Fifty years later, at the Grand Opera of Paris, a gentleman in the pit applauded the dancing of Mademoiselle Asselin. "_Il faut être bien bête pour applaudir une telle sauteuse_," said his neighbour, upon which a challenge was given and received, the two amateurs went out and fought, when the aggressor fell mortally wounded. In the letters of Frenchmen and Englishmen from Italy, describing the Italian theatres of the eighteenth century, we read neither of pelting with oranges, nor of nose-pulling, nor of duelling. One of the most remarkable things in the demeanour of the audience appears to have been the unceremonious manner in which the aristocratic occupants of the boxes behaved towards the people in the pit. The nobles, who were somewhat given to expectoration, thought nothing of spitting down into the parterre, and "what is still more extraordinary," says Baretti, who notices this curious habit, "those who received it on their faces and heads, did not seem to resent it much." We are told, however, that "they made the most curious grimaces in the world." But to return to the rival singers of London. In 1705, then, Mrs. Tofts and Margarita were both engaged at Drury Lane; the former taking the principal part in _Arsinoe_, which was performed in English, the latter singing Italian songs before and after the Opera. _Arsinoe_ ("the first Opera," says the _Spectator_, "that gave us a taste for Italian music") was the composition of Clayton, the _maestro_ who afterwards wrote music for Addison's unfortunate _Rosamond_, and who described the purpose and character of his first work in the following words:--"The design of this entertainment being to introduce the Italian manner of singing to the English stage, which has not been before attempted, I was obliged to have an Italian Opera translated, in which the words, however mean in several places, suited much better with that manner of music than others more poetical would do. The style of this music is to express the passions, which is the soul of music, and though the voices are not equal to the Italian, yet I have engaged the best that were to be found in England; and I have not been wanting, to the utmost of my diligence, in the instructing of them. The music, being recitative, may not at first meet with that general acceptation, as is to be hoped for, from the audience's being better acquainted with it; but if this attempt shall be a means of bringing this manner of music to be used in my native country, I shall think my study and pains very well employed." [Sidenote: CAMILLA AND THE BOAR] Mr. Hogarth, in his interesting "Memoirs of the Opera," remarks that "though _Arsinoe_ is utterly unworthy of criticism, yet there is something amusing in the folly of the composer. The very first song may be taken as a specimen. The words are--