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For the sake of the small folk, who could not visit him at night, Prince Rupert was gracious enough to appear every Saturday afternoon during the month. We decided to wait upon his Highness at one of his matinees.

You would never have dreamed that the sun was shining brightly outside, if you had been with us in the theatre that afternoon. All the window-shutters were closed, and the great glass chandelier hanging from the gayly painted dome was one blaze of light.

But brighter even than the jets of gas were the ruddy, eager faces of countless boys and girls, fringing the balconies and crowded into the seats below, longing for the play to begin. And nowhere were there two merrier or more eager faces than those of Charley and Talbot, pecking now and then at a brown paper cone filled with white grapes, which I held, and waiting for the solemn green curtain to roll up, and disclose the coral realm of the Naiad Queen.

I shall touch very lightly on the literary aspects of the play. Its plot, like that of the modern novel, was of so subtile a nature as not to be visible to the naked eye. I doubt if the dramatist himself could have explained it, even if he had been so condescending as to attempt to do so. There was a bold young prince–Prince Rupert, of course–who went into Wonderland in search of adventures. He reached Wonderland by leaping from the castle of Drachenfels into the Rhine. Then there was one Snaps, the prince’s valet, who did not in the least want to go, but went, and got terribly frightened by the Green Demons of the Chrysolite Cavern, which made us all laugh–it being such a pleasant thing to see somebody else scared nearly to death. Then there were knights in brave tin armor, and armies of fair pre-Raphaelite amazons in all the colors of the rainbow, and troops of unhappy slave-girls, who did nothing but smile and wear beautiful dresses, and dance continually to the most delightful music. Now you were in an enchanted castle on the banks of the Rhine, and now you were in a cave of amethysts and diamonds at the bottom of the river–scene following scene with such bewildering rapidity that finally you did not quite know where you were.

But what interested me most, and what pleased Charley and Talbot even beyond the Naiad Queen herself, was the little violinist who came to the German Court, and played before Prince Rupert and his bride.

It was such a little fellow! He was not more than a year older than my own boys, and not much taller. He had a very sweet, sensitive face, with large gray eyes, in which there was a deep-settled expression that I do not like to see in a child. Looking at his eyes alone, you would have said he was sixteen or seventeen, and he was merely a baby!

I do not know enough of music to assert that he had wonderful genius, or any genius at all; but it seemed to me he played charmingly, and with the touch of a natural musician.

At the end of his piece, he was lifted over the foot-lights of the stage into the orchestra, where, with the conductor’s baton in his hand, he directed the band in playing one or two difficult compositions. In this he evinced a carefully trained ear and a perfect understanding of the music.

I wanted to hear the little violin again; but as he made his bow to the audience and ran off, it was with a half-wearied air, and I did not join with my neighbors in calling him back. “There ‘s another performance to-night,” I reflected, “and the little fellow is n’t very strong.” He came out, however, and bowed, but did not play again.

All the way home from the theatre my children were full of the little violinist, and as they went along, chattering and frolicking in front of me, and getting under my feet like a couple of young spaniels (they did not look unlike two small brown spaniels, with their fur-trimmed overcoats and sealskin caps and ear-lappets), I could not help thinking how different the poor little musician’s lot was from theirs.