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Show 164 THE CODE OF TERPSICHORE. been studied, since his numerous errors might spoil th« taste of a young and inexperienced composer *. The ancients neglected love as a subject for tragedies; we find in them but very weak representations of a passion which, however, I will venture to say, as handled in modern dramas, principally constitutes their superiority over the ancients. The classic poets contain nothing that can be compared to the character of Pliedre., or the last acts of Zayre, to Metastasio, or to the Myrrha of Alfieri. These seductive and powerful poets, to w h o m the modern drama owes all its interest and excellence, assisted essentially by the wise regulations of our theatres, must not be ranked second to any name mentioned in this work. In the mean time, it must be confessed, we are greatly indebted to antiquity, whose poets contain beauties that have never yet been equalled. A Ballet, however, can still be made to excite interest without making love the sole subject, to the exclusion of all other passions, of which there is a numerous train, capable of fixing and amusing the mind of an audience; love, then, treated as an episode, produces a most agreeable contrast, and increases the effect of the other passions. Almost every species of passion may be produced in a Ballet, each in its place; but one should not be admitted to the exclusion of another, and particularly that of love, which even when introduced only as an accessary, often becomes a primary object. There are a number of historical and fabulous subjects that may be agreeably treated on, and in which it is not necessary that love should usurp despotic dominion. * It must be observed that the author speaks of our great poet only jrom reading translations of some of his pieces, and then principally with respect lo their plan and conduct. |