The Sun.
London, England, 1865-11-11 00:00:00

Cost of War and Advantages of Peace.

Our Washington correspondent states that Gene-
ral Grant has sent to the Secretary of War a communica-
tion recommending the mustering out of all major and
brigadier generals of the volunteer service, save those who
have been disabled. And in connection with this we may
note that the official returns lately published under the
authority of the British Government give us an approximate
idea of the cost devolving on it, in consequence of the un-
settled state of its transatlantic relations during our late
civil war. For the transfer of troops to its various pos-
sessions in British America, during the years 1862, 1863,
and 1864, their maintenance while here, and the neces-
sary expenditure fur stores, a sum of eighteen millions of
dollars was disbursed. This includes, it is true, more
than four million of dollars paid out of colonial exchequers
—principally or entirely by the Canadian government ;
but it would no doubt be within the mark to say that the
dubious relations between the two countries, leaving a
margin for obligations incurred which have not been pub-
lished, would amount to au aggregate of twenty million of
dollars.

Results have proved that much of that considerable sum
has been thrown away. A portion of it would have neces-
sarily been expended in any case ; for so long as England
chooses to maintain her connexion with her remaining
American colonies, certain expenses for military and naval
stations are indispensable. And so long as those colonies
are disposed to perpetuate the connexion, they, too, will
have to contribute their share toward supporting thepolicy
of the empire, of which they form a part. Expenses of
this nature, but not to the same extent, have for years past
made a formidable figure in the blue-books, both of im-
perial and colonial returns. Nor are we at all disposed to
quarrel with this feature. From their point of view a
question of national honour is involved, and as we allow
no one to meddle with us in matters of this nature, we are
bound to extend the s:une latitude to the sensitiveness of
other nations.
It was not, however, till a considerable time after the
acommencetheyment oofs
to ub
er c
callecdo,n taessstutmh aetd t
thheese m
pro- apro
estimates,r
t n s
in-
dicated by the returns just quoted. On the contrary, from
the period of the breaking out of the Crimean war until
the events of 1861, British America had been so depleted
of all English troops as even to have given rise to remon-
strances on the part of the colonists. But the progress of
events restored the old order of things, until, by the com-
mencement of 1862, a somewhat formidable body gar-
risoned the principal posts on the other side of the lines.
We are not now, and were not then, at all disposed to
take umbrage at this movement. A sense of what was due
to national interests and honour, as interpreted from an
English point of view, dictated, we are disposed to believe,

these movements, and we had and have no right to quarrel
with a sensitiveness *a ourselves aro not slow to display
on occasions of a similar nature.

Results have, however, shown that these hostile prepa-
rations were uncalled for. Perhaps, however, they might
have been anticipated, and they may now certainly be
looked back upon without resentment. They arose in a
feeling of insecurity as to the maintenance of peace between
the two countries, in which we all here equally shared, and
to that extent they were defensible. We trust and believe,
however, that those mutual apprehensions and suspicions
have now permanently passed away with the causes which,
after a peace of more than half a century, eminently pro-
ductive of the material welfare of both nations, called them
into existence.—New York Times.

French Theatricals,

ITALIAN OPERA. —The chief feature of the season,
so far as it has progressed, has been the debiit of
Mdlle. Grossi, a young artist who must be set down
as a most valuable addition to M. Bagier's troupe.
She made her first appearance as Maffio Orsini, in
Lucrezia Borgia," and at once established her
claims to public favour. Her voice is one of won-
derful compass, reaching from the deepest contralto
notes to the extreme soprano register ; to which we
may add that she wields this magnificent organ with
a power, skill, and entrain we have rarely found
surpassed. Mdlle. Grossi has since appeared as
Azucena, in the " Trovatore ;" in " Lucrezia" she
proved herself a first-rate musician ; in the " Tro-
vatore" she revealed gifts as an actress not often to
be found on the lyric stage. Mme. Pence, Sterbini,
and Nicolini acquitted themselves in the other parts
with their usual artistic finish, and the ensemble was
altogether most satisfactory.
VARIETES.—This theatre has produced two smart
little vaudevilles, "Un Homme qui Manque le
Coche," by MM.. Labiche and Delacour, and
" M.'me. Maclou," by M. Dupin. Both these pieces
are exceedingly amusing, but legb-ement risque'es ;
in the first Frigolin is always too late ; he puts off
his marriage with Clementine, and Clementine
marries another. Clementine becomes a widow,
and writes to Frigolin, who only turns up 18 months
after, and finds that the inconsolable has again con-
soled herself ; and Frigolin, after two honest as-
saults, in which, thanks to his own dilatory conduct,
he has been foiled, makes a third and dishonest
attempt, in which he is also unsuccessful. The fun
of " M'me Maclou" turns on the adventures of a
young man who, in order to gain admittance into

the house of his sweetheart, engages himself as a
wet nurse in the family. It may be readily con-
ceived that an intrusion under such pretences, how-
ever amusing, could not be of long duration. Both

the vaudevilles met with decided success. Guyon's
get-up and rendering of a nurse elicited shouts -of
laughter.
VAUDEVILLE.—" La Famille Banoiton" of M.
Victorien Sardou, so long and anxiously awaited,
was played here for the first time on Saturday, and
met with a success equal to that of " Nos Intimes,"
or " Les Vieux Garcons." "La Famille Benoiton"
is a family in which are concentrated all the ridi-
culous and criminal passions in vogue, and severe
indeed is the flagellation which the fashions of the
hour have received at the hands of the popular
dramatist. M. Benoiton is rich, proud of his for-
tune, and has a, profound belief in the divinity of
the dollar. Mme. Benoiton is always a way from
home neglecting her duty ; the three demoiselles
Benoiton think of nothing but toilette and talk
nothing but slang, and the Benoiton lads are vicious
after the manner of very vicious young men: The
first acts in which the foibles of this monstrous
social agglomeration are exposed are comedy, but
the comedy changes into drama ; the eldest daughter
is married to M. Didier, who entertains grave
suspicions as to the legitimacy of his child. Didier
finds out that letters have passed between his wife
and a M. Champrose, but those letters,which would
have exculpated both parties, have been burned.

