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THE KALEIDOSCOPE. Volume HI. A PSALM OF LIFE. TRADUIT DE LONGFELLOW. Oh ! ne me dites pas lachement, dans vos vers Que la vie est sterile et vide coniine un songe; Car Paine qui soniineille est niorte et Punivera, Tel qu’il nous semble, est un men songe I La vie est un devoir sacre qui nous grand it! Et le toinbeau n’est pas le but de ta ' carriere! Tu vivras, ce n’est pas a Paine qu’on adit: Tu retourneras en poussiere ! La joie et la douleur hantent notre cheniin, Mais ne sont pas la tin qui nous est des tinee; Agis! agis! atin d’avoir le lendemain Le salaire de ta journee ! L’art est long et le temps est rapide, et pourtant Nos coeurs, quoique jamais leur tierte ne succombe, Pareils a des tirmlwrui-s voiles, vont en batttint Des inarches tristes vers la tombe? Dans ce bivouac du monde ou mil n’est en repos, A travers les combats dont la vie est troublee, Ne sois pas resigne eomme les vils trou peaux, Sois un lieros dans la melee ! Laisse le passe mort rendre hommage a ses inorts, Ne crois pas an bonheur que I’avenir t’apprete, Dans le present vivant concentre tes efforts, Ton coeur en toi, Dleu sur ta tete! Les sages, en vivant, nous niontrent qu’ici-bas Nous pouvons, nous aussi, vivre eomme des sages Et laisser a pres nous, Pempreinte de nos pas Sur le sable mouvant des ages; Et peut-etre, en voyant cette empriente plus ta.nl, Un frereabandonnequ’anrabrisel’orage, Um frere naufrage sur les dots du hasard, Reprendra de nouveau courage ! Agissons! agissons! le front toujours leve; Nos coeurs seals font la loi d’ou le sort doit dependre, Et toujours poursuivant notre oeuvre inacheve, • Travailions et sachons attend re ! As long as a person remains silent, he is honored; but as soon as he opens his mouth, men sit in judgment upon his capacity. ATLANTA, GEORGIA, APRIL, 1885 PARIS, FRANCE. Friend Kaleidoscope. According to my promise, I am, this time to give you short sketches on our Theatres, an ancient and strong feature of French taste, as well as a highly characteristic phase of Pari sian life. As you know, Paris contains a large number of theatres, and as a general thing, they are well attended. All classes always find means to go to such places of amusement. Some theatres in Paris, those that occupy the highest rank, receive an annual subsidy from the French gov ernment, so that they might be able to meet the heavy expenses which, through necessity, fall so often upon them. Many Theatres have their regular subscribers, (box and seat owners.) Arrangement and names of seats differ, prices differ also, ac cording to the standing of the thea tres. At some theatres ladies are not admitted to the parquet. La claque, (Romains) or paid ap plauders, form an annoying, although characteristic feature in most of the theatres. The attendants of the “Vestiaire” (cloak-room) are often troublesome in their efforts to earn a pourboire (fee), one of their usual at tentions is to bring “petits bancs” (foot-stools) for the use of ladies. These attendants are called “Ouv reuse,” their duty is to take your tick et and to open and to show your re spective stall or box. These atten dants are women, well dressed in a sort of uniform, their caps are a strik ing part of their costume, they are made of white net, trimmed elegant ly with bright colored ribbons. L’Opera (the new one) is a sumpt uous edifice, completed only in 1874, in consequence of the Franco-Prus sian war. In point of size it is now the largest theatre in the world, cov ering altogether an erea of about three acres. It occupies the centre of the place de I’opera. The cost of the site amounted to 10,500,000 francs, and that of the building itself to 35, 600,000 francs. The building is en tirely constructed of stone, marble and iron. Many different countries have contributed the marbles with which it is embellished. This struc ture is simply magnificent in accor dance with this beautiful square on which it is placed. "AS YOU LIKE IT.” The in terior of the edifice is gorge ous, beyond description. The spaci ous vestibule is adorned with mar ble statues in a sitting posture; on each side are the offices, and opposite, the grand staircase, “L’Escalier d’honneur”, a masterpiece of art. The steps are of white marble, and the balustrades of rosso antico, with a hand rail, formed of Algerian onyx. At the beginning or end of the, play this splendid staircase, which affords room for fifty persons abreast, itself presents a scene well worth seeing. On the second floor there are numer ous ‘‘Foyers” (green rooms) for dif ferent purposes, to which I cannot do justice—they are so elegant in every detail. The arts are plentifully rep resented and gorgeous mirrows adorn all imaginary places. During the entr’actes these green rooms are filled with promenaders — in some of them refreshments are to be found. “La Salle”—Hall of the Opera is fitted up in the richestand most elab orate style, contains five hundred tiers of seats, accommodating 3000 persons. The boxes are divided into seven bays. The “Lustre” chandelier, con tains 350 burners, interspersed with lyres and seen from below presents the appearance of a crown of pearls. The stage is 200 feet in height, 180 in width and 74 in depth. The scen eries are simply superb and it need hardly be added the acting and mu sic are in keeping with the magnifi cence of the structure, all the chief artists have been carefully trained at the Conservatoire. The ballet and “mise en scene” (sceneries) of the Parisian Opera are unsurpassed and indescribable. The staff of perform ers is not less than 300 in number. As a general thing each theatre has its own staff of performers. Le Theatre Italien, where only It alian operas are per for fried, is open only three days in the week. The building is now somewhat neglected but, is still a favorite resort of the “Beau monde.” Seats 1550 persons. Now, let me mention The Theatre Francais. “La Comedie Francaise,” which occupies the highest rank among the theatres of Paris. The acting is admirable and the plays are generally of a high class. This the atre was founded in 1600 and was un der the superintendance of Moliere, from 1658 down to his death. The edifice has been considerably improv ed of late. Only classical Tragedies and Comedies are played here. The handsome vestibule contains statues of celebrated tragedians, also, figures representing Tradegy and Comedy. The Foyer du public is adorned with a statue of Voltaire and with busts and scenes from the writings of cele brated French Dramatists. Seats for 1380. It will surprise you, I. know, to hear there is never an orchestra in this theatre—not even a place for one. No music is heard, unless now and then a necessary serenade. The perfect silence is broken only by the actors. L’Odeon ranks next to the Theatre Francais, and is chiefly devoted to the performance of classical Dramas. Seats for 1470. « L’Opera Comique is devoted to the performance of the lesser Operas, such as Fra Diavolo, La fille du regi ment. And is a resort for many cultivated people. Seats for 1500. Le Gymnase Dramatique for Vau devilles and Comedies, deserves com mendation, it is a very favorite resort among people of taste and refinement. Le Vaudeville is chiefly destined for Vaudevilles and Comedies and its reportoire includos “La Dame aux Camelias” Les Varietes is an excellent thea tre. Vaudevilles, farces and such Operettas as “La Grande Duchesse” are performed here. Theatre du Palais Royal is small but a very popular theatre, where Vaudevilles and farces of broad char acter entertain the audience. The acting is excellent and the pieces act ed here are noted for their sallies of genuine gallic humour. There are numerous other theatres well kept up and well attended, but not so “recherche” as the ones I have mention 1. Vou must come and see for yor Elle. o )00 MAXIMS. There are two excellent things in the world: the friendship of the good, and the beauties of poetry. Kings, women, and climbing plants love those who are near them. Women neither love nor hate: all their searth is after new friends. Number 6.