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 quite a spirited stand against the "good" hero, who, by all the laws of such things, should fell him to the ground and spurn him, so as to make the orthodox situation. Instead of this there is an equal combat which ends only in "nothing neither way," except that, as the bad gull still goes on afterwards, it is more in his favour than the other's. He wins, in fact, for the lovers are at length wearied out, and the contemplated impropriety never does take place. It is a pity almost that it cannot sometimes go like this in stage reality. To see the hero, just when most reeking with noble utterance, put suddenly into an unshowy position by the "hound" or the "cringing cur" would be a glorious thing, a delightful—almost a Gilbertian—dénouement. One could applaud it "to the very echo that should applaud again," but one never gets the chance—or, rather, one would not if one tried, for I will not suppose that anyone with a taste for nature affects the melodrama—or even the drama nowadays.

Gull-fights are sometimes very fierce and determined, and when this is the case they often cause great excitement among a number of others. As on the human plane, fights between birds make impressions upon one according to the greater or lesser amount of intensity manifested, becoming sometimes quite tragic in their interest. Not only is this the case with oneself, but birds that are not fighting seem affected in the same way. I have noticed this with partridges somewhat—but more in the gullery. An ordinary scuffle between two birds attracts little if any notice from the others, but when it is sustained and bitter, supported with great courage on either side, there may be quite a crowd of excited