The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-07-07
NE w.YO K1s M 8 .
FSOm Our o,Sn Correspondent

NEW YORK, July 9. 1862
will'say nothing about the guupowder tea and the
tOrpedoes on toast that constituted the Fifth OF July
breakfast In many patriotic family yesterday. II
all the pyrotechncs that were let of between sun
rise and sunset had been gathered together In one
big heap, hardly think Central Park would have
held them. Sometimes have thought that the insti-
tuition Is the decline, but the free-andeasy style
OF yesterdays fireworks puts a. end to that theory
From paterfamilias down to the youngest scion OF
the house. all was sapetre sulphur, and charcoal in
various combinations The "carniva'-heaven
bless the reporter who first made the application OF
that Jolly word l-commenced at the earliest peep Of
dawn and lasted to the latest blink Of midnight, and
the feeble piping Of crackers blended continuously
with the roar OF the thunder-throated cannon.
TO all appearance, then, the glorious
Fourth is just as vigorous in his ninety
third year as he was in his NINTH Perhaps there is
mystic symbolism in the three ingredients OF our
patriotic explosions. Unity, equality fraternity
saltpetre, sulphur charcoal-a double trio mutually
suggestive that when combined an explosion Is some
time or other imminent. The clearness and buoyancy
OF the day was great invitation to the Picnic OF the
Period Around the suburbs Of New York so many
pionics have not been gathered together for many
leng day. OF course especial excursion arrange
ments were made, and all the green neighhorhOOds
OF the metropolis overdowed. Picnics are not
permitted in Central Park, but
large number OF the bourgeois Hooked there, and the
Oabrioa- wagonnettes did spanking business until
O'Clock at night. The garden concerts, too, were
extremely well attended, especially by that class OF
New York young men whom can designate by no
better name than gentle ruffans-young fellows ex-
pensively but not well dressed, kid-gloved with a
glare rather than polish of manner, and equally
accomplished at giving black eyes and levying black
mail. The theatres were not well attended They
never are in New York on the Fourth. The places
of amusement and relaxation that most overhowed
were the station houses, and the police courts this
morning will present most chsrmngly diversified
spectacle They will be full OF the lees and Of
the Glorious.
TIE fdnch hour at the Astor House is making
itself pleasantly notorious. The restaurant in which
It is daily celebrated any hour between twelve and
three is as every one knows an immense oval room,
extremely well furnished with BAR high stools, and
all restaurant accessories, excepting chairs but
single chair is visible, and the gentlemen who eat
their sandwiches there and drink their glasses
Of sherry are compelled to rest perpendicuary
afterwards, as the unch-roOm OF the Astor is under
stood to be by no means lounging place. 1t has
two peculiar institutions, however. One is an inn
mense brd-cage between the two eastern doors Of
entrance. This cage is about seventeen feet high
and twelve feet square, and is filled with several vare
ties OF BIRDS Around the cage is invariably stationed
at the noon-tide hour group Of smokers and sand
wich-eaters, who satisfy their ornhologcal curiosity
while discussing their ante-prandia dainties. The
other institution Is band of musicians-a harpist,
fiddeist, and tambournist-who unite the several
geniuses OF Ap Thomas, Paganini, and Billy Birch.
They discourse eloquent music for one full hour.
'Discourse" however, is hardly the word Wrange
wod be the better word, all the instruments trying
whic, can first to the end of the tether. 1t is
as though music had been given big chunk OF
melody to Swallow, and was boting it for wager.
The birds and the music however, are the two great
features OF the Astor House lunch Perhaps should
add the presence of the 1ower-grls as third fea-
ture who, with their bouquets, might by figure OF
speech, be said to make sort of Chinaaster (house
arrangement of it.
There is a theatre in this city which is doing the
fearful drama poor but respectable houses. That
theatre is Mr.. Booths and E1,och arden is the play
The dramatization is that OF the late Julie de Mar
guerittes and in spite of the faults of adaptation the
audiences weep as much as they perspire and
deluge their pocket-handkerchiefs equally with sobs
and sudor mucus and mourning One OF these
faults OF adaptation is that the language which the
poet uses in describing natural scenery is put into
the mouths of the characters so that "Enoch," and
''Phlip," and "Annie" simple fsher-folk made to
employ in ordinary conversation the gorgeously
romantic phraseoogy of Mr.. Tennyson! However,
the present class OF audiences Is not very
serious. They came not to criticize, but to cry and
they certainly shed their moneys worth. "Lady
Isabel" has drawn many tears and EnOch Arden
has been almost equally provocative of lachrymosity
1t is pity about them propose that the ten acts
of the two plays be sandwiched together, with the
proviso that they both die In the same bed in q
fearful transformation scene
Speaking OF theatricals reminds me that much of
the dramatic criticism, such as it is, is done by
writers who receive nothing for their services. They
are content with being put upon the theatrical free
list. That boon once secured they drop their con-
nection with the papers they have been represent
ing, and nine times out Of ten their names remain
upon the list. New York theatrical managers have
seemingly an aversion to eXpunge any name therein
once entered. Perhaps One-third OF the names on
the free lists of the various theatres here belong to
persons who have been for years the free lists
death, and are witnessing the transformation scenes
OF the grave. A friend of mine, who lately looked
over free list OF one OF the theatres saw dozen
dead mems names there. He pointed out the fact
TO the treasurer, and recommended that they be
plunged to make way for live men on live news
papers. Eyes; that may all be" replied the trea-
surer, ''bm guess IU let ens remain ]" Thus large
proportion OF those enjoying the freedom OF the New
York theatres are dead-heads in double sense and
In the noise Of the ciaqueurS sometimes think
cognlze the rattling of skeleton hands, especially
when the play is a dead flilure. ALI BABA.