

~HOREST AND STREAM. 
205 



ry 
three times, (not necessarily consecutively,) before becom- 
ing the property of the winner. In case ties are made at 
any range that cannot be decided under the rules without 
“shooting off,” the competitors making them will be al- 
lowed to shoot at the next distance. No practicing to be 
done on the day of the match. The first contest will occur 
on the 14th inst. 
We intend giving our readers the fullest description of 
these and all other matches. 
On Saturday next, at 3:30 P. M., the fifth regular match 
for the Amateur Rifle Club Badge, will take place at Creed- 
moor. Open only to members of the Amateur Rifle Club, 
with any rifle not over ten pounds in weight, the trigger 
not less than three pounds test pull; telescope sights ex- 
cluded; distance, 500 yards, position, any, but without arti- 
ficial rest; rounds, seven, with the privilege of one sight- 
ing shot. The badge to become the property of any mem- 
ber winning it three times. 
Che Horse and the Course. 
—At Prospect Park Fair Grounds near Brooklyn, a match 
of $500, mile heats, best three in fine, to wagon, between 
Lady Pell and Ruby, came off on October 30th. Lady Pell 
won. On October 3ist, the first race at Prospect Park was 
for a purse of $500 for 2:28 class. Joker won the race in 
splendid style in three straight heats. Time—2:273—2:28% 
—2:27. The next race was a match of $500, mile heats, 
best three in five in harness, between Louise and Lady 
Wood. Louise won the first heat and Lady Wood the next 
three and won the match. The next race was a match of 
$1,000 against time, ten miles in forty minutes. D. Gil- 
mour’s Delver trotted the distance with ease in 33m. 46sec. 
On November ist, the great race between Judge Fuller- 
ton, American Girl and Camors, for a purse and stake of 
$4,000 took place. Judge Fullerton won. Shortest time— 


yecel. 
—The last day of the annual meeting of the Maryland 
Jockey Club took place on October 28th. The attendance 
was much more numerous than on the previous days. The 
first race was fora purse of $400 for two-year-olds; one 
mile. Six horses started. McDaniel’s bay colt won by two 
lengths. Time—1:56. The second race was a two-mile 
heat handicaps for all ages. Chickabby won the first heat 
and Bessie Lee the two last, distancing all the others. 
- eate organization. 
~ Probabl 
Time-—4:063—4:064. The third race was for the Consola- 
tion purse of $500 for horses that had run and not won 
during the meeting. Mile heats. Eight horses came to the 
post, all of which were distanced after the first heat, (not 
being ready when the bell rang), except Artist and Merodac. 
Artist won the second and third heats and the race. Time 
—1:57—2°:00}. The fourth and last race of the meeting 
was a steeplechase post stakes, $25 entrance, with $750 ad- 
ded by the Club. Distance about two miles and a half 
over a fair hunting course. Duffy, the favorite, won. 
—There was a good attendance at Deerfoot Park, near 
Brooklyn, on October 29th, to witness several exciting 
trots. Purse of $300 for horses that had never beaten 2:34. 
Mile heats; best three in five in harness. There was some 
unpleasant feeling manifested in regard to the driver of 
Tanner Boy after winning three heats. The next race was 
the 2:30 class, for a purse of $400, and was finished October 
30th. Five horses started. Spotted Colt won. 
—At the Suffolk Driving Park, Babylon, L. I. Crown 
Prince beat Young Bruno in three straight heats. Time— 
2 :274—2 :31}-2 :30. 
Bors ry Horses.—In the Popular Setence Monthly there is 
a short article relative to the power of endurance manifested 
by the larve of some insects, and among them of the bot fly. 
It mentions a case where a piece of the stomach of a dead 
horse, which was covered with bot worms was spread on a 
board, and spirits of turpentine was poured on the worms, 
yet after an hour not one was detached from the flesh. 
Then whale oil was poured on them, when they let go their 
hold, and died almost immediatly. Hence the inference 
that whale oil should be used to detach the worms from the 
living horse, when attacked by bots. 
