The Opera, to the man of fashion, is the only tolerable place of public amusement in which the varied orders of society are permitted to participate. Here, lolling at his ease, in a snug box on the first circle, in dignified security from the vulgar gaze, he surveys the congregated mass who fill the arena of the house, deigns occasionally a condescending nod of recognition to some less fortunate rouÉ, or younger brother of a titled family, who is forcing his way through the well-united phalanx of vulgar faces that guard the entrance to Fop's Alley; or, if he should be in a state of single blessedness, inclines his head a little forward to cast round an inquiring glance, a sort of preliminary overture, to some fascinating daughter of fashion, whose attention he wishes to engage for an amorous interchange of significant looks and melting expressions during the last act of the opera. For the first, he would not be thought so outrÉ as to witness it—the attempt would require a sacrifice of the dessert and Madeira, and completely revolutionize the regularity of his dinner arrangement. The divertissement he surveys from the side wings of the stage, to which privilege he is entitled as an annual subscriber; trifles a little badinage with some well-known operatic intriguant, or favourite danseusej approves the finished movements of the male artistes, inquires of the manager or committee the forthcoming novelties, strolls into the green room to make his selection of a well-turned ankle or a graceful shape, and, having made an appointment for some non play night, makes one of the distinguished group of operatic cognoscenti who form the circle of taste in the centre of the stage on the fall of the curtain.
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This is one, and, perhaps, the most conspicuous portrait of an opera frequenter; but there are a variety of characters in the same school all equally worthy of a descriptive notice, and each differing in contour and force of chiaroscuro as much as the one thousand and one family maps which annually cover the walls of the Royal Academy, to the exclusion of meritorious performances in a more elevated branch of art. The Dowager Duchess of A——— retains her box to dispose of her unmarried daughters, and enjoy the gratification of meeting in public the once flattering groups of noble expectants who formerly paid their ready homage to her charms and courted her approving smile; but then her ducal spouse was high in favour, and in office, and now these "summer flies o' the court" are equally steady in their devotion to his successor, and can scarcely find memory or opportunity to recognise the relict of their late ministerial patron. Lord E——— and the Marchioness of R.——— subscribe for a box between them, enjoying the proprietorship in alternate weeks. During the Marchesa's periods of occupation you will perceive Lady H., and the whole of the blue stocking illuminati, irradiating from this point, like the tributary stars round some major planet, forming a grand constellation of attraction. Here new novels, juvenile poets, and romantic tourists receive their fiat, and here too the characters of one half the fashionable world undergo the fiery ordeal of scrutinization, and are censured or applauded more in accordance with the prevailing on dits of the day, or the fabrications of the club, than with any regard to feeling, truth, or decorum. The following week-, how changed the scene!—the venerable head of the highly-respected Lord E——— graces the corner, like a Corinthian capital finely chiseled by the divine hand of Praxiteles; the busy tongue of scandal is dormant for a term, and in her place the Solons of the land, in solemn thoughtfulness, attend the sage injunctions of their learned chief. Too enfeebled by age and previous exertion to undergo the fatigues of parliamentary duty, the baron here receives the visits of his former colleagues, and snatching half an hour from his favourite recreation, gives a decided turn to the politics of a party by the cogency of his reasoning and the brilliancy of his arguments. The Earl of F———has a grand box on the ground tier, for the double purpose of admiring the chaste evolutions of the sylphic daughters of Terpsichore, and of being observed himself by all the followers of the cameleon-like, capricious goddess, Fashion.

The G———B——-, the wealthy commoner, Fortune's favoured child, retains a box in the best situation, if not on purpose, yet in fact, to annoy all those within hearing, by the noisy humour of his Bacchanalian friends, who reel in at the end of the first act of the opera, full primed with the choicest treasures of his well stocked bins, to quiz the young and modest, insult the aged and respectable, and annihilate the anticipated pleasures of the scientific and devotees of harmony, by the coarseness of their attempts at wit, the overpowering clamour of their conversation, and the loud laugh and vain pretence to taste and critic skill.

The ministerialists may be easily traced by their affectation of consequence, and a certain air of authority joined to a demi-official royal livery, which always distinguishes the corps politique, and is equally shared by their highly plumed female partners. The opposition are equally discernible by outward and visible signs, such as an assumed nonchalance, or apparent independence of carriage, that but ill suits the ambitious views of the wearer, and sits as uneasily upon them as their measures would do upon the shoulders of the nation. Added to which, you will never see them alone; never view them enjoying the passing scene, happy in the society of their accomplished wives and daughters, but always, like restless and perturbed spirits, congregating together in conclave, upon some new measure wherewith to sow division in the nation, and shake the council of the state. And yet to both these parties a box at the opera is as indispensable as to the finished courtezan, who here spreads her seductive lures to catch the eye, and inveigle the heart of the inexperienced and unwary.

But what has all this to do with the opera? or where will this romantic correspondent of mine terminate his satirical sketch? I think I hear you exclaim. A great deal more, Mr. Collegian, than your philosophy can imagine: you know, I am nothing if not characteristic; and this, I assure you, is a true portrait of the place and its frequenters. I dare say, you would have expected my young imagination to have been encompassed with delight, amid the mirth-inspiring compositions of Corelli, Mozart, or Rossini, warbled forth by that enchanting siren, De Begnis, the scientific Pasta, the modest Caradori, or the astonishing Catalani:—Heaven enlighten your unsuspicious mind! Attention to the merits of the performance is the last thing any fashionable of the present day would think of devoting his time to. No, no, my dear Bernard, the opera is a sort of high 'Change, where the court circle and people of ton meet to speculate in various ways, and often drive as hard a bargain for some purpose of interest or aggrandisement, as the plebeian host of all nations, who form the busy group in the grand civic temple of commerce on Cornbill. You know, I have (as the phrase is), just come out, and of course am led about like a university lion, by the more experienced votaries of ton. An accident threw the honourable Lillyman Lionise into my way the other morning; it was the first time we had met since we were at Eton: he was sauntering away the tedious hour in the Arcade, in search of a specific for ennui, was pleased to compliment me on possessing the universal panacea, linked arms immediately, complained of being devilishly cut over night, proposed an adjournment to Long's—a light dinner—maintenon cutlets—some of the Queensberry hock{1} (a century and a half old)—ice-punch-six whin's from an odoriferous hookah—one cup of renovating fluid (impregnated with the Parisian aromatic {2}); and then, having reembellished our persons, sported{3} a figure at the opera. In the grand entrance, we enlisted Bob Transit, between whom and the honourable, I congratulated myself on being in a fair way to be enlightened. Bob knows every body—the exquisite was not so general in his information; but then he occasionally furnished some little anecdote of the surrounding elegantes, relative to affairs de l'amour, or pointed out the superlative of the haut class, without which much of the interesting would have escaped my notice.

In this society, I made my first appearance in the green room; a little, narrow, pink saloon at the back of the stage, where the dancers congregate and practise before an immense looking-glass previous to their appearance in public.

To a fellow of warm imagination and vigorous constitution, such a scene is calculated to create sensations that must send the circling current into rapid motion, and animate the heart with thrilling raptures of delight. Before the mirror, in all the grace of youthful loveliness and perfect symmetry of form, the divine little fairy sprite, the all-conquering Andalusian Venus, Mercandotti, was exhibiting her soft, plump, love-inspiring person in pirouÉtte: before her stood the now happy swain, the elegant H——— B-, on whose shoulder rested the Earl of Fe-, admiring with equal ecstasy the finished movements of his accomplished protÉgÉe{4}; on the right hand of the earl stood the single duke of D———————e, quizzing the little daughter of Terpsichore through his eye-glass; on the opposite of the circle was seen the noble

musical amateur B——-h, supported by the director De R-s on one hand, and the communicative manager, John Ebers, of Bond-street, on the other; in a snug corner on the right hand of the mirror was seated one of his majesty's most honourable privy council, the Earl of W——-d, with a double Dollond's operatic magnifier in his hand, studying nature from this most delightful of all miniature models. "A most perfect divinity," whispered the exquisite. "A glorious fine study," said Transit,—and, pulling out his card-case and pencil, retired to one corner of the room, to make a mem., as he called it, of the scene. (See Plate.) "Who the deuce is that eccentric-looking creature with the Marquis of Hertford?" said I. "Hush," replied the exquisite, "for heaven's sake, don't expose yourself! Not to know the superlative rouÉ of the age, the all-accomplished Petersham, would set you down for a barbarian at once." "And who," said I, "is the amiable fair bending before the admiring Worter?" "An old and very dear acquaintance of the Earl of F-e, Mademoiselle Noblet, who, it is said, displays much cool philosophy at the inconstancy of her once enamoured swain, consoling herself for his loss, in the enjoyment of a splendid annuity." A host of other bewitching forms led my young fancy captive by turns, as my eye travelled round the magic circle of delight: some were, I found, of that yielding spirit, which can pity the young heart's fond desire; with others had secured honourable protection: and if his companion's report was to be credited, there were very few among the enchanting spirits before yet with whom that happiness which springs from virtuous pure affection was to be anticipated. If was no place to moralize, but, to you who know my buoyancy of spirit, and susceptibility of mind, I must confess, the reflection produced a momentary pang of the keenest misery. ENLARGE TO FULL SIZE