- Performer Name:
- Sgricci; Lorenzi
- Performance Venue:
- Rome
- Performance Date:
- Author:
- Date Written:
- 1817
- Language:
- English
- Publication Title:
- Literary Gazette
- Article Title:
- A Tragedy Composed and Recited Extempore. By Schricci, the most celebrated Improvisatore of Italy
- Page Numbers:
- 1:133-4
- Additional Info:
- Publisher:
- Henry Colburn
- Place of Publication:
- London
- Date Published:
- 1817
Text:
[133] You have often heard of our Improvisatori. These Improvisatori are peculiar to Italy, and are regarded as a favor granted by Apollo to no other civilized nation. For centuries past, both men and women have pursued this career, which is difficult enough for him who will earn real laurels. Those who have most distinguished themselves among the crowd of these inspired poets, were indisputably those, who without standing in need of the attractions of music or singing, declaimed in the style of masters upon the subjects laid before them. The Abbé Lorenzi was pre-eminent in this manner, and excited surprise by the graces of his language, by the depth of his knowledge, and the admirable mechanism of his verses. Till now however the Improviso had not extended its dominion beyond the boundaries of lyric composition: ottave, anacreontic verses without rhyme, sonnets, &c. were the pinions of these extemporising swans.
[134] I have now to entertain you with a phenomenon of far greater importance. Signor Schricci, a young man of four and twenty, from Arezzo, has entered the lists with a new and bold attempt, an improvisated Tragedy. On his first public appearance, the learned flocked to hear him; but the assembly was far more inclined to incredulity and rigour than to indulgence. Novelty is generally hazardous for him who brings it forward. Rome besides is full of extemporising dilettanti, who initiated in the mysteries of the art were ready to proclaim deceit. The attempt begins. I pass over a sublime Pindaric Ode, and many Ottave, Terzini, &c. which were delivered with rapidity without singing, and without hesitation, in majestic verse and dignified language. The impassioned sentiments, the just thoughts, the exalted ideas, and the Homeric descriptions began to disarm the critics, who now however waited for the Tragedy, which was properly the touch stone. With a loud voice the subjects are given, which are written down and put into an urn. A much respected man draws by chance the Death of Hercules. But this subject had been given by a person who from analogy of talent and from friendship might appear suspicious. No! no! exclaim the spectators from all sides, and this terrible veto is admitted. The urn is carried round a second time, and the Death of Polyxena is drawn. The opposite party applaud, for this subject had been given by them. The poet advances, and desires to know the names of the dramatis personae. Polyxena, Ulysses, Hecuba and Calchas were given him. To these he adds a chorus of Trojan women. Profound silence prevails, and the tragic actions begins. With greater rapidity than even on the stage, the dialogues, monologues, and chorus succeed each other for the space of about an hour, all invented and declaimed by a single person, and amidst the admiration, the astonishment, the emotion, and enthusiastic applause of the audience. The poet hastens to the catastrophe. The character of Hecuba, &c. were delineated in a great style, and the situations were extremely pathetic and affecting. The character of Ulysses might perhaps have been better managed. But far exalted above all blame were, a scene between Polyxena and Ulysses, the soliloquy of Hecuba during the sacrifice, the description which Ulysses gave to Hecuba of the death of Polyxena, then the answer of the old Queen, her imprecations upon the Greeks and upon Ulysses, as well as her denunciation of the sufferings which the latter would experience in his wanderings. Lastly, among the choruses, that which produced the greatest effect was the one which during the sacrifice lamented over Hecuba, who had fainted, and waked her before the approach of Ulysses, that he might not witness her grief. —What do you say? I was one of the incredulous, but was forced to change my opinion. Schricci either is a sorcerer, or he takes an honorable place with the ancient and modern classics. His modesty and youth gain him general esteem, while the purity of his expression, the animated colouring of his images, and his delineations of the passions acquire him deserved admiration. In short, the novelty and difficulty of the undertaking excite astonishment.
Notes:
- Collected by:
- AE