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Show T H E COMPOSITION OF BALLETS. 157 proper for Ballets; when such is not the case, events should be as naturally represented as possible. " Lo natural e sempre senza errore."-DANTE. A n intrigue may be invented, embarrasments cleverly contrived, and as cleverly cleared up; but all this must have the face of probability on it, if it is intended the illusion should be complete10. Truth maybe mingled with fiction, provided it be done with art and prudence, and that such a composition proves moral and amusing. N o complicated or compound action can be admitted, and but a very small portion of episode; in these particulars Alfieri and the French tragedy are good models. Nothing could be more ill-judged than to attempt to change into Ballets certain pieces of Calderon, or more foolish than to expect that Pantomime could express his twofold action, or gesture explain his entangled intrigues, still further confounded by his episodes. All the dramas of the Spanish theatre, as well as a great many of the ancient English pieces, are scarcely any thing else but an assemblage of unconnected scenery, any imitation of which should be carefully avoided ; and the same may be observed with regard to the greater part of romantic productions11. Whatever is attempted in a Ballet, must be executed with clearness, precision, and a certain exactitude of manner. Digressions and long narrations are inadmissible ; instead of which, action and incident must be employed; these alone are capable of conveying the meaning of the subject, and of making any deep impression. A recitation which the performer has closely studied in order to explain it by gestures, cannot be perfectly understood, unless some preceding action, upon which it must be founded, has been exhibited. The beautiful narration of Th4ramene in Pantomime would |