Says one of our correspondents, the following is a sure 
cure for bots in horses:—Give the horse two quarts of new 
milk and one quart of molasses mixed; in fifteen minutes 
give two quarts of strong sage tea; in thirty minutes give 
three. pints of raw linseed oil, a sure cure in the worst cases. 
The molasses and milk make the bots let go, the sage tea 
will pucker them up, and the oil will carry them off. 
Bots are the larve of the bot fly, which deposits its eggs 
upon ‘the hair of the fore legs of the horse, whence, via 
mouth, they are swallowed and cause the ‘bots’ in horses. 
Frrpinc Horses.—Waring says: ‘‘Very much of the 
value and availability of the horse depends on the quality 
and quantity of his food and on the manner in which it is 
given to him. Too much at one time, too little at another, 
food of improper kinds, or in a bad state of preparation, is 
the foundation of one half the ills that horseflesh is heir to. 
There isno worse economy than the stinting of food, or 
the administeriug of bad food because it is cheap. Also, 
there ir no more wasteful practice than the giving of too 
rich and expensive food. Neither is there a greater source 
of loss in connection with the keeping of farm horses than 
the neglect to which they are systematically subjected. 
The horse, even in the rudest state, is of a somewhat deli- 
His powers are very great—greater than 
is generally supposed; but in order to their development 
and to their long endurance, it is necessary that he be fed 
with the greatest care and with an ever watchful judgment. 
the capital investment in farm horses in the 
United States would go twice as far—that is, the animals 
would last in the useful condition twice as long—if they 
were thoroughly well fed and cared for, 



Ut and Drama. 
E assert that all experience in England and this coun- 
try shows that there is no real feeling for the higher 
development of music in the Anglo Saxon people, what- 
ever that designation may mean. Englishmen and their 
descendants in the United States are, as a rule, incapable 
by nature of their blood and brains of feeling sublime emo- 
tions, from the representations of the Grand Opera, We 
venture to assert without fear of contradiction, that a 

healthy, well developed American citizen of the 
best type does, not exist, who, however much 
he might affect raptures over ‘‘ Trovatore’ or 
“Don Giovani” and their attendant train, docs not, 
deep down in his interior judgment, feel a sovereign con- 
tempt for the whole conglomeration. We can recall many 
of these artificial admirers of the opera who, fifteen or 
twenty years ago, went in for building an Academy of 
Music, and who were to be seen night after night in the 
boxes waving their white kids with enthusiasm over the 
reigning stars who, now that they are maturéd men, would 
deny with much promptness that they ever did such a 
thing; yet a love cf music understood, is inherent, and 
strikes with equal sweetness upon the mind old or the mind 
young. 
What is the-character of the music one hears trolled in 
our streets, giving to the true observer the key-note to our 
national taste? What are the tunes one hears dinned by 
the tired mechanic or whistled merrily by the boot-black, 
if they have no ‘‘brunette blood” in them? In fact what 
are the tunes you hear ventilated in the highways, by 
whomsoever ‘sung, whether by the traveled coxcomb, 
newsboy, broker, or policeman? They are just such ec- 
centricities of melody as ‘‘Popsey Wopsey,” ‘‘Down in the 
Coal Mine,” ‘‘Molly Darling,” ‘“‘Dat Leetle German Band” 
—in fact whatever may happen to be the reigning favorite 
of the hour. The American nature musically, runs as nat- 
urally into something that is a stirring air,or the simple bal- 
lad, or it runs to speculation and recklessness. Our people 
get off their enthusiasm in business, and they have no time 
because they have no desire to see a ‘‘six-foot” gentleman 
bewailing his misfortunes under the really grotesque situa- 
tion of musical accompaniements. 
With two operatic companies, during the present sea- 
son, struggling for supremacy, with competent artists in 
the various departments, with the stock of operas equal to 
those that delight the Parisians at the Italian Opera and 
the Theatre de Opera Comique, and quite on a par with 
the ones which amuse educated John Bull at Covent Gar- 
den and her Majesty’s Theatre, Haymarket, we have, 
doubtless, some reason to believe that we are a musical 
population. Mr. Max Maretzek, during the brief engage- 
ment of his superior troupe, has had no cause possibly to 
quarrel with his receipts. As for Mr. Strakosch, he has 
so far given no signs that the opera has not been fairly pat- 
ronized, but with Jess enthusiasm than in former years, 
when he has marshalled his operatic hosts to victory and 
legitimate plunder. 
