reads the letter, and also in the way in which she urges her husband
onward in the path of crime. The usual "Lady Macbeth" "goes for" her
weakminded spouse, and drives him by threats and strong-language to
consent to her little game. JANAUSCHEK, on the contrary, does not raise
a broom-stick, or even her voice, at "Macbeth," but actually coaxes him
to be so good as to kill the king, so that she can bring all her
relations to court, and appoint them surveyors, and internal revenue
collectors, and foreign ministers. This is not the tone of other
actresses in the same part, and we therefore at once charge her
departure from the common standard to her ignorance of English.

We listen with fortitude to the dismal singing of the witches and their
friends in mask and domino. The music, we are told, is "LOCKE'S music."
What is the proper key for LOCKE'S music, is a question which we have
never attempted to solve, but we heartily wish that the key were lost
forever, since by its aid the singers open vistas of musical dreariness
which are disheartening to the last degree. But we sustain our spirits
with the thought of the bloody murder that is coming. Talk as we ill, we
all enjoy our murders, whether we read of them in the _Sun_ and the
_Police Gazette_, or witness them upon the stage.

When JANAUSCHEK comes upon "Macbeth" with his bloody hands, and explains
to him that it is now too late to repent, either of murder or matrimony,
she furnishes us with more instances of her unfamiliarity with the
language. Her night-dress is not at all the sort of thing which an
English-speaking woman would be willing to sleep in. We are confident
upon this point, and we have on our side the testimony of a married man
who has lived four years in Chicago, and has been annually married with
great regularity. If he doesn't know what the average female regards as
the proper thing in night-dresses, it would be difficult to find a man