later editions the play will consist of six acts instead of five. ALEXANDER TEIXEIRA DE MATTOS. CHELSEA, 14 _November_, 1910. COSTUMES TYLTYL wears the dress of Hop o' my Thumb in Perrault's Tales. Scarlet knickerbockers, pale-blue jacket, white stockings, tan shoes. MYTYL is dressed like Gretel or Little Red Riding-hood. LIGHT.--The "moon-coloured" dress in Perrault's _Peau d'âne;_ that is to say, pale gold shot with silver, shimmering gauzes, forming a sort of rays, etc. Neo-Grecian or Anglo-Grecian (_à la_ Walter Crane) or even more or less Empire style: a high waist, bare arms, etc. Head-dress: a sort of diadem or even a light crown. THE FAIRY BÉRYLUNE and NEIGHBOUR BERLINGOT.--The traditional dress of the poor women in fairy-tales. If desired, the transformation of the Fairy into a princess in Act I may be omitted. DADDY TYL, MUMMY TYL, GAFFER TYL and GRANNY TYL.--The traditional costume of the German wood-cutters and peasants in Grimm's Tales. TYLTYL'S BROTHERS AND SISTERS.--Different forms of the Hop-o'-my-Thumb costume. TIME.--Traditional dress of Time: a wide black or dark-blue cloak, a streaming white beard, scythe and hour-glass. NIGHT.--Ample black garments, covered with mysterious stars and "shot" with reddish-brown reflections. Veils, dark poppies, etc. THE NEIGHBOUR'S LITTLE GIRL.--Bright fair hair; a long white frock. THE DOG,--Red dress-coat, white breeches, top-boots, a shiny hat. The costume suggests that of John Bull. THE CAT.--The costume of Puss In Boots: powdered wig, three-cornered hat, violet or sky-blue coat, dress-sword, etc. N.B.--The heads of the DOG and the CAT should be only discreetly animalised. THE LUXURIES.--Before the transformation: wide, heavy mantles in red and yellow brocade; enormous fat jewels, etc. After the transformation: chocolate or coffee-coloured tights, giving the impression of unadorned dancing-jacks. THE HAPPINESSES OF THE HOME.--Dresses of various colours, or, if preferred, costumes of peasants, shepherds, wood-cutters and so on, but idealised and interpreted fairy-fashion. THE GREAT JOYS.--As stated in the text, shimmering dresses in soft and subtle shades: rose-awakening, water's-smile, amber-dew, blue-of-dawn, etc. MATERNAL LOVE.--Dress very similar to the dress worn by Light, that is to say, supple and almost transparent veils, as of a Greek statue, and, in so far as possible, white. Pearls and other stones as rich and numerous as may be desired, provided that they do not break the pure and candid harmony of the whole. BREAD.--A rich pasha's dress. An ample crimson silk or velvet gown. A huge turban. A scimitar. An enormous stomach, red and puffed-out cheeks. SUGAR.--A silk gown, cut like that of a eunuch in a seraglio, half blue and half white, to suggest the paper wrapper of a sugar-loaf. Eunuch's headdress. FIRE.--Red tights, a vermilion cloak, with changing reflections, lined with gold. An aigrette of iridescent flames. WATER.--A pale-blue or bluish-green dress, with transparent reflections and effects of rippling or trickling gauze, Neo-Grecian or Anglo-Grecian style. but fuller and more voluminous than that of LIGHT. Head-dress of aquatic flowers and seaweed. THE ANIMALS.--Popular or peasant costumes. THE TREES.--Dresses of different shades of green or the colour of the trunks of trees. Distinctive attributes in the shape of leaves or branches by which they can be recognised. SCENES ACT I.--The Wood-cutter's Cottage. ACT II., Scene 1--At the Fairy's. Scene 2--The Land of Memory. ACT III., Scene 1--The Palace of Night. Scene 2--The Forest. ACT IV., Scene 1--Before the Curtain. Scene 2--The Palace of Happiness. ACT V., Scene 1--Before the Curtain. Scene 2--The Graveyard. Scene 3--The Kingdom of the Future. ACT VI., Scene 1--The Leave-taking. Scene 2--The Awakening. THE BLUE BIRD ACT I. _The Wood-cutter's Cottage_ _The stage represents the interior of a wood-cutter's cottage, simple and rustic in appearance, but in...