OCR Text |
Show RISE A N D PROGRESS OF DANCING. 33 the attitudes, the waverings, whether they be lively or dull, are the representatives of desire, of gallantry, of impatience, of uncertainty, of tenderness, of chagrin, of confusion, of despair, of revival, of satisfaction, and, finally, of happiness. It is from these different gradations of the passions that the description and nature of the Spanish dances are characterized, in which the minds and manners of those who invented them are so faithfully pourtrayed. Thus we see an enamoured Roderic at the feet of a Chimene, and a Bohemian heroine of Cervantes, or the respectful gallantries of the ancient Spanish heroes of romance. W e have already observed that some of the Spanish dances trace their origin from the American dances ; we must also observe that the Moors, from having inhabited Spain, and introduced their customs there, may lay claim to some part of the honour attributed to the Americans. THE FANDANGO. The Fandango is danced by two persons, and accompanied by the castanets, an instrument made of walnut wood, or of ebony. The music is in the time of 3, and is a rapid movement. The sound of the castanets, and the movements of the feet, arms, and body, keep time to it to the greatest nicety. It is all life and action in the Fandango. It was formerly danced much more generally by persons of quality, after the regulations enacted for the theatre, which introduced more dignity, more formality, and unaccompanied by the slightest movement that could give offence to modesty, or shock good taste. The lower orders, amongst whom this dance is in high request, accompany it with attitudes which savour of the vulgarity of the principal performers, and their extravagant movements never slacken, never cease, till they are C airly tired out. |