dance all manner of country-dances, and sing a series of songs and
choruses, in which the "Ha! ha!" is again conspicuously introduced. It
seems that German witches not only ride upon brooms, but sweep with them;
and a company of supernatural Jack Rags perform sundry gyrations
peculiarly interesting to housemaids. After about an hour's dancing, the
witches being naturally "blown," are just in cue for leaving off with an
airy dance called the "witches' whirlwind."

This episode over, the plot goes on. _Ottocar_ accuses _Ida_ of infidelity
with _Wilhelm_ to the duke; she, in explanation, fulfils the presentiment
we had some delicacy in hinting too soon--that she is the wife of the man
who was killed in the prologue; _Rudolph_ having married her in ignorance
of that fact, and by a coincidence which, though intensely melo-dramatic,
every body foresees who has ever been three times to the Adelphi theatre.

To describe the last scene would be the height of presumption in PUNCH.
Nobody but "Satan" Montgomery, or the Adelphi play-bill, is equal to the
task. We quote, as preferable, the latter authority:--"Grand inauguration
of _Wilhelm_, the rightful heir. CORAL CAVES and CRYSTAL STREAMS: these
are actually obtained by a HYDRO-SCENIC EFFECT! As the usual area devoted
to illusion becomes a reality!"

Besides all this, which simply means "real water," there is a _Neptune_ in
a car drawn by three sea or ichthyological horses, having fins and web
feet. There is a devil that is seen through the whole piece, because he is
supposed to be invisible (cleverly played by Mr. Wieland), and who having
dived into the water, is fished out of it, and sent flying into the flies.
This sending a devil upward, is a new way of

[Illustration: TAKING OFF THE DARK GENTLEMAN.]