re were so many bad memories, and short memories, and
treacherous memories, that at length the plan was resigned in despair.

A substitute, proposed by Lady Penelope, was next considered. It was
proposed to act what the Italians call a Comedy of Character; that is,
not an exact drama, in which the actors deliver what is set down for
them by the author; but one, in which the plot having been previously
fixed upon, and a few striking scenes adjusted, the actors are expected
to supply the dialogue extempore, or, as Petruchio says, from their
mother wit. This is an amusement which affords much entertainment in
Italy, particularly in the state of Venice, where the characters of
their drama have been long since all previously fixed, and are handed
down by tradition; and this species of drama, though rather belonging to
the mask than the theatre, is distinguished by the name of Commedia
dell' Arte.[II-2] But the shamefaced character of Britons is still more
alien from a species of display, where there is a constant and
extemporaneous demand for wit, or the sort of ready small-talk which
supplies its place, than from the regular exhibitions of the drama,
where the author, standing responsible for language and sentiment,
leaves to the personators of the scenes only the trouble of finding
enunciation and action.

But the ardent and active spirit of Lady Penelope, still athirst after
novelty, though baffled in her two first projects, brought forward a
third, in which she was more successful. This was the proposal to
combine a certain number, at least, of the guests, properly dressed for
the occasion, as representing some well-known historical or dramatic
characters, in a group, having reference to history, or to a scene of
the drama. In this representation, which may be called playing a
picture, action, even pantomimical action, was not expected; and all
that was required of the performers, was to throw themselves into such a
group as might express a marked and striking point of an easily
remembered scene, but where the actors are at a pause, and without
either speech or motion. In this species of representation there was no
tax, either on the invention or memory of those who might undertake
parts; and, what recommended it still farther to the good company, there
was no marked difference betwixt the hero and heroine of the group, and
the less distinguished characters by whom they were attended on the
stage; and every one who had