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Evanescent ages have flown by, and in the sentiments of millions there now subsists a certain amount of familiarity with the intrepid and valiant deeds of those illustrious mythological gods Hercules and Achilles. They have been quoted and spoken of so often that their fictitiousness is forgotten. They have ingratiated their fabulous selves into the good graces of mankind, and become entwined around their minds like the ivy around the gnarled and knotted oak; and, although centuries have passed away, this nurtured concatenation of deeprooted imaginations have not proven altogether futile, for these legendary and dauntless heroes actually do exist in the persons of GONZA and VOLTA, The Cyclopean Athletes of the Age. Anchorites, ascetics, persons of secluded and fastidious natures, stoics, and misanthropists, all will be metamorphosed into congenial spirits, and be reconciled to the world and its pleasures after witnessing these gigantillos and wonders of creation in the most surprising and surpassingly elegant gymnastic exhibition hitherto placed before an appreciative nation, the production of which due notice will be given. Meanwhile all communications are to be addressed to M. De Gonza, .

Turning from such extremely professional exponents of art and literature, we are reminded of one who stands in quite an opposite position to that of the Cyclopean athletes, Dr Vellere, the champion and foremost representative of the "unacted and unread," of the theorists who would regenerate the drama with their own works, and, if they could only once be performed, would mark an epoch in the history of the stage. Doubtless they would. About five years ago the enthusiastic Doctor—who, being a foreigner, has a perfect right to regenerate the British drama, as well as the British Constitution—burst forth in the Times, and at once placed himself at the head of that glorious minority which, owing to the iniquitous "ring" formed by a clique of authors, managers, and critics, cannot get its plays, marvellously good as they are, produced; and thus not only they, but the great British public are sufferers under a system which Vellere & Co. will yet expose or perish in the attempt. The first advertisement of the regenerator appeared on October 2, 1869. It ran thus:—

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O the PATRON'S of the LEGITIMATE DRAMA and to the PLAY-GOING PUBLIC in GENERAL.

Ladies and Gentlemen,—As a general outcry arose some considerable time ago that there was a great dearth of good, original English dramas, and as the recent so-called original productions of English dramatists have failed to stifle it—because they have either traduced English society or have been simply adaptations from the French respecting a state of society which cannot exist here, and in both cases have proved unpalatable to the English, and, therefore, unsuccessful— I, who am a writer in more than one language, resolved to produce a drama on purely English topics, and I was guided by the dictum of your immortal poet, Byron, that "Truth is stranger than fiction," because all fictitious situations prove less "sensational" (pardon me the vernacular), as produced by those dramatists, with all the powerful accessories and machinery of the stage, than the simplest police report from the daily papers. It took me more than a year of my halfholidays to write the drama " Stern Realities," and in about five months I wrote the play "Trust." Now, I have been trying for the last eighteen months to have one of these pieces accepted, but all my endeavours have been in vain. The excuse was, that I am not known (a circumstance which, by-the-by, happened once to Shakespeare also), and that it is far preferable to produce the works of authors already known to the public, even if their more recent efforts have proved a failure in more than one respect. It is now for the public of this great country to decide whether this arrangement between Managers of Theatres and a certain small clique of authors is a monopoly that is to go on for ever; or whether it is only a false and preconceived notion on the part of the former regarding the want of good taste for superior productions on the part of the public. Though I am a foreigner I consider myself as one of the public who has endeavoured to amuse his fellow-citizens, but to whom no opportunity has hitherto been afforded. However, as the author of a collection of songs, of which some are written in English, French, and German, or English and German, or simply in English poetry, and which volume is entitled " Honi soit qui mal y pense," and was collectively dedicated to the Queen, and accepted by her Majesty, containing dedications also, by special commission, to ladies of the highest titles, and to others equally exalted in attainments, I beg you to believe me, when I assure you, on the word of a gentleman, author, and schoolmaster, that the two pieces I have written will meet with your approbation. I appeal now to you, ladies and gentlemen, to assist me in bringing out one of the two pieces; and, in my humble opinion, the most effectual way, perhaps, in which this could be done, would be in addressing me a note, kindly informing me which of the two pieces, *' Stem Realities" or "Trust," should in your opinion be performed first, and that you promise you will come to see either or both. Receiving thus from you a great quantity of letters, I shall, armed with such a phalanx of patronage, present myself as the bearer of the popular will to the Manager of one of the London Theatres, and—we shall see! A letter simply addressed thus, "Dr. Vellere, Harrow," will safely reach me. Trusting to hear from you at your earliest convenience, I remain, ladies and gentlemen, very faithfully yours,

