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Show THE COMPOSITION OF BALLETS. 245 duction; above all, to the deep and terrible pathos of Othello himself. Many actors, and authors too, are indebted to this tragedy for a great part of the fame they have acquired. Ducis, taking Shakspeare for his model, on this subject has given an excellent tragedy to the stage. Voltaire has introduced into two of his pieces several passages taken from the English poet. In the character of Othello Talma greatly added to his reputation ; the same may be observed with respect to Kean. Garrick, according to the relations of that period, always excited astonishment when depicting the ardent passion of the Moor, and concluded by inspiring at once both horror and pity. At length music took possession of this tragic tale ; and, perhaps, the Olello of Rossini is the noblest opera he ever produced. With respect to the latter, it m a y be observed, that to find an actor w h o could at once sing and act the character of Otello was no easy task. Signor Curioni, however, of the present day, has particularly distinguished himself in this part, both by his singing and acting; he possesses, perhaps, the finest tenor voice at present in existence, to which he joins every physical power necessary to such a performance. In short, no singer would attempt to take the part out of his hands, as there is no performer n o w on the Italian stage w h o could give it equal effect. Connoisseurs are aware of the difficulty of representing all the powerful energy of this character, and at the same time to do justice to the fine but difficult music with which it abounds. From his first appearance to his final exit, Otello sings and acts without intermission ; a gigantic effort totally unknown to singers of the last century. 5. It is not long since that E. Gosse said, unity of time and place is too great a restraint on the dramatic art, and particularly when applied to tragedy. 6. The witty and judicious Marmontel observes, with respect to unity of place, that those poets w h o would restrain themselves to a rigorous observance of unity of place, have been frequently obliged to force the action in a man - ner quite opposite to that probability which might have accompanied a liberty of changing the place ; for if the act of changing the place destroys the illusion but for an instant, when the action passes where it is impossible it could have passed, the idea of the place being continually at variance with what is passing in it, the illusion is thus far more materially injured, and every probability of dramatic illusion is entirely destroyed. 7- Let but any person give himself the trouble to peruse those pieces mentioned, or to read extracts from Shakspeare, and he will be convinced of the truth of what w e have advanced. 16' |