, the world did not greatly
prize the work in question. The horse no longer performs "leading
business." Plays are not now written for him. He is no longer required
to evince the fidelity and devotion of his nature by knocking at
street-doors, rescuing a prisoned master, defending oppressed
innocence, or dying in the centre of the stage to slow music.
Something of a part seemed promised him when the popular drama of
"Flying Scud" was first represented; at least, he supplied that work
with its title. But it was speedily to be perceived that animal
interests had been subordinated to human. More prominent occupation by
far was assigned to the rider than to the horse. A different plan of
distributing parts prevailed when "The High-mettled Racer" and kindred
works adorned the stage. A horse with histrionic instincts and
acquirements had something like a chance then. But now he can only
lament the decline of the equestrian drama. True, the circus is still
open to him; but in the eyes of a well-educated performing horse a
circus must be much what a music-hall is in the opinion of a tragedian
devoted to five-act plays.

CHAPTER XXX.

THE "SUPER."

The theatrical supernumerary--or the "super," as he is familiarly
called--is a man who in his time certainly plays many parts, and yet
obtains applause in none. His exits and his entrances, his _debut_ and
his disappearance, alike escape criticism and record. His name is not
printed in the playbills, and is for ever unknown to his audience.
Even the persons he is supposed to represent upon the stage always
remain anonymous. Both as a living and fictitious creature he is
denied individuality, and has to be considered collectively, massed
with others, and inseparable from his companion figures. He is not so
much an actor, as part of the decorations, the animated furniture, so
to say, of the stage. Nevertheless, "supers" have their importance and
value. For how could the drama exist without its background groups:
its soldiers, citizens, peasants, courtiers, nobles, guests, and
attendants of all kinds? These give prominence, support, and effect to
the leading characters of the theatre; and these are the "supers."

Upon the French stage the minor assistants of the scene are
comprehensively described as _les choristes_. In this way the ped