E. R. W. VELLERE. The English and Continental College, » Harrow, October 1st, 1869.

Before the attention directed to this novelty in literature had died away, another similar effusion appeared, and for about a twelvemonth the Times contained every three or four weeks a message of direful import from Dr Vellere on dramatic monopoly and its probable ultimate effect on dramatic literature and the stage generally, varied by requests similar to those given here. Iniquity was still triumphant, however, and the patrons of the legitimate must have been unwilling to interfere, for at the end of the year Dr Vellere was yet unacted. He is still busy writing plays, for he believes that success must come in the end; and if his literary ability be in any way proportioned to his pertinacity, the chief of the Elizabethan roll of dramatists has at last met a worthy rival. Happily there is a way out of the difficulty with which Dr Vellere and his friends are encompassed. Let them take a theatre, engage actors, and play each other's dramas in turn. If they can only agree as to the order of production, and the relative merits of the pieces, they are sure to succeed; for if our experience goes for anything, the unacted and unread are sufficiently numerous to support any house of moderate pretensions. But they mustn't all want to be put on the free list. That great distinction must be left for Dr Vellere and a chosen few—composed, say, of friendly critics, and managers distraught with the knowledge that priceless gems have been discarded, and that the new era has at last arrived.

CHAPTER XII.

SWINDLES AND HOAXES.

IT is of course only natural that as soon as advertising became general, that portion of the community which regards the other portion as its oyster, was not slow to discover the advantages which were soon to accrue in the way of increased facilities for publishing new dodges, or of giving extended scope to those which were old, but had so far attained only limited circulation. This has been so conclusively shown by specimens already given, and references made, that there is no necessity to discuss the question anew, and therefore we will at once plunge into the thick of those advertisements which have special qualifications for treatment different from that given to the milder classes of rogues and scoundrels. The first transaction which calls for attention is in connection with Queen Anne's farthings. No popular delusion has perhaps made more dupes than that relating to these coins. Innumerable people believe that there never were but three farthings of this description, two of which have found their way in due course to the British Museum, the third only being still abroad; and it is also believed that the Museum authorities would give a very large sum for the possession of the missing token. Now there are no less than six distinct varieties of Anne's farthings known to exist, and specimens of them are not at all rare. Some of them may be procured at the coin-dealers, for ten or twelve shillings; but there is one variety, struck in 1713, which is extremely rare, and would bring from to ^10. There is also a small brass medal or counter of Queen Anne, about the size of a farthing, of which there are hundreds. A publican once procured one of these, and placed it in his window, ticketed as "the real farthing of Queen Anne." Credulous persons came from far and near to view this wonderful curiosity, and the owner turned his deception to good account.

Sometime about the first quarter of this century, a man in Ireland received twelve months' imprisonment for secreting a Queen Anne's farthing. He was shopman to a confectioner in Dublin, and having taken the farthing over the counter, he substituted a common one for it. Unfortunately for him, he told his master how he had obtained it, and offered it to him for sale. The master demanded the treasure as his property, the shopman refused to give it up, was brought into the Recorder's Court, and there received the above sentence. When rogues fall out, honest men know what they have lost. It is wrong to assume that because thieves quarrel, their natural enemies "get their own." At all events, experience has never taught us so, and the proverb, as generally read, is wrong.

Numerous are the instances of people having travelled from distant counties to London, in order to dispose in the best market of the supposed valuable farthing. The custodian of the medals in the British Museum used to be besieged by applicants from all parts of the country, offering Queen Anne's farthings and imitations of them for sale, and of course the dealers in coin even now receive a liberal share of the same annoyance. Whence the treacherous fable originally sprung has never been satisfactorily explained. It is certain that Anne's farthings never were very common, though of one variety, coined in 1714, not less than from 300 to 500 must have been put in circulation. But the others were mere patterns, and were never struck for currency: all of them were coins of great beauty, and for this reason, as well as on account of their being the only copper

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