These extemporal players were witnessed much nearer than in Italy--at the Théâtre des Italiens at Paris--for one of the characters replies-- I have seen the like, In Paris, among the French tragedians. Ben Jonson has mentioned the Italian "extemporal plays" in his "Case is Altered;" and an Italian _commediante_ his company were in London in 1578, who probably let our players into many a secret. SONGS OF TRADES, OR SONGS FOR THE PEOPLE. Men of genius have devoted some of their hours, and even governments have occasionally assisted, to render the people happier by song and dance. The Grecians had songs appropriated to the various trades. Songs of this nature would shorten the manufacturer's tedious task-work, and solace the artisan at his solitary occupation. A beam of gay fancy kindling his mind, a playful change of measures delighting his ear, even a moralising verse to cherish his better feelings--these ingeniously adapted to each profession, and some to the display of patriotic characters, and national events, would contribute something to public happiness. Such themes are worthy of a patriotic bard, of the Southeys for their hearts, and the Moores for their verse. Fletcher of Saltoun said, "If a man were permitted to make all the ballads, he need not care who should make all the laws of a nation." The character of a people is preserved in their national songs. "God save the King" and "Rule Britannia" were long our English national airs. "The story of Amphion building Thebes with his lyre was not a fable," says Dr. Clarke, "At Thebes, in the harmonious adjustment 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_. The custom still exists both in Egypt and Greece. It might, therefore, be said that the _Walls of Thebes_ were built at 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 the work."[57] The same custom appears to exist in Africa. Lander notices at Yàoorie that the "labourers in their plantations were attended by a drummer, that they might be excited by the sound of his instrument to work well and briskly."[58]