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The parts in which I won the most sympathy from the Italian public were those of Oreste in the tragedy of that name, Egisto in "Merope," Romeo in "Giulietta e Romeo," Paolo in "Francesca da Rimini," Rinaldo in "Pia di Tolommei," Lord Bonfield in "Pamela," Domingo in the "Suonatrice d 'Arpa," and Gian Galeazzo in "Lodovico il Moro."
First, the "Oreste" French brig-of-war began roaring out a salutation to the frigate; then the "Dolphin" English schooner gave her one-and-twenty guns; then the frigate returned the compliment of the "Dolphin" schooner; then she blazed out with one-and-twenty guns more, as a mark of particular politeness to the shore which kindness the forts acknowledged by similar detonations.
Oy Dieus, de l'alba tantost ve! But for all that, my mouth will resolutely discourse of the last Parisian flounces, or of your unfathomable eyes, or of Monsieur de Voltaire's new tragedy of Oreste, or, in fine, of any topic you may elect." He smiled, with a twinging undercurrent of regret that not even in impendent death did he find any stimulus to the heroical.
Rhodes echoed the sigh. "What's at the theaters?" "Same as last week, excepting at the Gaiete. They've put on `La Belle Helene' there." "Oh! Belle Helene!" cried Clifford. Tzing! la! la! Tzing! la! la! C'est avec ces dames qu' Oreste Fait danser l'argent de Papa! Rhodes began to growl again. "I shouldn't think you'd feel like gibbering that rot tonight."
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