That the opera has no home in the hearts of our people is 
eloquently illustrated by the uncertainty of its appearance. 
Even if expected, its friends have to preliminarily draw up 
subscriptions and recruits and prepare the way for its com- 
ing by artificial excitement. It is nothing more thana 
guest which we receive with honor; for it is respectable 
and of courtly associations ‘‘over the water.” But we soon 
get wearied of its peculiar and anti-republican ways; 
the masses which wait upon its presentation, if gentlemen, 
chafe under the discipline of the “‘straight-jacket dresses” 
and the ladies are rapturous because they can display their 
last new dress. 
But there is one American city—New Orleans—(an 
adopted child) where the opera for more than 
half a century has had a home, enshrined in 
the traditions and hearts of an entire community. Old 
men of that city who still maintain their love, talk with en- 
thusiasm of what they saw and heard in the days of their 
youth: Opera in New Orleans ‘‘from the earliest times” 
has been performed from October to May, opening with a 
crowded and delighted audience, and closing at the end of 
the season with a brilliant ovation. 
The truth is, it isa curious thing to see how this love for 
the higher graces of music pervades the entire Creole pop- 
ulation of that city—that is, that portion of the population 
directly descended from the original French and Spanish 
inhabitants. They do not seem to be educated into this 
love, so much as born with it. The opera is one of their 
necessities, like their dinner and their sleep. No Creole is 
too old, no Creole c:n hardly be too young to enjoy it. 
Your true Creole has his ‘‘seven ages” (as we all have) like 
the man in Monsieur Jacques’ world;but whatever may be his 
-time of life from the ‘‘whining school boy” era, to the 
‘Jean and slippered pantaloon” epoch, he never loses his 
deep and critical sense of enjoyment in the opera. 
To the Creole, music is the spirit of his existence. During 
the day, in his walks, at home, at work, wherever it may 
be he hums some favorite aria; and at night the old French 
quarter, up to the small hours, is often alive and ringing 
with cleverly executed cavatinas. This is not imitation; it 
is only the expression of keen enjoyment and genuine ap- 
preciation. To sucha community, whetherman or woman, 
youth or maiden, the drama has noinnate claim upon na- 
ture or imagination, it is only the opera that fills the soul. 
In explanation somewhat of this absorbing sentiment we 
should say that the Grand Opera of New Orleans is French, 
that it is consequently sung in a language familiar to the 
delighted audience, That the action, the stories told, the 
traditions suggested, appeal to the imaginations, the main 
springs of which “‘are still in Normandy,” and the proverb- 
iallove of these people for home and its hundred associa- 
tions, is the last to die in the child of La Belle France. 
Our recollections of a grand night at the Opera House of 
New Orleans can never be effaced. It presented the mu- 
sical taste of the most musical of American cities, brought 
face to face with the stranger. The parquette crowded 
with the young bloodsand their experienced elders, The 
box circle (with its back-ground of loges brilliant with olive 
complexions, and great dark flashing, fascinating eyes— 
their owners dazing with toilets fresh from the most artistic 
hands of Paris; the gallants, with exquisite grace loitering 
in the corridors; the substantial tradesmen and their fami- 
lies in the doges grillece in the third gallery; the hard-handed 
workmen thronging the quvartriemes, insensible, for the mo- 
ment, to the cost of the ticket, but with all his senses rivet- 
ed upon the most subtle touch of the musicians of the or- 
chestra, or the most delicate note of the favorite singer; 
while up near the mythological chariots of the frescoed 
ceiling, the ‘colored population,” with its native love of 
harmony cultivated by the surrounding atmosphere, was in 
goodly numbers, absorbed in ecstacy. 
