d distingue appearance behind a large
moustache and a gilded _lorgnette_. Old papas, who rule 'change and keep
a "stall," cannot be offended with that which teaches them how dignified
and creditable is their position, as they sit up proudly and exhibit
their family's extravagance and ostentation as an evidence of the
stability of their commercial relations. Few mammas will carp at a book
which assures them that society does not esteem them less highly because
they use an opera box as a sort of matrimonial show window in which they
place their beautiful daughters, "got up regardless of expense," as
delicate wares in the market of Hymen.

In these our humble efforts to present to our readers an amusing yet
faithful picture of the opera, we hope our manner of treating the
subject has been to nothing extenuate nor aught set down in malice. This
book has not for its end the unlimited censure of foreign opera singers,
or native opera goers. We do not therefore, expect to gratify the
malignant demands of persons of over-strained morality, who maintain
that the opera is a bad school of musical science, or a worse school of
morals; and exclaim with the very correct Mr. Coleridge, who was
_shocked_ in a--_concert room_,

"Nor cold nor stern my soul, yet I detest
These scented rooms; where to a gaudy throng,
Heaves the proud harlot her distended breast,
In intricacies of laborious song.

"These feel not music's genuine power, nor deign
To melt at nature's passion-warbled plaint;
But when the long-breath'd singer's up-trilled strain
Bursts in a squall--they gape for wonderment."

Neither do we coincide in sentiment with those who, conceiving that
every folly and absurdity sanctioned by fashion, is converted into
reason and common sense, believe that "the whole duty of man" consists
in _spending the day_ with Max Maretzeck on the occasion of his musical
jubilees, and being roasted by gas in the hours of broad day-light.
Consequently the reader will find no one line herein written with the
intention of flattering the vanity of those who ride to the opera every
night in a splendid coach, followed by spotted dogs.

Having thus declared the impartial manner in which it is our purpose to
pursue the physiological discussion of our subject, and the various
phenomena involved in its consideration, we proceed at once to unveil
the operatic existence to the reader, fatigued no doubt by an
introdu