After Waterloo: Reminiscences of European Travel 1815-1819Frye, William Edward
History
After Waterloo: Reminiscences of European Travel 1815-1819
Frye, William Edward
Europe -- Description and travel
The other genius in this wonderful art is Signer Sgricci. He is so far
superior to Rosa Taddei in being five or six years older, in being a very
good Latinist and hi _improvising_ whole tragedies on any subject, chosen
by the audience. When the subject is chosen, he develops his plan, fixes
his _dramatis personae_ and then strikes off in _versi sciolti_. He at
times introduces a chorus with lyric poetry. I was present one evening at
an _Accademia_ given by him in the Palazzo Chigi. The subject chosen was
_Sophonisba_ and it was wonderful the manner in which he varied his plot
from that of every other dramatic author on the same subject. He _acted_
the drama, as well as composed it, and pourtrayed the different characters
with the happiest effect. The ardent passion and impetuosity of Massinissa,
the studied calm philosophy and stoicism of Scipio, the romantic yet
dignified attachment of Sophonisba, and the plain soldierlike honorable
behaviour of Syphax were given in a very superior style. I recollect
particularly a line he puts in the mouth of Scipio, when he is endeavouring
to persuade Massinissa to resist the allurements and blandishments of love:
Chè cor di donne è laberinto, in quale
Facil si perde l'intelletto umano.
This drama he divided into three acts, and on its termination he improvised
a poem in _terza rima_ on the subject of the contest of Ajax and Ulysses
for the armour of Achilles.
Wonderful, however, as this act of improvising may appear, it is not
perhaps so much so as the mathematical faculty of a youth of eight years of
age, Yorkshireman by birth, who has lately exhibited his talent for
arithmetical calculation _improvised_ in England and who in a few seconds,
from mental calculation, could give the cube root of a number containing
fifteen or sixteen figures.
Is not all this a confirmation of Doctor Gall's theory on craniology? viz.,
that our faculties depend on the organisation of the scull. I think I have
seen this frequently exemplified at Eton. I have known a boy who could not
compose a verse, make a considerable figure in arithmetic and geometry; and
another, who could write Latin verse with almost Ovidian elegance, and yet
could not work the simplest question in vulgar fractions. Indeed, I think
there seems little doubt that we are born with dispositions and
propensities, which may be developed and encouraged, or damped and checked
altogether by education.
Public-domain text, read in full here on John Shaqi.
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