/ 'Tis vice alone that constitutes / Th'enchanting wand and magic bowl, The exterior form of Man they wear, / But are in fact both Wolf and Bear, / The transformation's in the Soul." Louis Fuzelier and Marc-Antoine Legrand titled their comic opera of 1718 "Les animaux raisonnables". It had more or less the same scenario transposed into another medium and set to music by Jacques Aubert. Circe, wishing to be rid of the company of Ulysses, agrees to change back his companions, but only the dolphin is willing. The others, who were formerly a corrupt judge (now a wolf), a financier (a pig), an abused wife (a hen), a deceived husband (a bull) and a flibbertigibbet (a linnet), find their present existence more agreeable. The Venetian Gasparo Gozzi was another Italian who returned to Gelli for inspiration in the 14 prose "Dialoghi dell'isola di Circe" ("Dialogues from Circe's Island") published as journalistic pieces between 1760 and 1764. In this moral work, the aim of Ulysses in talking to the beasts is to learn more of the human condition. It includes figures from fable (The fox and the crow, XIII) and from myth to illustrate its vision of society at variance. Far from needing the intervention of Circe, the victims find their natural condition as soon as they set foot on the island. The philosopher here is not Gelli's elephant but the bat that retreats from human contact into the darkness, like Bruno's fireflies (VI). The only one who wishes to change in Gozzi's work is the bear, a satirist who had dared to criticize Circe and had been changed as a punishment (IX). There were two more satirical dramas in later centuries. One modelled on the Gryllus episode in Plutarch occurs as a chapter of Thomas Love Peacock's late novel, "Gryll Grange" (1861), under the title "Aristophanes in London". Half Greek comedy, half Elizabethan masque, it is acted at the Grange by the novel's characters as a Christmas entertainment. In it Spiritualist mediums raise Circe and Gryllus and try to convince the latter of the superiority of modern times, which he rejects as intellectually and materially regressive. An Italian work drawing on the transformation theme was the comedy by Ettore Romagnoli, "La figlia del Sole" ("The Daughter of the Sun", 1919).