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Show ON PANTOMIME. 121 himself:-" T h e piece was played not only with spirit, which might be easily expected of dancers, but with truth also, a quality that becomes every day more rare. Regnard was both felt and expressed. The novices in speech did not stand in need of that indulgence which had been prepared for any failure in this hazardous attempt." This occurrence ought to prove satisfactorily, that in France there are dancers capable of performing Pantomime perfectly; and if they do not introduce more of it into their parts, the cause of it should be attributed to the composers w h o neglect too much this department, or who have not sufficient talent to put Pantomime upon an equality with dancing. It is not consistent with the character of Ballets to treat of abstract things, nor to entertain the public with long details. This sort of representation ought only to exhibit such actions and images as create interest and pleasure, without giving the spectator the least occasion to guess at the intentions of the performer. A Pantomime must be simple, clear, and correct, if it be meant for a failhful interpretation of our sensations. All that cannot be understood at the moment of the action is mere imperfection, which it is the Ballet-master's duty to reject as useless. Pantomime, like dancing, has its different kinds. Gesture, look, carriage, in short all the physical expressions, are not exactly the same in every person; they vary with the age, character, and condition of the actor, w h o ought, therefore, to pay the strictest attention to those kinds only of which he finds himself more peculiarly capable. Unless the actor possesses certain physicial qualities, and a natural disposition to Pantomime, he cannot expect to see his endeavours crowned with success. It is an incontrovertible fact that, without the gifts of nature, it is impossible for us to become perfect in any one art or |