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Show 2 0 4 THE CODE OF TERPSICHORE. and is a proof of the great interest taken in it by the public. It may be remarked of those artists to w h o m this chapter is dedicated, that the Pantomime of their pieces absorbs all the action, to the exclusion of dancing. That, however, cannot be called Ballet that consists of Pantomime only. Those plots, therefore, should be chosen in which dancing can be appropriately introduced, for it would be impossible and ridiculous to exhibit a Divertissement on a subject of a character too tragic for such joyous amusement. Let the colouring of your picture be varied, but let that variety be disposed with art. Thus, let gloomyftcenes be insensibly shaded off into the light and gay. Painful and pleasant emotions depend upon such an arrangement, which, if managed with taste and judgment, enable us to witness, without surprise, tragic scenes succeeded by the graceful movements of the dance. Such well-disposed contrasts as these constitute the Ballet, instead of the simple Pantomime. And in this method certain tragic subjects also might be treated, which, at first, might not seem adapted to the object of a Ballet. In Italy, excellent historic and mythologic Ballets have been produced, and represented with such magnificence and perfection as have remained unrivalled ; and the severest critics found themselves obliged to applaud. These, however, exhibited no disgusting horrors, nor any circumstance tending to corrupt the manners. Those who wish to attain celebrity as composers should constantly refer to such models, keeping them ever in view, even amidst their own inventions; thus would they secure the applause of m en of taste. By this method, young composers would avoid committing these two palpable errors: first, that of seeking to inspire horror instead of pathos ; and that of making Pantomimes instead of Ballets. In a Ballet the dance should partake of the plot and interest of |