OCR Text |
Show 140 THE CODE OF TERPSICHORE. even more energetically. Hence it may be concluded that this art of expressing ourselves by looks and gestures is sufficient to represent every species of action or historic exploit; if the pantomimic performer, therefore, be well understood he will awaken interest, and be finally triumphant. Gresset, speaking of Terpsichore, the patroness of dancing, expresses himself thus:- " Her allegorical positions form a mute poetry, her attitudes are living and moving pictures, and become a faithful representation of sentiments and passions. Rivalling history, while she displays to the eyes (the Ballet) deeds of renown, she exhibits to the spectator the peculiar genius of every nation ; by her steps she represents every characteristic. In her vehement movements, and uncertain wandering, I can perceive anger, indignation, and despair ; her irregular and negligent gestures exhibit a soft voluptuousness ; in the nicety of her balancemens, and the exactness of her equilibres, we trace an easy languor ; in the sudden agility of her steps, we perceive the gaiety of the Graces, and the sprightliness of delight; amid the labyrinth of her aerial bounds we are reminded of the village fete and the joys of the vintage. In short, dancing, which at first view appears to be only a pleasure, conceals a useful lesson. Thus, anciently, the wise citizens of Sparta, to inspire their children with the horror of intemperance, caused their drunken slaves to dance before them. This dancing, however, cannot certainly be taken for a model, but only as an example of the moral power contained in the Ballet. Describo mores hominum, is the motto of comedy ; and might be applied to every kind of theatrical representation. Those laws and maxims which ought to guide the composer of Ballets, are no other than those which have been laid down by the greatest critics on the drama. I have, |