FROM SUPERMAN.

DONNA ANA _has vanished to sup her man at the Savoy; the_ DEVIL _and the_
STATUE _are descending through trap, when a voice is heard crying, 'Stop,
stop'; the mechanism is arrested and there appears in the empyrean_ MR.
CHARLES HAZELWOOD SHANNON, _the artist, with halo_.

THE DEVIL (_while Shannon regains his breath_). Really, Mr. Shannon,
this is a great pleasure and _quite_ unexpected. I am truly honoured. No
quarrel I hope with the International? Pennell quite well? How is the
Whistler memorial getting on?

SHANNON. So-so. To be quite frank I had no time to prepare for Heaven,
and earth has become intolerable for me. (_Seeing the Statue_.) Is that
a Rodin you have there?

THE DEVIL. Oh! I forgot, let me introduce you. Commander! Mr. C. H.
Shannon, a most distinguished painter, the English Velasquez, the Irish
Titian, the Scotch Giorgione, all in one. Mr. Shannon, his Excellency
the Commander.

SHANNON. Delighted, I am sure. The real reason for my coming here is
that I could stand Ricketts no longer. Ricketts the artist I adore.
Ricketts the causeur is delightful. Ricketts the enemy, entrancing.
Ricketts the friend, one of the best. But Ricketts, when designing
dresses for the Court, Trench, and other productions, is not very
amiable.

THE STATUE (_sighing_). Ah! yes, I know Ricketts.

THE DEVIL (_sighing_). We all know Ricketts. Never mind, he shall not
come here. I shall give special orders to Charon. Come on to the trap
and we can start for the palace.

SHANNON. Ah! yes. I heard you were moving to the Savoy. Think it will
be a success?

[_They descend and no reply is heard. Whisk! Mr. Frank Richardson on
this occasion does not appear; void and emptiness; the fireproof curtain
may be lowered here in accordance with the County Council regulations;
moving portraits of deceased, and living dramatic critics can be thrown
without risk of ignition on the curtain by magic lantern_. _The point of
this travesty will be entirely lost to those who have not read 'Man and
Superman.' It is the first masterpiece in the English literature of the
twentieth century. It is also necessary to have read the dramatic
criticisms in the daily press, and to have some acquaintance with the
Court management, the Stage Society, and certain unlicensed plays; and to
know that Mr. Ricketts designs scenery. This being thoroughly explained,
the Curtain may rise; discovering a large Gothic