taking a drum, she
begins to drill them, like a regular tambour-major, slapping their
ears, mouths and cheeks as soon as they try to approach her.

At last, when they are quite worn out, she flies into the closet. But
now the father's spirit is roused, he resolves to destroy his and the
Devil's work; however he is hindered by Heinrich, who now makes his
appearance, and seems greatly astonished at the uproar and disorder he
finds in {244} the middle of the night. He only wants to gain time for
Bertha to undress and then escape.--

Resolutely the old man walks into the closet to slay the doll. But he
returns pale and trembling, having destroyed her while asleep, and
believing to have seen her spirit escape through the window with
fiendish laughter.--Yet awed by his deed, he sees Heinrich returning
who confesses to his uncle, that he has found out his secret about the
doll, and that, having accidently broken it, he has substituted a young
girl. Cornelius, half dead with fright, sees himself already accused
of murder; his only salvation seems to lie in his nephew's silence and
instant flight. Heinrich is willing to leave the country, provided his
uncle give him back his heritage, which consists of 10,000 Thalers.
After some vain remonstrances, the old man gives him the gold.
Heinrich having gained his ends, now introduces Bertha, and the wicked
old fool and his son see too late, that they have been the dupes of the
clever nephew.--

OBERON.

Romantic Opera in three acts by WEBER.

English text by PLANCHE translated by TH. HELL.

Oberon is Weber's last work. In the year 1824 he had the honor of
being commissioned to compose this opera for the Covent-garden theatre.
He began at once to study English, but, his health giving way, he
progressed slowly. Notwithstanding his illness however, he worked on
and finished {245} the opera in the year 1826. He had the happiness of
seeing it crowned with success, when he travelled to London in February
of that year, but he could not witness its triumphs in Germany, for he
died in the following July.

The text is most fantastic without any strict order of succession
either in the matter of time or locality. It is taken from Wieland's
fairy-tale of the same name.

In the first act we find Oberon, the Elfin-king in deep melancholy,
which no gaiety of his subjects, however charming, avails to remove.
He has quarrelled with his wife Titania, and both have vowed never