Quarto Ruh Yilusir.
The Parisians, whO, from the days of Moliere downwards, have ever enjoyed a laugh at unfortunate husbands—as if the estate of matrimony were the most ridiculous thing in the world—now and then vary the diver- sion by a laugh on the other side, pleased to find that the " amant" may occasionally be as fair a butt as the "marl." The comedy of Gabrielle, which, though deemed of doubtful morality here, earned the "prize of virtue" in France for its clever author M. Emile Angier, was an instance of a marital triumph of the graver kind ; and the same thing may be said of "Brutus riche Cesar," known in London by the Lyceum version called Delicate Grounds. Last November, MM. Delacour and Jaime fils con- trived to rouse the audience of the Vaudeville into a more mirthful demon- stration of morality by a bustling piece entitled Lea Maria me font toujours rire. The rake of the first act was the tortured husband of the second; and— what made the change the more mortifying—the victorious persecutor in the second act had been the married sufferer of the first. This piece, made as English as it can be by Mr. Talfourd, already famous as the au- thor of several successful burlesques, has found its way to the Olympic with the new name Tit for Tat. Mr. Wigan plays the roué whose fate it is to be so dismally checked, with excellent ease and assurance, especially before the check is received. Mr. F. Robson is less felicitous as the victim who is subsequently victorious, because his sufferings never reach the tragic point, and it is just this tragic point that he requires to render himself thoroughly efficient.
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