History of the Opera from its Origin in Italy to the present Time: With Anecdotes of the Most Celebrated Composers and Vocalists of EuropeEdwards, H. Sutherland (Henry Sutherland)
History
History of the Opera from its Origin in Italy to the present Time: With Anecdotes of the Most Celebrated Composers and Vocalists of Europe
Edwards, H. Sutherland (Henry Sutherland)
Opera
"The second lion was a tailor by trade, who belonged to the play-house,
and had the character of a mild and peaceable man in his profession. If
the former was too furious, this was too sheepish for his part; insomuch
that after a short modest walk upon the stage, he would fall at the
first touch of Hydaspes, without grappling with him, and giving him an
opportunity of showing his variety of Italian trips. It is said, indeed,
that he once gave him a rip in his flesh colour doublet; but this was
only to make work for himself, in his private character of a tailor. I
must not omit that it was this second lion who treated me with so much
humanity behind the scenes. The acting lion at present is, as I am
informed, a country gentleman who does it for his diversion, but desires
his name may be concealed. He says, very handsomely, in his own excuse,
that he does not act for gain; that he indulges an innocent pleasure in
it; and that it is better to pass away an evening in this manner, than
in gaming and drinking; but at the same time says, with a very agreeable
raillery upon himself, and that if his name should be known, the
ill-natured world might call him 'the ass in the lion's skin.' This
gentleman's temper is made out of such a happy mixture of the mild and
the choleric, that he outdoes both his predecessors, and has drawn
together greater audiences than have been known in the memory of man.
"I must not conclude my narrative without taking notice of a groundless
report that has been raised to a gentleman's disadvantage, of whom I
must declare myself an admirer; namely, that Signior Nicolini and the
lion have been sitting peaceably by one another, and smoking a pipe
together, behind the scenes; by which their enemies would insinuate, it
is but a sham combat which they represent upon the stage; but upon
enquiry I find, that if any such correspondence has passed between them,
it was not till the combat was over, when the lion was to be looked upon
as dead, according to the received rules of the drama. Besides, this is
what is practised every day in Westminster Hall, where nothing is more
usual than to see a couple of lawyers, who have been tearing each other
to pieces in the court, embracing one another.
Public-domain text, read in full here on John Shaqi.
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