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Show RISE A N D PROGRESS OF DANCING. 13 sor much useful knowledge of his art. I have never seen any thing so truly descriptive and pleasing. The poet exaggerates at times, but that is a prerogative of his muse ; all he says is, however, in the order of possibilities. H e enables us to judge of the state in which dancing was, two centuries ago; and the parallel that I shall draw, by means of notes, between the steps and attitudes of those times, and such as we now practise, may be of some interest to the reader. Marino displays much taste and knowledge in the art, which he here treats of. W h a t he tells us of Terpsichore, fully explains to us the improvement of which dancing was susceptible at its origin. This modern Ovid, in the twentieth canto of his poem, makes Venus institute games to celebrate the obsequies of Adonis. All the divinities assemble to dispute the different prizes. The muse of dancing bounds into the lists, and pompously exhibits her skill. The following is the animated description which the enthusiasm of the poet has produced:- " Soletta a ballar resta in disparte Tersicore, che diva e di quell' arte. Si ritragge da capo, innanzi fassi, Piega il ginocchio, e move il pife spedito, E studia ben come dispensi i passi8, Mentre del dotto suon segue l'invito 9. Circonda il campo, e raggirando vassi Pria che proceda a carolar piii trito, Si lieve, che porria, benche profonde, Premer senz' offender le vie dell' onde ,0. Sul vago pie si libra, e il vago piede Movendo a passo misurato e lento, Con maestria, con leggiadria si vede Portar la vita in cento guise e cento ". t |