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This comic scene, Du Desespoir, which affords such opportunity for the mime, although not given in the first edition of Le Theatre Italien, finds a place in the best edition . The editor has appended the following note: 'Ceux qui ont vu cette Scene, conviendront que c'est une des plus plaisantes qu'on ait jamais jouee sur le Theatre Italien. p. 408 a Man that laugh'd to death.
A column of vapour stands in his place. "Do you see me?" asks Alberich's disembodied voice. Mime looks around, astonished. "Where are you? I see you not!" "Then feel me!" cries the power-drunken tyrant, and Mime winces and cowers under blows from an unseen scourge, while Alberich's voice laughs.
Had he not then been a sort of Scaramouche an intriguer, glib and specious, deceiving folk, cynically misleading them with opinions that were not really his own? Was it at all surprising that he should have made so rapid and signal a success as a mime? Was not this really all that he had ever been, the thing for which Nature had designed him?
The actors, it appears, sang as well as gesticulated, until the time of Livius, who set apart a singer for the interludes, while he himself only used his voice in the dialogue. In its dramatic form it disappears early from history, and assumes with Ennius a different character, which has clung to it ever since. Besides these we have to notice the Mime and the Atellanae.
He files the fragments into dust and throws it into the crucible, which he places on the fire of the forge. As he sings at his work Mime cogitates how he shall thwart his plans and get possession of the sword. He plots to have him kill Fafner, the giant, who has changed himself into a dragon, for the more effectual custody of the Rhine-treasure and the ring.
Leroux, a famous mime and dancer, took the principal parts; while in its English dress, Braham created one of the greatest successes on record, and established it as the favorite opera of Auber among Englishmen. The scene of the opera is laid near Naples. The first act opens upon the festivities attending the nuptials of Alphonso, son of the Duke of Arcos, and the Princess Elvira.
Take yourself off! Meddle not with this, or you may tumble with it into the fire!" He heaps fuel on the hearth, fastens the sword in a vice and starts filing it. Mime watches him, and at this which looks like folly, cannot restrain the exclamation: "What are you doing? Take the solder! You are filing away the file!"
At his mention of the toad, his metaphor for Mime, we hear the hammer of the Nibelung; and at his mention of the gleaming fish, the swimming phrase that accompanies the watery evolutions of the Rhine-maidens.
'Gad! if I were some years younger, I would join them myself; I should act Sir Pertinax Macsycophant famously; I have a touch of the mime in me. Well! but what do you propose to do? live with me? eh!" "Why, I think that might be the best, and certainly it would be the pleasantest mode of passing my life. But " "But what?"
But the disposition of the young fellow without fear shows in his method with the sword. With a brave thoroughness he reduces the whole blade to steel filings. Mime follows all his movements. "Now I am as old as this cavern and these woods, but such a thing have I never seen! He will succeed with the sword, that I plainly apprehend. In his fearlessness he will make it whole.
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