"Trilby Sausage"! This, it is claimed, "is something new, and fills a
long-felt want"; "they melt in your mouth." They don't melt in G. A.
D.'s mouth, but they rankle in his aesthetic soul. "What next?" he
exclaims; "an Ophelia tooth-wash, a Duchess of Towers garbage-pail!" Our
correspondent has not yet heard of the "Trilby Ham." This, if anything,
is worse than the Sausage. It has been heard of in this city; whether or
no it originated here, I do not care to inquire. But in an Eighth Avenue
dime-museum, there are "Twenty Trilbys," and visitors vote for the
handsomest! Moreover, we have now the "Trilby Hearth-brush"; and huge
posters on the East Side announce a picnic of the "Trilby Coterie and
Chowder Club."

* * * * *

_The Evening Post_ reprints from James Braid's "Observations of Trance"
(1850, page 43) the following paragraph, which is of singular interest
in connection with the novel which has made such an extraordinary
sensation in this country during the past year, and has become as great
a success on the stage as in book-form. Svengali's transformation
of a girl with no ear for music into a singer of marvellous powers seems
to have been almost paralleled in real life, half a century ago:--

[Illustration: DU MAURIER'S HOUSE.

HAMPSTEAD HEATH.]

"Many patients will thus repeat accurately what is spoken in _any_
language; and they may be also able to sing correctly and simultaneously
both words and music of songs in any language which they have never
heard before--_i. e._, they catch the words as well as music so
instantaneously as to accompany the other singer as if both had been
previously equally familiar with both words and music. In this manner a
patient of mine, who, when awake, knew not the grammar of even her own
language, and who had very little knowledge of music, was enabled to
follow Mlle. Jenny Lind correctly in songs in different languages,
giving both words and music _so correctly and so simultaneously with
Jenny Lind_, that two parties in the room could not for some time
imagine that there were two voices, so perfectly did they accord, both
in musical tone and vocal pronunciation of Swiss, German and Italian
songs. She was equally successful in accompanying Mlle. Lind in one of
her extemporaneous effusions, which was a long and extremely difficult
elaborate chromatic exercise, which the celebrated cantatrice tried by
way of taxing the powers of the somnambulist