enten.
Aardappelen in Sneeksche Stijl.
Doperwten, Fransche Stijl.
Gebakkene Kropsalade.
Sorbet, Anneke Jans.
Gebraad.
Kanefasrug Eendvogels. Gekruide Seiderij-sla.
Richebourg.
Nagerecht.
Curacaogelei. Italiaansche Ijs. Edamsche Kaas. Vruchten.
Gemonteerde Stukken.
Koffie.
Likeuren. Sigaren.
Pupen en Tabak.

It may be objected that half-and-half, even when badly spelt, is a cold
preparation for dinner; and others may take exception to _Poukenvorm_,
as likely to have an earthy taste. But did they ever try it _gebakken in
Berg-op-Zoomsche Stijl_? It is no use mincing matters. Let anyone in
search of a good dinner enter any well-appointed _restaurant_, and order
this _menu_ right through down to _Pupen en Tabak_ (which is not a
preparation of dog's meat), and if they are not satisfied, _Mr. Punch_
is a Dutchman.

* * * * *

"RICHARDSON'S SHOW" AND A "BILL OF THE PLAY."

The Vaudeville, when it was opened, was devoted to all that was light
and cheerful. Comedy and Burlesque went hand-in-hand, and the audience,
if ever asked to weep, were begged to cry with laughter. But Mr. ROBERT
BUCHANAN (with the assistance of the late Mr. RICHARDSON) "has changed
all that." _Clarissa_, the present attraction at the little theatre on
the North-side of the Strand, is a piece of the most doleful character.
The First Act is devoted to a very heartless abduction, and the last to
a lingering death and a fatal _duello_. When it is announced that the
successful fencer who "kills his man" is no less a person than that
excellent Comedian, Mr. THOMAS THORNE, it will be readily understood
that "the New Drama" is the reverse of lively. _Clarissa_ has scarcely a
laugh in it from beginning to end. Certainly, in the last Scene but one,
there is a revel, in which "pseudo-Ladies of Fashion" take part, but the
merriment with which it is spiced is decidedly ghastly. Miss WINIFRED
EMERY is exceedingly clever, but her death-scene is painfully
protracted. Mr. THALBERG, as _Lovelace_, is a sad dog in every sense--a
very sad dog, indeed. The only incident in the piece ever likely to
provoke a smile, is the appearance of some comic bearers of grotesque
sedan-chairs. When _Clarissa_ is carried out _a la_ GUY FAUX at the end
of the Second Act, there is certainly a moment's hesitation whether the
audience should cry or laugh. But the sighs have it, and
pocket-handkerchiefs remain to the front.