Zirphila and Zulica would have run on, God knows how far, if Mangogul had not turn'd off his ring: but as this magic ring ceased acting on them, their Toys closed their lips, and a profound silence succeeded the noise they made. Then the Sultan rose up, and darting furious looks on our young blockheads, said: "You have taken the liberty to defame women whom you never had the honour of coming near, and who hardly know your names. Who has made ye insolent enough to lie in my presence? Tremble, wretches." At these words he grasped his cymeter: but the screams of the affrighted ladies stop'd his hand. "I was going," says Mangogul, "to give ye the death which you have merited: but the ladies, whom you have injured, have a right to determine your fate: it shall depend on them, either to crush ye, or to let ye live. Speak, ladies, what are your commands?"
"That they live," says Mirzoza, "and hold their tongues, if possible."
"Live," replies the Sultan, "these ladies permit it: but if ever you forget on what condition, I swear by my father's soul——"
Mangogul did not complete his oath; being interrupted by one of the gentlemen of his bed-chamber, who inform'd him that the comedians were ready. This prince had imposed it on himself as a law never to retard the public diversions. "Let them begin," says he, and immediately gave his hand to the favorite, whom he accompanied to her box.
[CHAP. XXXIV.]
Seventeenth trial of the Ring.
The Comedy.
Had the taste of good declamation been known in Congo, there were some comedians who might well be spared. Of thirty persons which composed the band, there was but one great actor, and two tolerable actresses. The genius of authors was obliged to comply with the mediocrity of the greatest number; and there was no room to hope, that a play would be performed with any tolerable success, without taking care to model the characters on the defects of the comedians. This is what was meant in my time by the custom of the stage. Formerly the actors were made for the pieces; but now the pieces were made for the actors. If you offer'd a new play, to be sure it underwent an examination, to know whether the subject was engaging, the intrigue well connected, the characters supported, and the diction pure and flowing: but if there were no parts for Roscius and Amiana, it was refused.
The Kislar Agasi, superintendant of the Sultan's pleasures, had packed a company of players together, as he could find them; and this was the first representation of a new tragedy at the Seraglio. It was composed by a modern author, who had gain'd such reputation, that tho' his piece had been but a string of impertinences, it would assuredly have met with a favorable reception. But he did not debase his character. His work was well written, his scenes conducted with art, his incidents managed with dexterity, the interest went on increasing, and the passions in being developed. The acts, naturally link'd together, and full, constantly held the audience in suspence with regard to the sequel, and satisfied with what was past: and they were got to the fourth act of this master-piece, to a very moving scene, which was a preparation to another still more interesting; when Mangogul, in order to save himself from the ridicule of listening to the tender parts, pull'd out his glass, and acting the inattentive, surveyed the several boxes. In the front box he observed a woman in great emotion, but of an ill-timed sort, as having no relation to the piece. His ring was instantly levelled at her, and in the midst of most pathetic commendations, a Toy, panting for breath, was heard addressing the player in these terms: