"Il Fanatico per la Musica," Madame
Catalani "was _called for_, when she again presented herself, making
her obeisance, amidst waving of handkerchiefs and tumultuous
applause." Madame Pasta, after appearing as Desdemona, "also had a
call when the curtain fell, and was brought back to receive the reward
due to her distinguished talents." Two seasons later Mr. Parke says,
in reference to Madame Pasta's performance of Desdemona: "At the end
of the opera, by desire of the audience, she came forward once more to
receive that reward which is becoming so common that it will shortly
cease to be a mark of distinction." And, two seasons after that, of
her appearance in "Tancredi," he writes: "She, _as usual_, delighted
the audience; and was, _as usual_, enthusiastically applauded. After
the curtain fell she was called for, _as usual_, to go through the
ceremony of being unmercifully applauded."

In the non-operatic theatres it is probable that calls first came in
vogue when epilogues went out.

The players are called simply to congratulate them on their success,
and to express some sort of gratitude for their exertions. There is
nothing to be urged against this method of applauding the performers
when kept within reasonable bounds. Sometimes it is to be feared,
however, the least discreet of the audience indulge in calls rather
for their own gratification--by way of pastime during the interval
between one play and another--than out of any strict consideration of
the abilities of the players; and, having called on one or two
deserving members of a company, proceed to require the presence before
the curtain of others who have done little to merit the compliment.
Certain playgoers, indeed, appear to applaud no matter what, simply
for the sake of applauding. They regard the theatre as a place to be
noisy in, and for the vehement expression of their own restless
natures. When they cannot greet a player with acclamations, they will
clamorously deride a footman, or other servant of the theatre, who
appears before the foot-lights with a broom, or a watering-pot, a
carpet, or other necessary of representation; or they will issue
boisterous commands to the gentlemen of the orchestra to "strike up"
and afford an interlude of music. To these of the audience it is
almost painful that a theatre should be peaceful or a stage vacant;
rather than this should happen they would prefer, if it could possibly
be contrived, and they were acquainted