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Show 44 THE CODE OF TERPSICHORE. during the carnival, and composed of young persons of both sexes, in disguise, but unmasked. A woman, with a small basket full of silk sashes, of different colours, stands at the door of the room where the Sarao is held, and presents a sash to each lady that enters. Another woman distributes the same kinds of sashes to the gentlemen, and each immediately sees, by the colour of his sash, the person who is to be his lady for the evening. He approaches and salutes her, and remains at her feet during the whole time that the Sarao lasts. He is even permitted to speak to her with all the love and tenderness he chooses, without her taking the least offence. This is a custom that gives rise to numberless intrigues. The evening terminates with dances, analogous to the character of the party. W e observe in these balls and diversions, the Spanish disposition in its full extent. The passion of love constantly transports the Spaniard, and appears conspicuous in every action of his life. In France and in Italy, a public street, crowd, and disguise, often occasion many things which they at the same time conceal; but in Spain there is no restraint, or at least there was not when the Sarao was most in vogue. The inhabitants there gave full scope to their desires, and did every thing publicly. The most select assemblies never restrain them. The only people to whom, in my opinion, they may be compared are the Venetians, or rather the Venetians as they were fifty years ago. 28. Fourlane, a dance well known at Venice, and much in vogue among the Gondoliers. It is very lively, and its music is % time, played in a molto allegretto style. It is called Fourlane on account of its having been first danced in the Frioul. This dance is very similar to the Tarantella, but not quite so diversified. 29. Contredanse, a dance generally performed by eight persons, four men and four women. It is of modern invention, and comprises a variety of steps, according to the nature of the music. Liveliness is the characteristic of this dance, which has prevailed over all others.* It may be varied ad infinitum, from the surprising number of evolutions which it admits of, and among which the principal ones are the circle 0, the half circle C, the cross t, the cross of four $ , the chain X X X - Coutredanses, quadrilles, Spain, and the German provinces, abound in dances of different kinds. France, on the contrary, possesses a very small number of national dances, ^_but can boast of an immense variety of tunes well suited to their composition. Italy, of all nations the most musical, is, perhaps, the poorest in national airs and songs. This remark relates only to civilized countries. |
