In Paris Madame Mara was received with enthusiasm, and founded the celebrated party of the Maratistes, to which was opposed the almost equally distinguished sect of the Todistes. Madame Todi was a Portuguese, and she and Madame Mara were the chief, though contending, attractions at the Concert Spirituel of Paris, in 1782. These rivalries between singers have occasioned, in various countries and at various times, a good many foolish verses and _mots_. The Mara and Todi disputes, however, inspired one really good stanza, which is as follows:-- "Todi par sa voix touchante, De doux pleurs mouille mes yeux; Mara plus vive, plus brillante, M'étonne, me transporte aux cieux. L'une ravit et l'autre enchante, Mais celle qui plait le mieux, Est toujours celle qui chante." Of Madame Mara's performances in London, where she obtained her greatest and most enduring triumphs, I shall speak in another chapter. * * * * * A good notion of the weak points in the Opera in Italy during the early part of the 18th century is given, that is to say, is conveyed ironically, in the celebrated satire by Marcello, entitled _Teatro a la Moda, &c., &c._[34] [Sidenote: MARCELLO'S SATIRE.] The author begins by telling the poet, that "there is no occasion for his reading, or having read, the old Greek and Latin authors: for this good reason, that the ancients never read any of the works of the moderns. He will not ask any questions about the ability of the performers, but will rather inquire whether the theatre is provided with a good bear, a good lion, a good nightingale, good thunder, lightning and earthquakes. He will introduce a magnificent show in his last scene, and conclude with the usual chorus in honour of the sun, the moon or the manager. In dedicating his libretto to some great personage, he will select him for his riches rather than his learning, and will give a share of the gratuity to his patron's cook, or maître d'hôtel, from whom he will obtain all his titles, that he may blazon them on his title pages with an &c., &c. He will exalt the great man's family and ancestors; make an abundant use of such phrases as liberality and generosity of soul; and if he can find any subject of eulogy (as is often the case), he will say, that he is silent through fear of hurting his patron's modesty; but that fame, with her hundred brazen trumpets, will spread his immortal name from pole to pole. He will do well to protest to the reader that his opera was composed in his youth, and may add that it was written in a few days: by this he will show that he is a true modern, and has a proper contempt for the antiquated precept, _nonumque prematur in annum_. He may add, too, that he became a poet solely for his amusement, and to divert his mind from graver occupations; but that he had published his work by the advice of his friends and the command of his patrons, and by no means from any love of