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Show THEORY OF THEATRICAL DANCING. 57 sion of their different personages and styles. Distinction has always been their study. Follow their example: such an imitation, on your part, will show a sound judgment, and powerfully assist you in your progress to perfection. The music of a dance or ballet must be livelier, and of a stronger accent and cadence, than vocal music ; and as it is required to signify a greater variety of things, it ought also to be much more diversified. It is music alone that can inspire the dancer and mimic with that warmth of expression which a singer derives from his words. Music supplies, in the language of the soul, all that dancing, by its attitudes and gestures, cannot make known to the spectators. A n anonymous author, speaking of these two delightful sciences, says : " Ces deux arts sont freres, et se tiennent par la main; les accens tendres et harmonieux de l'un ex-citent les mouvemens agrdables et expressifs de l'autre; leurs efFets reunis ofFrent aux yeux et aux oreilles des tableaux animus; ces sons portent au cceur les images int^res-santes qui les ont affected; le cceur les communique a l'ame ; et le plaisir qui re"sulte de l'harmonie et de l'intelligence de ces deux arts enchalne le spectateur, et lui fait ^prouver ce que la volupte" a de plus seduisant." Pantomime, unquestionably, expresses a great deal; but without melodious sentimental accents of musical sounds, it never can entirely move our minds. I shall conclude this chapter by recommending to your attention the study of drawing and music, as almost indispensable to make a perfect dancer. By drawing you acquire better ideas of symmetry, elegance, and gracefulness; especially if you pursue the beau ideal, which this art possesses. Music enables you to be more precise in your performance, your ears are more awake to the real time |