extricate themselves from the prison of trees in which they had taken pains to immure themselves. They groped, and pushed, and fought, until they made their way out into the more open woods where air and moisture were found plentiful enough, and where the young vegetation was varied and magnificent, the delicate and wholesome growing mingled with the rank and poisonous. Ivy trailed from high branches of trees, making beautiful traps for unwary feet. Grass was long and coarse, being nourished with the giant ferns by creeping sources of the evil well of the legend. Streaks of fiery scarlet shining out here and there from the gloom of greenery, and blackish atmosphere of rotting thickets, announced the brazen beauty of the night-shade. Upon this Katherine pounced, making herself a deathly and brilliant nosegay as she went along; a poisonous sheaf of burning berries for a centre, some stalks of hemlock, some little brown half-rotted nutleaves with blots of yellow and crimson, some black slender twigs; the whole surrounded by a lacework of skeleton oak-leaves. She would have nothing fresh, nothing of the spring, her whim being to make a nosegay out of deadliness and decay.

THE "SUPER."

THE theatrical supernumerary-or the 'super," as he is familiarly called-is a man who in his time certainly plays many parts, and yet obtains applause in none. His exits and his entrances, his début and his disappearance, alike escape criticism and record. His name is not printed in the playbills, and is for ever unknown to his audience. Even the persons he is supposed to represent upon the stage always remain anonymous. Both as a living and fictitious creature he is denied individuality, and has to be considered collectively, massed with others, and inseparable from his companion figures. He is not so much an actor, as part of the decorations, the animated furniture, so to say, of the stage. Nevertheless, supers" have their importance and value. For how could the drama exist without its background groups: its soldiers, citizens, peasants, courtiers, nobles, guests, and attendants of all kinds?. These give prominence, support, and effect to the leading characters of the theatre; and these are the supers."

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Upon the French stage the minor assist

ants of the scene are comprehensively described as les choristes. In this way the pedigree of the "super" gains something of nobility, and may, perhaps, be traced back to the chorus of the antique drama, a body charged with most momentous duties, with symbolic mysteries of dance and song, removed from the perils and catastrophes of the play, yet required in regard to these to guide and interpret the sympathies of the spectators. In its modern application, however, this generic term has its subdivisions, and includes les choristes proper, who boast musical attainments, and are obedient to the rule of a chef d'attaque, or head chorister; les accessoires, performers permitted speech of a brief kind, who can be intrusted upon occasion with such simple functions as opening a door, placing a chair, or delivering a letter, and who correspond in many respects with our actors of utility; les figurants, the subordinate dancers led by a coryphée; and lastly, les comparses, who closely resemble our supernumeraries, and are engaged in more or less numbers, according to the exi gencies of the representation. Of these aids to performance les comparses only enjoy no regular salaries, are not formally enrolled among the permanent members of the establishment, but are paid simply for appearing-seventy-five centimes for the night and fifty centimes for each rehearsalor upon some such modest scale of remuneration. This classification would appear to afford opportunities to ambition. Here are steps in the ladder, and merit should be able to ascend. It is understood, however, that as a rule les comparses do not rise. They are the serfs of the stage, who never obtain manumission. They are as conscripts, from whose knapsacks the fieldmarshal's baton is almost invariably omitted. They become veterans, but their length of service receives no favourable recognition. Comparses they live and comparses they die, or disappear, not appa rently discontented with their doom, however. Meantime the figurant cherishes sanguine hopes that he may one day rise to a prominent position in the ballet, or that he may become an accessoire; and the accessoire looks forward fervently to rank ing in the future among the regular actors or artistes of the theatre, with the right of entering its grand foyer, or superior greenroom. Until then he must confine himself and his aspirations to the petit foyer set apart for the use of players of his class.

Thus it is told of a certain accessoire of

the Porte St. Martin, in years past, who had won a scarcely appreciable measure of fame for his adroitness in handing letters or coffee-cups upon a salver, and even for the propriety with which he announced, in the part of a footman, the guests and visitors of a drama-such as "Monsieur le Viscomte de St. Remy!" or 66 Madame la Marquise de Roncourt!"-that he applied to his manager for an increase of his salary on account of the special value of his services. "I do not expect," he frankly said, "immediately to receive twenty-five thousand francs, as Monsieur Frédéric Lemaitre does; no, not yet; although I bear in mind that Monsieur Lemaitre began his career with fighting broad-sword combats in Madame Saqui's circus; but my present salary is but six hundred francs a year, and a slight increase

"Monsieur Fombonne," interrupted the manager, "I acknowledge the justice of your application. I admire and esteem you. You are one of the most useful members of my company. I well know your worth; no one better."

Monsieur Fombonne, glowing with pleasure, bowed in his best manner.