But there was another charm. The fashionable schools 
of New Orleans under the charge of Parisian teachers, where 
was gathered the brightest and most beautiful of the Creole 
and American population, had as part of their “regular 
studies” a weexly visit to the opera, the expense of the 
ticket, the carriage hire and other incidentals being charged 
in the bill, along with ‘‘use of the globes.” It was a 
fascinating sight to see these youthful beauties, charming 
representatives of two conquering nations, one of the 
Northern and the other of the Southern type, file into their 
loge under the guardianship of the teacher, who directed 
their every motion with the precision of an army martinet; 
if one of the young ladies needlessly rampled one fold of her 
dress, or shook one ringlet, or gave one too emotional 
look for the occasion, this earnest chaperon would flash her 
eye in reproof,and shake her gloved finger in condemnation. 
And then, when the curtain rose, how these young beau- 
ties, with hearts palpitating with absolute rapture had to 
suppress their feelings, so as to keep the full demonstration 
of their pent-up joy until the duenna gave the signal, and 
then, and not till then could they flash their bright eyes 
and wave their fans and flash their gloves at the opera 
singers, as understood by the watchful duenna, but really at 
the admiring beaux who were gazing at them from the box 
circle. 
Nor should we forget to mention the ‘‘happy conceit” of 
having delicate refresements handed in at the loges between 
the acts, and the visiting of intimate acquaintances; in fact 
the absolute ‘‘ceremonious receptions,” so full of compli- 
ment and grace, that went to fill up and enrich these de- 
lightful entertainments—delightful because thoroughly en- 
joyed. Nor were the interludes, though long, ever heavy 
to any, for the neighboring sons are filled by the members 
of the audience, sipping delicately the harmless claret or 
indulging in an ice, or talking of the last song and the last 
musical triumph, the discussion made piquant by two or 
three puffs of a cigarette. 
Over all was the wonderful spell of appreciation which 
would, on the spot, detect a false note from a popular fa- 
vorite, and surely applaud a fine burst from a 
subordinate. Wecan gather up most noble and imperial 
audiences in New York; but for a delighted, brilliant as- 
semblage the members of which, though in the height of 
fashion, could for the moment forget its severe rule, where 
the sons of labor could mingle with the children of art, 
where the whole soul of all present for the nonce was 
annealed into one great heartfelt appreciation of music that 
never was in our city—never in our country, except in New 
Orleans. 
The reception of Mr. Lester Wallack on the night of his 
first appearance was turned into a floral ovation. He 
gathered up bouquets until he was fatigued, then he was 
assisted in his work by his fellow actors; finally the labor 
was found to interfere with the progress of the play, and 
flowers were literally crushed into the boards of the stage. 
Miss Clara Morris is announced to appear at the Union 
Square Theatre. Wehave no doubt of her cordial recep- 
tion. Her hold upon the public is created by excellent act- 
ing, great natural ability, and a quietness of manner that 
is invincible in its charming effects. We hope the day is 
not far distant when she will be seen in some role requiring 
a more intense dramatic action and breadth of illustration 
than is afforded in the ‘society play.” 
On Monday evening Mr. Edwin Booth appeared at his 
own theatre, in his favorite part of Hamlet. It is evident, 
from remarks we see, guised under the head of criticisms, 
that Salvini has upset some of the traditionary ideas of how 
the ‘‘melancholy Dane” should act. We presume that 
commentators on Shakspeare will never understand that a 
character in a play, when illustrated on the stage, is the act- 
or’s conception, and not Shakspeare’s. If this were not the 
case what would be the difference between a clown’s rendi- 
tion of Shakspeare, and Kemble’s rendition, both reading 
the same text? 
Mr. John E. Owens, the best of commedians, is engaged 
for the week at the Park Theatre, Brooklyn, in his favorite 
role of ‘‘Solon Shingle” and ‘‘ that bar’l of apple sass.” He 
will be supported bya company whose strength has been 
sufficiently tested already this season to guarantee the suc- 
cess of the week’s programme. The Park Theatre, under 
its new management, is certainly deserving of liberal pa- 
tronage. 


Don’t let. your children spend their money for trash, but let them get a 
game of Avilude. If the pictures and descriptions eases f this game 
were in book form hey would cost many times the price of the game, 
Sent post paid on receipt of seventy-five cents, by West & Lee, War- 
cester, Mass, 
“Mnet have a large sale, and deserves It, too," —Marser’s Weakly 
