1st, La Morte D'Egeo; 2dy, La Madre Ebrea;
3rd, Coriolano Alle Mura Di Roma; 4th, Ugolino; 5th, Saffo E Faone;
6th, In The Carnaval With The Following Intercalario:
"Maschera ti
conosco, tieni la benda al cor!" which intercalario compels a rhyme in
osco, a most difficult one.
The Madre Ebrea and Coriolano were given
in ottava rima with a rima obbligata for each stanza. The Morte
d'Egeo was given in terza rima. Her versification appeared to be
excellent, nor could I detect the absence or superabundance, of a single
syllable. She requires the aid of music, chuses the melody; the audience
propose the subject, and rima obbligata, and the intercalario, where it
is required. In her gestures, particularly before she begins to recite, she
reminded me of the description given of the priestess of. Delphi. She walks
along the stage for four or five minutes in silent meditation on the
subject proposed, then suddenly stops, calls to the musicians to play a
certain symphony and then begins as if inspired. Among the different rhimes
in osco, a gentleman who sat next to me proposed to her Cimosco. I
asked him what Cimosco he meant; he replied a Tuscan poet of that name.
For my part, I had never heard of any other of that name than the King
Cimosco in the Orlando Furioso, who makes use of fire-arms; and Rosa
Taddei was, it appears, of my opinion, since this was the Cimosco she
chose to characterise; and she made thereby a very neat and happy
comparison between the gun of Cimosco and the arrow of Cupid.
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