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Show T H E COMPOSITION OF BALLETS. 143 take place, and may be termed also the introduction. A good author should know how to awaken interest in this first part, and to keep it up by inspiring a desire of seeing the final consequence. This exposition, however, must be clear and concise; for here it is that many authors fail. In this division we expect a description of characters and manners, with the peculiar qualities of the persons about to appear upon the scene. Those who are to take an active part in the piece should be advantageously introduced to our notice, without, however, concealing from us their failings, when the latter are essentially necessary to the conduct of the subject. " Let your heroes be great but not faultless," says Aristotle; from which precept we may learn that nothing should be exaggerated, but rather probable and natural. During the action every character should be sustained in a tone consistent with their beginning. The action itself, even from its commencement, should advance in such a manner as gradually to increase interest; an effect which requires some ability to produce; every effort, therefore, must be employed to raise emotion and pleasure; this, indeed, is the object at which true talent ever aims. The exposition may be made either suddenly or gradually, according as the peculiarity of the subject may require. Sometimes, the veil which conceals from the spectator the actual state of things may be instantaneously lifted; at others, it must be slowly raised during the course of succeeding scenes. " W h e n a subject is celebrated, and, consequently, well known, its exposition is both brief and easy; thus, on hearing the names of Iphigenia, OZdipus, Dido, Caesar, or Brutus, not only are their characters immediately recalled to mind, but the peculiar events in which they have borne a part. To explain in such a case requires not many lines. But when a subject is not gene- |