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Show THE COMPOSITION OF BALLETS. 185 natural consequence of that part of the piece that preceded them. The pantomimic action of which they are composed, requires the greatest attention and study, other\vis3 they become totally unintelligible. There should always appear a good reason for the introduction of soliloquies and monologues ; and the composer should make an appropriate use of them. Some authors are too lavish in the employment of them in their productions; but this is extremely blameable18. Soliloquy is a refuge and resource for writers, but it ought not to be abused. They must arise naturally out of the subject, and be essential to its explanation. A person finding himself alone, gives himself up freely to his reflections ; the feelings, under the influence of which he labours, break forth into exclamation from time to time, accompanied by a peculiar species of gesture ; but all this is done in a sort of under tone, and generally lasts not long; he does not, however, ask himself questions and reply like any one deranged. This appears to be the simple and original state of the soliloquy ; and keeping this always in mind,we may heighten and adorn its expression by the power of gesture. Nature is generally content with very little gesticulation to explain her intentions ; but those signs she does employ clearly express what passes within us, by their energy and propriety. The language of nature is simple, and if an actor will strive to imitate it, his Pantomime will triumph by such an effort. Scenes of a monologous nature frequently produce a powerful effect, particularly in the hands of a performer of talent, w h o will sometimes adorn them with all the beauties of his art. Many of the ancient Pantomimes were nothing more than monologues, and were represented by a single performer, who undertook to describe every character mentioned in the |