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The Keltic songs were carried all over France by Breton bards, to whose music and rhymes, with only a general idea of the subjects, the neo-Latin-speaking Franks listened with the sort of stolid satisfaction with which English or Germans of a hundred years ago listened to Italians singing Metastasio's verses.
Of this Pope Pius VI. did Alfieri crave an audience, and to him did he offer the dedication of one of his plays; nay, the man who had sacrificed his fortune in order to free himself from the comparatively clean-handed despotism of Sardinia, who had stubbornly refused to be presented to Frederick the Great and Catherine II., who had declined making Metastasio's acquaintance on account of a too deferential bow which he had seen the old poet make to Maria Theresa; the man who had in his portfolios plays and sonnets and essays intended to teach the world contempt for kings and priests, this man, this Alfieri, submitted to having his cheek patted by Pope Braschi.
One evening, as she was leaving the theatre where Metastasio's Olympiade had been performed, I heard her say, "The music of that opera has given the greatest pleasure to everyone, so of course I am delighted with it; but it wearies me, nevertheless. Music is a fine thing, but I cannot understand how anyone who is seriously occupied can love it passionately.
She made rapid progress in music, and at the end of six months she felt sufficient confidence in herself to sign an engagement with a theatrical manager who took her to Vienna to give her a 'castrato' part in one of Metastasio's operas. The advocate had previously ceded her to a wealthy Jew who, after giving her splendid diamonds, left her also.
When Metastasio's "Artaserse" was given at Rome with the music of Bertoni, Pacchierotti performed the part of Arbaces. In one place a touching song is followed by a short instrumental symphony. When Pacchierotti had finished the air, he turned to the orchestra, which remained silent, saying, "What are you about?"
His opera, L'Isolu Disabilite, to Metastasio's words, was sung in concert form at Vienna in 1779, and the Accademia Filarmonica of Modena made him a member; Haydn sent the score to the King of Spain, who repaid the compliment with a gold snuff-box.
Voltaire, also, often speaks most unwarrantably on this subject: he elevates or lowers them at the suggestions of his caprice, or according to the purpose of the moment to produce such or such an effect on the mind of the public. I remember too to have read a cursory critique of Metastasio's on the Greek tragedians, in which he treats them like so many school-boys.
Then Metastasio is reached, whose youthful genius as an improvisatore early gained him applause, which was followed up by his successful writing of three-act dramas for the opera, and a subsequent calm and prosperous life at Vienna, under the successive protection of the Emperor Charles VI., Maria Theresa, and Joseph II. The contrast of the even prosperity of Metastasio's life with that of some of the great poets is striking.
Arundell, Burton speedily became a prime favourite, and his attitude towards his daughter was Metastasio's: "Yes, love him, love him, He is deserving even of such infinite bliss;" but Mrs. Arundell, poor lady, found it hard to conquer her prejudice. Only a few weeks before her death she was heard to exclaim, "Dick Burton is no relation of mine."
A little later she produced another drama, The Inflexible Captive, founded on Metastasio's opera of Regulus. Encouraged in various ways by numerous friends, on whose judgment she could safely rely, she appears to have taken pains to qualify herself for a literary career.
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