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Show . t th&t "() 202 o vilu X "\dfitd de_{ew) ncimg canm 00y 25 retain ommend Ic CAts ¢ granted, that o leveral Particula wntel Romans fes of 1ts Perfoctio {ts. Yet this moft Jancmg 1o its Fund ency efert, aswill appe the' it comes Infin e oreeabl ich of the Mimes which cefar rainmen e come t tio - he mad f o gral Imotaiio wny kJ;sN{m Men frar Hiflory of "Dancing S e g f i d G t | fhar'd wit a h r W e t lemnity o o r x L o f T o n w and t Age, fet Men upon the Invention o various Ways to Pleafe. The Attemp fucceeded5 they were receivid on th Stage ; firlt betwixt the Adts; and a laft ufurp'd an entire Entertainment, t almoft the Exclufion of the Drama which either through the ill Performance of the Poet, or Player, (Lucia puts it on the Reprefentation) was poftpon'd to this Diverfion, by Lucian him{elf SCALIGER has {omething indeed very material in the Praife of thi Art. Having plac'd the Chorus, Singers, and Dancers, in the clean.sh data import.tsv out README Orchefira', Orehe of the Antient Theatres, he thus pro- ... t i w g o i n D i w s e c to have the firft Places for Motion is ,‘j"g;j;;" older than Speech ; Befides, from "Dan- and sing cing enly did the Orcheftra take its [Mera Name Singing is the Performance of mum Hi Idlenefs Sloth and Softnefs y But tocam rixebuilo- 1 obtinere Prxterea ab his tantum Orche | Eft enim vetuftior Sermone Motus {ftra Nome invenit Otiofi Cantus Mollis inertis faltati vegeti acri excercitati, maximo quoq; in honore fuit, propterea quod etia ad militarem excercitationem plurimu Cefar Scaliger cap. 18. de Poet facere videretur Fuliu ; fi . Dancin |