The birthdays of his parents and intimate friends were frequently celebrated by theatrical representations, in which Frederic usually took the most active part. The eminent dramatic artist of that time, Albert Piasecki, who acted as manager at these representations, considered that Chopin, on account of his presence of mind, excellent declamation, and capacity for rapid facial changes, was born to be a great actor. Fredericʼs acting, indeed, often astonished the best connoisseurs. He frequently saved a piece by improvising his own and other parts, when one of the players forgot his _rôle_, or the prompter failed to assist. It is well known that his talent for musical improvisation contributed in no small degree in after years to his fame. Having, under the excellent guidance of Elsner, mastered the technicalities of music, Chopin could improvise to an unlimited extent on any given theme, producing the most graceful changes, and drawing the most marvellous effects from the keyboard. In these improvisations, and particularly in those of a later period, Chopin showed himself a true poet, and this explains why poets admired him so ardently and felt inspired by his playing. Those who heard Chopin at such times say that his finest compositions are but a reflex and echo of his improvisations. When Frederic was fifteen, and Emily eleven, [Sidenote: HIS ONE-ACT COMEDY IN VERSE.] they wrote in honour of their fatherʼs birthday, a one-act comedy, in verse, entitled: “The Mistake; or, the Imaginary Rogue.” Frederic, Isabella, and Emily took the principal parts, the others were divided among the boarders. The comedy is too ephemeral and näive for quotation, but it displayed the intelligence of the youthful authors, and their command of language. In the same year (1824) Frederic entered the fourth class at the Lyceum, and although he frequently indulged in his harmless and always witty pranks, he was one of the best and most talented pupils. He used to make his fellow students laugh by caricaturing the professor of history discoursing on great celebrities. In a lucky moment, he caricatured the director, Mons. Linde, to the life, but unfortunately the drawing fell into the directorʼs hands. This worthy man, who was indulgent to everyone, and especially to the young, returned the paper to Chopin, without a word, having written on it, “the likeness is well drawn.” For a long time Frederic took a delight in catching the ludicrous side of a characteristic figure, and caricaturing it.