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Show 178 THE CODE OF TERPSICHORE. believes himself the happiest of mortals, he becomes an object of horror to her w h o m he loves. This is one of the most tragic situations of which the stage is capable ;' and Racine has bestowed on it all the great talent for which he is so celebrated. This instance, in our opinion, is still more powerful than that which is cited above. They are both scenes that take forcible possession of our heart and imagination; and such an effect as this the composer should endeavour to imitate. The poets who have adorned the French theatre; Metastasio, Alfieri, Ap. Zeno, and Shakspeare, must be deeply studied by those artists w ho would prosper in their dramatic career. The drama of Spain also frequently furnishes striking dramatic effects, instances of which may be found in Calderon. Excellent passages may be gathered from the pieces of Kotzebue and Schiller. While studying modern authors, do not neglect the ancients, their masters ; for they possess dramatic situations andthedeepestpathos. Since their time, indeed, theatrical performances have made an astonishing progress, for which we are indebted to Poliziano, Trissino, Corneille, Racine, Moliere, Cr^billon, Voltaire, Maffei, Metastasio and Alfieri. It is not necessary to be continually seeking after dramatic situations and stage effect; nor to be ever introducing scenes in which contrasts are exhibited; the most delicious dish may be too often served up ; and the same beauties, presented too frequently, become affected and monotonous. W h e n incidents of the sublime are too much multiplied, the attention of the spectator immediately becomes fatigued. During every dramatic action, the poet and composer should occupy our minds entirely, by a natural description of the passions ; each by turns should delight us, the one by his poetic ideas, the other by the gaiety of the dance, and the pomp of decoration appropriately introduced. |