"I may venture to hope then

"By all means, Monsieur Fombonne. Hope sustains us under all our afflictions. Always hope. For my part hope is the only thing left me. Business is wretched. The treasury is empty. I cannot possibly raise your salary. But you are an artist, and therefore above pecuniary considerations. I do not-I cannot offer you money. But I can gratify a laudable ambition. Hitherto you have ranked only as an accessoire; from this time forward you are an actor. I give you the right of entering the grand foyer. You are permitted to call Monsieur Lemaitre mon camarade; to tutoyer Mademoiselle Theodorine. I am sure, Monsieur Fombonne, that you will thoroughly appreciate the distinction I have conferred upon you."

Monsieur Fombonne was delighted. He was subsequently to discover, however, that some disadvantages attended his new dignity; that the medal he had won had its reverse. The accessoires and figurants of the theatre always received their salaries on the first day of each month. The artistes were not paid until the sixth or seventh day. Monsieur Fombonne had to live upon credit for a week as the price of his new privileges. His gain was shadowy; his loss

substantial.

With the choristes proper we are not

here much concerned. They are not fairly to be classed among "supers," and they pertain almost exclusively to the lyric stage. It is to be noted, however, that they are in some sort evidence of the connexion that once existed between the Church and the Theatre; the ecclesiastical and the laical drama. At any rate, the chorus singers often undertake divided duties in this respect, and accept engagements both at the cathedral and the opera-house. And sometimes it has happened that the discharge of their dual obligations has involved them in serious difficulties. Thus, some years since, there is said to have been a Christmas spectacle in preparation at the operahouse in Paris. The entertainment was of a long and elaborate kind, and for its perfect production numberless rehearsals, early and late, dress and undress, were imperatively necessary. Now the chorus of the opera also represented the choir of Notre Dame. It was a season of the year for which the Church has appointed many celebrations. The singers were incessantly running to and fro between the opera house and Notre Dame. Often they had not a moment to spare, and punctuality in attending their appointments was scarcely possible, while the trouble of so frequently changing their costumes was extremely irksome to them. On one occasion a dress rehearsal at the theatre, which commenced at a very late hour, after the conclusion of the ordinary performance of the evening, was so protracted that the time for the early service at the cathedral was rapidly approaching. The chorus appeared as demons at the opera, and wore the tightfitting scaly dresses which time out of mind have been invested upon the stage with diabolical attributes. What were they to do? Was there time to undress and dress again? Scarcely. Besides, was it worth the trouble? It was very dark; bitterly cold; there was not a soul to be seen in the streets; all Paris was abed and asleep. Moreover, the door of the sacristy would be ready open to receive them, and their white stoles would be immediately obtainable. Well, the story goes that these desperate singers, accoutred as they were, ran as fast as they could to Notre Dame, veiled their satanic dresses beneath the snowy surplices of the choir, and accomplished their sacred duties without any discovery of the impropriety of their conduct. It is true they encountered in their course a patrol of the civic guard; but the representatives of law and order, form

ing probably their own conclusions as to the significance of the demoniac apparition, are said to have prudently taken to flight in an opposite direction.

Upon our early English stage the "super" had frequent occupation; the Shakesperian drama, indeed, makes large demands upon the mute performers. The stage at this time was not very spacious, however, and was in part occupied by the more pretentious of the spectators, who, seated upon stools, or reclining upon the rushes which strewed the boards, were attended by their pages, and amused themselves with smoking their pipes and noisily criticising the performance. There was little room therefore for any great number of supernumeraries. But spectacles-to which the "super" has always been indispensable-had already won the favour of playgoers. Sir Henry Wotton writes in 1613 of a new play produced at the Globe Theatre, "called All is True, representing some principal pieces of the reign of Henry the Eighth, which was set forth with many extraordinary circumstances of pomp and majesty, even to matting of the stage; the knights of the order with their Georges and Garter, the guards with their embroidered coats and the like; sufficient, in truth, within a while to make greatness very familiar, if not ridiculous." "Supers" must surely have been employed on this occasion. It is clear, however, that the money-takers," or gatherers," as they were called, after the audience had assembled, and their presence was no longer needed at the doors, were accustomed to appear upon the stage as the representatives of guards, soldiers, &c. An early play refers to the combats of the scene being accomplished by "the blue-coated stage-keepers," or attendants. And the actors were classified at this time, according to their professional standing, as "whole sharers,' "threequarter sharers," "half sharers," and "hired men, or 'servitors." The leading players were as joint proprietors in the undertaking, and divided the receipts among them according to a prearranged scale. Minor characters were sustained by the "servitors" who were paid, as our actors are at the present time, by weekly wages, and had no other interest in the success of the theatre with which they were associated, beyond desire that its exchequer might be always equal to their claims upon it. Philip Henslowe's Diary contains an entry regarding a non-sharing actor: "Hiered as a covenant servant

