a moral exposing in farcical colours the foibles of
the Cuban 'Pollo,' or dandy, whose taste for pleasure and idleness is
only exceeded by his aversion for manual labour and for early matrimony.
The characters are as follows:--

Teresita, a beautiful young Creole.

Dona Lola, her aunt.

Juana, a mulatto slave.

Ramon, a 'mocito' in love with Teresita.

Don Gabriel, a fruiterer.

Mister Charles, a Yankee engineer from a sugar plantation.

To lend a realistic tone to the last-mentioned personage, the manager
has 'secured the services of a live Yankee from the United States'--at
least, such is his announcement; but, in reality, the gentleman who has
offered to fill the part is an Englishman, and one of 'the famous
followers of the divine art of Apelles.'

'Posters,' bearing my Anglo-Saxon name--which to a Cuban ear has an
imposing sound--are affixed to the corners of every street, and bills of
the play are distributed gratis throughout the town. In accordance with
custom, the beneficee has addressed envelopes, enclosing a programme of
the entertainments, together with a photograph of himself and a 'luneta'
or reserved-seat ticket, to all the known frequenters of the theatre.
Those who appreciate the compliment implied by the talented comedian,
will assuredly lend their patronage on his benefit night, and perhaps
forward twice or thrice the value of the ticket of admission. The
manager is confident of a 'bumper,' and bids me do my best.

To acquit myself with credit is not so easy as Don Baltazar supposes.
First, it is necessary to eschew my irreproachable Spanish, and to
assume that language as it is spoken by an American of the lower orders,
residing in Cuba. During my visits to sugar plantations, I have
sometimes made the acquaintance of certain engineers from Philadelphia,
who, while the cane harvest lasts, are employed to work the machinery
used in sugar making. With these gentlemen before me for models, and
with Nicasio at hand, I study my part.

Contrary to the system adopted by my brother-players, I carefully commit
the whole of my part to memory, noting the grammatical errors, which are
numerous, and the fragments of English which occasionally appear. I am
punctual in my attendance at the rehearsals, which is more than some of
my fellow-comedians can say. When an actor of the Teatro Real de Cuba is
absent from rehearsal, a super or a scene-shifter is called to read over
his part until he arrives.

I h