I have a unique documentary proof of Eugene Field’s taste in music.  Written on the folded back of a sheet of foolscap, which, on its face, preserves his original manuscript of “A Noon Tide Hymn,” are three suggestions for the “request programmes” with which Theodore Thomas used to vary his concerts in the old Exposition Building in Chicago.  Field seldom missed these concerts, and he always made a point of forwarding his choice for the next “request night.”  This one was as follows: 

1.  Invitation to Dance Weber 2.  Spring Song Mendelssohn 3.  Largho Handel 4.  Rhapsody Hongroise(2) Liszt

1.  Vorspiel Lohengrin 2.  Waltz movement Volkman 3.  Serenade Schubert 4.  Ride of Walkures

  1.  Sylvia
  2.
  3.  Ave Maria Bach-Gounod
     Introd. }
  4.  Nap. } Wagner. 
     March. }

The only limitation to a liking for music such as is revealed here is that it be good music.  Mr. Thomas in those days scarcely ever made up a programme without including in it one of Field’s favorites.

Referring to music recalls the fact that Field once seriously contemplated writing a comic opera; and he only failed to carry out his purpose because he could not get the dialogue to suit him; moreover, he realized that he had but a limited grasp of the dramatic action and situations necessary in such work.  How completely he had this work mapped out may be judged from the following memoranda, the manuscript of which is before me: 

  THE BUCCANEERS

  Fernando, the Begum—­basso. 
  Paquita, his daughter—­soprano. 
  Christopher, the buccaneer—­baritone. 
  Mercedes, his sister—­contralto. 
  Carlos, a Peruvian lieutenant—­tenor. 
  Gonzales, Begum of Ohnos. 
  Buccaneers, maidens, ballet, servants, etc.

  Time of action—­three days, 1860.

  Scenes:  First and third acts, in garden adjoining Fernando’s mansion,
  suburbs of Piura.

  Second act, on board the ship “Perdita,” port of Payla.

  FIRST ACT

Fernando, the Begum, is about to give a moonlight fete in honor of his daughter’s betrothal to Carlos.  The young people are not particularly overjoyed at the prospect of their union, Carlos having given his heart, some years previously, to Mercedes, who is now married to a captain in the Chilian army, and Paquita having fallen desperately in love with a handsome young stranger whom she has, upon several occasions, met upon the sea-shore.  This stranger is Christopher, who, for his participation in a petty revolt, has been declared an outlaw, and has taken to the life of a buccaneer, joined by numerous lively companions.  Overcome by love of Paquita, Christopher manages to get himself and his band introduced at the fete, and in the midst of the festivities the young women are seized and carried aboard the buccaneers’ ship.

  SECOND ACT