•
Happily the good fairy of the piece hits on a plan
(which M. Sardou appears to us to have borrowed
from Solomon) of convincing the husband his fears
are groundless. M. Champrose is suddenly told
that the child is dead, and taking the news very
quietly his indifference is held by M. Didier as con-
clusive proof that his doubts were devoid of founda-

tion. Joined to the principal action of the piece
are numerous amusing incidents, some of which,
however, are carried rather too far, and are more
likely to shock than correct an enlightened audience.
We may add that " La Famille Benoiton " is ad-
mirably played throughout by a very strong cast,
in which appear the names of Mile. Fargueil and
Messrs. Felix, Febvre, Parade, Delannoy, and St.
Germain.

AMBIGU.—TIII3 theatre has brought out a drama
in five acts with a prologue entitled " La Meuniere.”
The scene is laid in Normandy in the time of the
Regency, when plots were the order of the day.
The hero of M. Anicet Burgeois' drama was deeply
engaged in a movement which was to introduce the
King of Spain into France. Captured and on the
point of being condemned; he is saved by a miller's
daughter, who swears to an alibi of a compromis-
ing character for her honour. The count rewards
the miller's daughter by marrying her first and ne-
glecting her afterwards in favor of a governess whose
brother is the villain of the tale, and tries to murder
the countess that his sister may reign in her stead.
In the .end the count repents, the countess recovers
her supremacy, the governess is discharged, and
the wicked brother is shot as a caution. We cannot
say much in favour of this lengthy production; we
are familiar with all the characters, and instead of
meeting in the depths of Normandy with the Nor-
man nobleman we encounter the French gentleman
of the Regent school with his fine Versailles man-
ners and red-heeled shoes.
GAlTE.—After having produced several pieces in
quick succession, this theatre has now fallen back
on the celebrated old drama of M.M. Dennery and
Bresil, entitled " l'Escamoteur." The success of
this piece when first played, about six years ago,
was in a great measure owing to the manner in
which the principal role was filled by M. Paulin
Menier, " whose Escamoteur" was justly considered
as a triumph of art. The Gaite has done well again
to secure the services of this talented actor, who

appears to have lost none of his prestige vigour,
and who retains the power of making the audience
roar with laughter or sob with emotion. M.
Menier, or rather Beaujolais, appears in the second
act as a conjuror at a country fair, cracking jokes,
playing tricks, and telling fortunes ; a well-bred
villain then catches hold of him and persuades him
to claim as his daughter a young lady who had
been adopted, when an infant, by Comte de Va-
rennes. Furnished with forged papers Beaujolais
presents himself to the Count, and after several
pathetic scenes carries off Helene, whom the Count
had made his heiress. Just as he was about to
hand her over to the tender mercies of the villain
d'Armentiere the conjuror discovers that the girl is
really his daughter, and the whole nature of the
man becomes changed at once, and he sets to work
to repair the wrong he has committed, and even
goes to the length of disowning his child in order
that she may regain her previous position. The
way in which M. Paulin Menier goes through the
transitions of his role (which we have briefly sketched)
is perfectly marvellous : the light-hearted conjuror,
the ready knave, the impatient dupe, the man in a
false position, his anger, his love, and resigna-
tion, are phases of character all played with equal
facility and power; and, besides this, M. Menier
has the nack of never losing sight of his original
Character, and no matter under what feeling he is
labouring, the shuffler and passer of cards is con-
stantly peeping out. M. Menier was ably seconded
by MM. Latouche, Manuel, and Alexandre, and
Mdmcs. Lacroix and Clarence. M. Lacroix as
jeune-prenier was simply absurd.
BouFFEs-PAnislENs.--Awaiting the appearance
of "Le Berger," the Buffes gives us " Jeanne
qui rit and Jean qui pleure," by MM. Nuiter
and Treffen, music by Offenbach, and " Les
Douze Innocentes," by M. de Najac, music by M.
Albert Grisar. The first-named operetta gives
Mlle. Bouffar the opportunity of playing a double
role, for Jean is merely Jeanne in disguise. The
music is.now melancholy, now living, suiting the
action of the piece, and amongst other charming
morceaux we may mention the couplets "Jeanne
pleure ! ah! ah ! C'est Jean qui rit !" and " Je Buis
llpaietatglseeanfntat.
inlle meuniere." Desird is capital as a Norman
t a
s"yLsesu n Domegby th
eltnwneolcveent
niecess' '
of
m
i s a pleasant
and their intended husbands. Some couplets by
Mdlle.Garait and a military song by Berthelier were
much admired.

DEJAZET.--Madame Dejazet has reappeared at
her theatre, disguised in masculine attire, in a piece
entitled "Monsieur de Belle-Isle," which has been
evidently written expressly for this charming actress,
who, in spite of her age, still sings and plays as if
time forgot to deprive her of those graces which
were first exhibited on the stage in the days of the
First Empire.
FOLIES DRA3LATIQUES.—A piece of rank inde-
cency, in five acts, called " Les Orpheonistes en