still survives, although Talma has been dead nearly half a century. As Sylla, Talma was "made up" to resemble the first Napoleon. Macready writes in his "Journal" of Talma's appearance as Sylla: "The toga sat upon him as if it had been his daily costume. His _coiffure_ might have been taken from an antique bust; but was in strict resemblance of Napoleon's. It was reported that several passages had been struck out of the text by the censor, under the apprehension of their application by the Parisians to the exiled Emperor; and an order was said to have been sent from the police forbidding Talma to cross his hands behind him, the ordinary habit of Napoleon." The tragedy of "Sylla" was written by M. Jouy, and was first performed at the Theatre Francais in 1822. CHAPTER XXIV. "ALARUMS AND EXCURSIONS." It is clear that playgoers of the Shakespearean period dearly loved to see a battle represented upon the stage. The great poet thoroughly understood his public, and how to gratify it. In some fifteen of his plays he has introduced the encounter or the marshalling of hostile forces. "Alarums and excursions" is with him a very frequent stage direction; and as much may be said of "they fight," or "_exeunt_ fighting." Combats and the clash of arms he obviously did not count as "inexplicable dumb show and noise." He was conscious, however, that the battles of the stage demanded a very large measure of faith on the part of the spectators. Of necessity they were required to "make believe" a good deal. In the prologue to "Henry V." especial apology is advanced for the presumption of the dramatist in dealing with so comprehensive a subject; and indulgence is claimed for the unavoidable feebleness of the representation as compared with the force of the reality: Piece out our imperfections with your thoughts; Into a thousand parts divide one man, And make imaginary puissance: Think, when we talk of horses, that you see them Printing their proud hoofs i' the receiving earth; For 'tis your thoughts that now must deck our kings, Carry them here and there; jumping o'er times; Turning th' accomplishment of many years Into an hour-glass. These conditions, however, were accepted by the audiences of the time in the most liberal spirit. Critics were prone to deride the popular liking for "cutler's work" and "the horrid noise of target fight;" "the fools in the yard" were censured for their "gaping and gazing" at such exhibitions. But the battles of the stage were still fought on; "alarums and excursions" continued to engage the scene. Indeed, variety and stir have always been elements in the British drama as opposed to the uniformity and repose which were characteristics of the ancient classical theatre.