credulous country journals; we wrote ballads for music publishers, and we did leaders and reviews for the weeklies. I had almost forgotten to add that we were barristers-at-law of the Inner Temple, esquires, because that fact was only brought under our notice twice a year; once when the treasurer of the Inn applied to us for our term fees, and once when the Directories and Court Guides made ironical application to us for information concerning our titles and country seats.
There had been an aggravating rehearsal of our extravaganza that morning. It was then discovered that a "carpenter's scene" must, absolutely, be introduced in order to allow time for the elaborate "set" with which the piece was to conclude. The last scene was, as a matter of course, unfinished; the chorus that opened the piece had not yet been written; and several "cuts" had to be made in our favourite scene. Moreover, the leading lady, Miss Patty de Montmorenci, had expressed her intention of ruining everything if she were not permitted to introduce the "Miserere" from the "Trovatore," after the comic duet between Mesrour and Zobeide; and Mr. Sam Travers, the leading low comedian, had insisted on our finding occasion for him to get over a brick wall with glass on the top of it for him to stick in.
Three or four hours' incessant work enabled us to overcome these difficulties with greater or less success. The "carpenter's scene" was written (goodness only knows what it had to with the plot!); the opening and final choruses were determined on, the necessary cuts were made, and the excised good things carefully
