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Show RISE A N D PROGRESS OF DANCING. 17 Regge con timpano l'altro il qual percosso Con sonaglietti ad atteggiar l'invita; Ed alternando un bel concerto doppio Al suono a tempo accordono lo scoppio. Quanti moti a lascivia, e quanti gesti Provocar ponno i piu pudici affetti, Quanto corromper puo gli animi onesti, Rappresentano agli occhi in vivi oggetti. Cenni, e baci disegna or quella, or questi, Fanno i fianchi ondeggiar, scontronsi i petti, Socchiudon gli occhi e quasi infra se stessi Vengon danzando agli ultimi complessi." [See Translation at the end of the Notes.] The Fandango cannot be described in a more exact and lively manner. The mode of its execution at present is much the same. Marino declaims against its immorality and the abuse that was made of it in Spain and afterwards in Italy. He calls it oscena danza. Pera il sozzo inventor, che tra noi questa Introdusse primier barbara usanza. Chiama questo suo gioco empio e profano Saravanda25, e Ciaccona26, il novo Ispano*. The Fandango, we thus perceive, again changed its name, but suffered little variation in its character. It was introduced into Italy but performed with more restraint. Almost every Spanish dance, such as the Bolero, the Cachucha, the Seguidillas, of Moorish origin, are imitations of the African Fandango or Chica. They are therefore all marked with that voluptuousness, I might even say obscenity, which characterised their model. * In English-" Perish the man who first introduced this obscene and shocking dance among us !" The inhabitants of New Castile called this profane exhibition by the name of Saravanda and Ciaccona. |