Willyam Kendall-to give him for his said servis everi week of his playing in London ten shillings, and in the countrie five shillings, for the which he covenaunteth to be redye at all houres to play in the house of the said Philip, and in no other." It may be noted that Shakespeare's first connexion with the Globe Theatre is shown upon fair evidence to have been originally that of a "servitor." In that case the poet must often have been required to appear in very subordinate characters— perhaps even characters not intrusted with speech. Will it inflame too violently the ambition of our modern "supers' to suggest to them that very possibly Shakehimself may speare have preceded them in the performance of their somewhat inglorious duties? The hired men or ser vitors were under the control and in the pay of the proprietor or manager of the theatre, and their salaries constituted no charge upon the shares of the chief actors. Still these were entitled to complain apparently if the hired men were too few in number to give due effect to the represen tations. In 1614 a dispute arose between Henslowe and his sharing actors, by reason | of his having suddenly reduced his expenses by dismissing "four hired men.' He had previously sought to charge their stipends upon the shares, although bound by agreement to defray these expenses out of the money derived from the galleries, at this time, perhaps, a managerial perquisite. But in addition to the servitors, as the representatives of minor and mute characters, there were also available the jour neymen or apprentices of the more eminent performers. If they paid no premium upon being articled, novices were at any rate bound in return for the education they received to hand their earnings, or a large part of them, to their masters. And this is precisely the case at the present time in regard to the pupils of musical professors and the teachers of singing, dancing, and feats of the circus. The services of the apprentices were transferable, and could be bought and sold. There is quite a slavetrade aspect about the following entry in Henslowe's Diary. "Bowght my boye Jeames Brystow, of William Augusten, player, the 8th of December, 1597, for eight pounds." Augustine Phillips, the actor, one of Shakespeare's partners, who died in 1605, and who by his will bequeathed to Shakespeare "a thirty shilling peece in gould," also gave to "Samuell Gilborne, my late apprentice, the some of

fortye shillings, and my mouse-coloured velvit hose, and a white taffety dublet, a blacke taffety sute, my purple cloke, sword and dagger, and my base viall." He also gave to "James Sands, my apprentice, the some of forty shillings and a citterne, a bandore, and a lute, to be paid and delivered unto him at the expiration of his terme of yeres in his indentur of apprenticehood." From his bequest of musical instruments, it has been conjectured that Phillips sometimes played in what is now called the orchestra of the theatre. A sum of forty shillings in Elizabeth's time represents the value of about ten pounds of our currency. What with its 66 gatherers," servitors," and journeymen, the Shakespearian stage was obviously provided sufficiently with supernumerary assistants.

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The "super" is useful, even ornamental in his way, though it behoves him always to stand aloof from the footlights, so that distance may lend his aspect as much enchantment as possible; but he is not highly esteemed by the general public. In truth he has been long the object of ridicule and caricature. He is charged with stupidity, and is popularly considered as a very absurd sort of creature. But he has resigned his own volition, he has but to obey. He is as a puppet whose wires are pulled by others. He is under the rule of a supermaster," who is in his turn governed by the wavings of the prompter's white flag in the wings, the prompter being controlled by the stage-manager, who is supposed to be the executant of the dramatist's intentions. The "super's" position upon the stage is strictly defined for him; sometimes even marked on the boards with chalk. He may not move until the word of command is given him, and then every change of station or attitude must be pursuant to previous instruction. And his duties are sometimes arduous. He may often be required to change his attire and assume a new personality in the course of one night's performances. A member of a band of brigands in one scene, he may in another be enrolled in a troop of soldiers, sent to combat with and capture those malefactors. In the same play he may wear now the robes of a nobleman, and now the rags of a mendicant: A demon possessed of supernatural powers at the opening of a pantomime, he is certain before its close to be found among those good-natured people who saunter across the stage for the sole purpose, as it would seem, of being assaulted and battered by

Its

the clown and pantaloon. It is not surprising altogether that a certain apathy gradually steals over him, and that such intelligence as he ever possessed becomes in time somewhat numbed by the peculiar nature of his profession. Moreover, in regard to the play in which he takes part he is generally but dimly informed. plot and purpose are a mystery to him. He never sees it represented or rehearsed as an entirety. His own simple duties accomplished, he is hurried to the rear of the stage to be out of the way of the actors. Why he bends his knee to one performer and loads another with fetters; why there is banning in this scene and blessing in that; why the heroine in white adores the gallant in blue and abominates her suitor in red, are to him inexplicable matters. The dramas in which he figures only impress his mind in relation to the dresses he is constrained to assume during their representation, the dresses being never of his own choosing, rarely fitting him, and their significance being always outside his comprehension. To him the tragedy of King John is but the occasion on which he and his fellows " wore them tin pots on our 'eads;" Julius Cæsar the play in which "we went on in sheets." "What are we supposed to be?" a curious "super" once inquired of a more experienced comrade. "Blessed if I know," was the answer. "Demons I expect." They were clothing themselves in chainmail, and were "supposed to be"-Crusaders.

