on recognising his confidential servant with the poniard

in his hand.

(Historical.) SADLER.

THE IMPROVISATORE,

It is a curiosity in the history of natural genius to discover a people with such a native fund of comic humour, combined with such passionate gesticulation, that they could deeply interest in acting a comedy, carried on (1) by dialogue, intrigue, character (2) all' improvista, or impromptu; the actors having no rehearsal (3), and in fact composing while they were acting (4). The inspiration of national genius alone could produce this phenomenon; and these extempore comedies were indeed indigenous to the soil. Italy, a land of improvisatori, kept up (5) from the time of its old masters, the Romans, the same fervid (6) fancy.

Men of great genius had a passion for performing in these extempore comedies. Salvator Rosa was famous for his character of a Calabrian clown (7), whose original he had probably often studied amidst that mountainous scenery in which his pencil delighted.

(1) Carried on, exécuté, fait.

(2) Character, en parlant du théâtre, signifie rôle, personnage.

(3) Rehearsal, répétition.

(4) To act, jouer sur le théâtre, agir.

(5) To keep up, maintenir.

(6) Fervid, ardent.

(7) Clown, paillasse, pierrot.

THE IMPROVISATORE.

151

This kind of spectacle (1), says Riccoboni, is peculiar to Italy; one cannot deny that it has graces perfectly its own, and which written comedy can never ex-. hibit (2). This impromptu mode of acting furnishes opportunities for a perpetual change in the performance, so that the same piece repeated still appears a new one : thus one comedy may become twenty comedies. An actor of this description (always supposing an actor of genius) is more vividly (3) affected than one who has got his part by rote (4).

An Italian actor learns noting by head; he looks on the subject for a moment before he comes forward on the stage (3), and entirely depends on his imagination for the rest. The actor who is accustomed merely to recite what he has learnt, is so completely occupied by his memory, that he appears to stand, as it were, unconnected either with the audience or his companion; he is so impatient to deliver himself of the burden he is carrying, that he trembles like a school-boy, or is as senseless as an echo, and could never speak if others had not spoken before. Much of the merit of these extempore actors unquestionably must be attributed to the felicity of the national genius. I shall give one anecdote to record the possible excellence of the art.

(1) Les Anglais se servent rarement du mot spectacle en parlant du drame; en général ils l'emploient pour coup d'œil extraordinaire, et au pluriel pour lunettes.

(2) To exhibit, montrer, offrir à la vue.

(3) Vividly, vivement.

(4) To get ou learn by rote, apprendre par routine.

(5) The stage, le théâtre, la scène, étage.

Louis Riccoboni, known in the annals of this theatre by the adopted name of Lelio ( his favourite amoroso character), was not only an accomplished actor, but a literary man; and with his wife Flaminia, afterwards the celebrated novelist, displayed a rare union of talents and of minds.

It was suspected that they did not act all' improvista, from the facility and the elegance of their dialogue; and a clamour (1) was now raised in the literary circles, who had long been jealous of the fascination which attracted the public to the Italian theatre. It was said that the Riccobonis were imposing on (2) the public credulity, and that their pretented extempore comedies were preconcerted scenes.

To terminate this civil war between the rival theatres, La Motte offered to sketch a plot in five acts, and the Italians were challenged to perform it. This defiance was instantly accepted. On the morning of the representation, Lelio detailed the story to his troop, hung up the scenario (5) in its usual place, and the whole company was ready at the drawing up of the curtain (4). The plot (5) given in by La Motte was performed to admiration; and all Paris witnessed the triumph. La Motte afterwards composed this very comedy for the French

(1) Clamour, bruit, criaillerie. (2) To impose on, tromper.

(3) Scenario, mot italien, décors.

(4) At the drawing up of the curtain, au lever de la toile. (5) Plot, en sens dramatique, signifie l'intrigue de la pièce, le programme.

ASSASSINATION OF ALI PACHA.

153

theatre, l'Amante difficile; still the extempore one at the Italian theatre remained a more permanent favourite, and the public were delighted by seeing the same piece perpetually offering novelties, and changing its character at the fancy of the actors.

BUILDING OF THEBES.

The story of Amphion building Thebes with his lyre was not a fable, says Dr. Clarke. At Thebes, in the harmonious adjustment (1) of those masses which remain, belonging to the ancient walls, we saw enough to convince us that this story was no fable; for it was a very ancient custom to carry on immense labour by an accompaniment of music and singing, to encourage and give ardor to the workmen. The custom still exists both in Egypt and Greece. It might therefore be said that the walls of Thebes were built to the sound of the only musical instrument then in use; because, according to the custom of the country, the lyre was necessary for the accomplishment of a work of importance.

ASSASSINATION OF ALI PACHA.

The life and death of Ali Pacha having excited great interest, we flatter ourselves that a correct detail of the circumstances will not be unacceptable.

Ali had placed a confidential Albanian at Constanti

(1) Adjustment, arrangement.

nople, who was to give him secret information of all that was going on (1). Suspecting however that he betrayed his confidence, he resolved to get rid of (2) him. For this purpose, he employed two men, giving them letters for the Reis Effendi (3), and directing them to execute his project on the Albanian on their return.

They delivered their letters to the Reis Effendi, received the answers, mounted their horses to return, and in the way they called at the house of their intented victim, knocked at the gate and asked to see him. Having some suspicion, he did not go to the gate, but looking from a window, asked what communication they had for him. The only answer was two pistol-balls immediately fired at him he was severely wounded, but not mortally. The assassins clapped spurs to (4) their horses, and fled at full gallop. They were shortly pursued by the Tartar cavalry, and overtaken at Rodosto, about 90 miles from Constantinople. One of them was seized, brought back and executed; the other, after a vigorous resistance, escaped.

This was the immediate cause of the deposition of Ali. The Porte expressed horror at the assassination, and immediately issued a firman (5) deposing Ali, and giving his place to his enemy. He refused however to

(1) That was going on, qui se passail.

(2) To get rid of, se débarrasser de.

(3) Reis Effendi, officier de l'État, homme de loi chez les

Turcs.

(4) To clap spurs to, piquer des deux.

(5) Firman, ordonnance, proclamation.