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Show T H E COMPOSITION OF BALLETS. 155 the heroes of the French Plautus and Terence dancing? Could he, in short, put a dancing divertissement into the Orgonte or the Tartuffe ? In certain situations, speech possesses more power than gesture, and can give a far more effectual representation. The soliloquies of Shakspeare possess an extraordinary sublimity; the thoughts contained in them are profound and beautiful; but what would become of these qualities if transferred to the Pantomime of a Ballet? N o actor by gesture alone could give a faithful transcript of the fine scene to be found in the fifth act of Richard III, that great tragic production of the English iEschylus ? The same difficulties attend the celebrated soliloquy of Hamlety. Gesture is beautiful and effectual only when grief, tenderness, pride, or sprightliness is to be described ; in logical reasoning, it becomes totally useless, and even ridiculous. -BATTEUX. It appears then the province of the Ballet generally to exhibit a picture and imagery of things; action, striking situations, a peculiar life in all its motions; but vigorous representation of passions of the more powerful kind, and of exalted sentiments, are qualities essential to the Grand Ballet. The character and colouring of melodramatic and comic productions, require less vigour, but more of the agreeable; in these, a sprightly and interesting style must be preserved throughout. Hence it appears that the qualities of a good Ballet have a near relation to those of a good poem. According to Plutarch, the poet Simonides required that dancing should be mute poetry, and that poetry should be a speaking dance8. Consequently, the best poetry, is that in which we perceive the most action; the same may be observed of the Ballet9. The Menteur of Corneille, the Pktideurs of Racine, the |