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Show ON PANTOMIME. 127 Let nature, therefore, be most attentively studied, even down to her minutest operations. It is the composer's duty to inform the actor of the subject, argument, and meaning of his Ballet, and especially to instruct him as to the nature of the part which he has to fulfil. H e ought to show him the proper gestures that will express his own ideas in the Pantomime, and also guide him in all his motions, that the time and cadence of the music may be observed with precision. Every action in Pantomime must be regulated according to the music, which ought also to participate in the expression of the passions. T h e effect resulting from this harmonious union creates the most pleasing emotions in the spectator. The Ballet-master should set the gestures, attitudes and steps exactly to the ry thm of the tunes, and so manage that each sentiment expressed may be responsive to the measure. Let the mime or dancer, however, beware not to force his action, in order to prove that they really are in accord with the musical phrase. All must be blended together, and art be concealed as much as possible. " Sall^ dont Terpsichore avait conduit les pas, Fit sentir la mesure, etne la marquaitpas." ..VOLTAIRE. The accompaniment must possess the true tone and colouring of the pantomimic action. The Ballet-master must avoid in his demonstrations all that is exaggerated, dull, vulgar, or trivial, particularly in subjects of a serious nature. The expressions of violent passion, or of those which arise from any extraordinary situation, are not the most difficult task of a mime. " The great difficulty in the art," Marmontel observes, " is in a simultaneous expression of two sentiments agitating the soul, when the mind wavers from one to the other, or in the gradations and shades |