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Show 160 THE CODE OF TERPSICHORE. simple, and independent of that general harmony which insensibly delights the eye or ear; any discordance between the lesser parts proves, not the genius, but, the stupidity of an artist. What obliges us to admire a noble work is a fancy at once fruitful and well regulated, which could conceive and reduce to uniformity any vast design." MARMONTEL. In Ballets, as in the Grands Op4ras and lyric tragedies, the imagination may be allowed some irregularities; the scenery and embellishments that pieces of this kind require, give permission to such liberties, but they should be indulged in with care. In certain situations some license may and ought to be permitted, particularly to produce effect or increase the interest of the piece. Even the ancients themselves sometimes passed the limits of these severe regulations, but it was always done with good taste and great art. Their example in this instance may be imitated, as well as that of several celebrated moderns ; and whenever the subject on which we are occupied can, by this means, be improved, it should be remembered that the unity of time and place is not a law that may never be broken. Although a dramatic and pantomimic action may be perfectly conceived in all its parts, yet if not furnished with interest and incident, it will produce but little effect. T o avoid falling into such defects, therefore, it is necessary to select a good subject, as has already been observed; one that continually exhibits a varied and striking picture of the passions12. W h e n these are faithfully portrayed our attention is fixed, and our interest never flags. The Varron by D e Grave, though a production full of art and contrivance, and very witty, could not retain its place on the stage from want of action and interest. Pathos is the most essential qualification of dramatic |