a friend to attend the opera, to witness the performances of Grisi and Mario, in Norma, I gladly accepted, and in company with my friend started for the place of amusement. Our seats were "reserved," and I took my place in the immense saloon before raising my eyes to view the vast audience which had already assembled. The splendid chandeliers, the hundreds of brilliant gas lights, the highly-colored drapery that hung its rich folds about the boxes and stalls, were in keeping with the magnificent diamonds, laces, and jewelry, that adorned the persons of the finest assembly that I had ever seen. In a double box nearly opposite to me, containing a party of six or eight, I noticed a light-complexioned mulatto, apparently about fifty years of age,—curly hair, full face, dressed in a black coat, white vest, white kids,—who seemed to be the centre of attraction, not only in his own circle, but in others. Those in the pit looked up, those in the gallery looked down, while curtains were drawn aside at other boxes and stalls to get a sight at the colored man. So recently from America, where caste was so injurious to my race, I began to think that it was his woolly head that attracted attention, when I was informed that the mulatto before me was no less a person than Alexandre Dumas. Every move, look, and gesture of the celebrated romancer were watched in the closest manner by the audience. Even Mario appeared to feel that his part on the stage was of less importance than that of the colored man in the royal box. M. Dumas' grandfather was the Marquis de la Pailleterie, a wealthy planter of St. Domingo, while his grandmother was a negress from Congo.