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The "super's" dress is, indeed, his prime consideration, and out of it arises his greatest grievance. He must surrender himself unconditionally to the costumier, and obey implicity his behests. Summer or winter, he has no voice in the question; he must clothe himself warmly or scantily, just as he is bidden. Always fleshings when there's a frost," a "super" was once heard to grumble, who conceived the classical system of dress or undress-and for that matter, perhaps, the classical drama also— to be invented solely for his inconvenience and discomfort. But more trying than this antique garb is the demoniac mask of tomime, which is as a diver's helmet ill provided with appliances for admitting air or permitting out-look. The group of panting "supers,' with their mimic heads under their arms-their faces smeared with red or blue, in accordance with direction, not of their own choice-to be discovered behind the scenes during the performance of a Christmas piece, is an impressive portion

pan

of the spectacle, although it is withheld from the contemplation of the audience. There have been "supers" who approached very near to death by suffocation, from the hurtful nature of their attire, rather than fail in the discharge of their duties. For there is heroism everywhere.

The stage has always been fertile in the matter of anecdotage, and of course comical stories of "supers" have abounded; for these, the poorest of players, are readily available for facetious purposes. Thus, so far back as the days of Quin, there is record of a curious misapprehension on the part of the supernumeraries of the time. Quin's pronunciation was of a broad old-fashioned kind, a following of a traditional method of elocution from which Garrick did much to release the theatre. The play was Thomson's Coriolanus, and Quin appeared as the hero. In the scene of the Roman ladies' entry in procession, to solicit the return to Rome of Coriolanus, the stage was filled with tribunes and centurions of the Volscian army, bearing fasces, their ensigns of authority. Quin, as the hero, commanded them to "lower their fasces" by way of homage to the matrons of Rome. But the representatives of the centurions understood him to mean their faces, and much to the amusement of the audience all reverently bowed their heads with absurd unanimity.

But it is as the performers of "guests" that the "supers" have especially moved derision in our theatres; and, indeed, on the Parisian stage les invités have long been established provocatives of laughter. The assumption of evening dress and something of the manners of polite society, has always been severely trying to the supernumerary actor. What can he really know of balls and fashionable assemblies? Of course, speech is not demanded of him, nor is his presence needed very near to the proscenium, but he is required to give animation to the background, and to be as easy and graceful as he may in his aspect and movements. The result is not satisfactory. He is more at home in less refined situations. He is prone to indulge in rather grotesque gestures, expressive of admiration of the brilliant decorations surrounding him, and profuse, even servile gratitude for the hospitality extended to him. He interchanges mute remarks, enlivened by surprising grimaces, with the lady of the ballet, in the shabbiest of ball dresses, who hangs affectionately upon his arm. The limited amount of his stipend

naturally asserts itself in his costume, which will not bear critical investigation. His boots are of the homeliest and sometimes of the muddiest; course dabs of rouge appear upon his battered cheeks; his wig-for a "super" of this class almost always wears a wig-is unkempt and decayed; his white cravat has a burlesque air; and his gloves are of cotton. There are even stories extant of very economical supers" who have gone halves in a pair of "berlins," and even expended rouge on but one side of their faces, pleading that they were required to stand only on the right or the left of the stage, as the case might be, and as they could thus be seen but in profile by the audience, these defects in their appearance could not possibly attract notice. Altogether the "super's" least effective performance is that of a guest."

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The

It is a real advance for a "super" when he is charged with some small theatrical task, which removes him from the ranks of his fellows. He acquires individuality, though of an inferior kind. But his promotion entails responsibilities for which he is not always prepared. Lekain, the French tragedian, playing the part of Tancred, at Bordeaux, required a supernumerary to act as his squire, and carry his helmet, lance, and shield. Lekain's personal appearance was insignificant, and his manner at rehearsal had been very subdued. "super" thought little of the hero he was to serve, and deemed his own duties slight enough. But at night Lekain's majesty of port, and the commanding tone in which he cried, "Suivez moi!" to his squire, so startled and overcame that attendant that he suddenly let fall, with a great crash, the weapons and armour he was carrying. Something of the same kind has often happened upon our own stage. "You distressed me very much, sir," said a famous tragedian once to a super," who had committed default in some important business of the scene. "Not more than you frightened me, sir," the " super" frankly said. He was forgiven his failure on account of the homage it conveyed to the tragedian's impressiveness.

M. Etienne Arago, writing some years since upon les choristes, calls attention to the important services rendered to the stage by its mute performers, and demands their wider recognition. He holds that as much, or even more talent is necessary to constitute a tolerable figurant as to make a good actor. He describes the figurant