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Show T H E COMPOSITION OF BALLETS. 175 ;n their works that men of great talent may be recognized. Shakspeare, that giant of the British stage, is ever producing the most extraordinary contrasts. Voltaire, Racine, Corneille, and Metastasio, together with the best epic poets, must be our models in this respect. " T h e contrasts between the gay and the noble, the great and the agreeable, the agreeable and the gloomy, do not excite deep emotion, but they are pleasing from variety, and free use should be made of them. The contrast which produces the greatest effect is the terrible and sublime, as opposed to cheerful and beautiful objects; but the assistance of this is seldom required : first, because this contrast is uncommon in nature, and, secondly, because the effect of the sublime is to excite astonishment; if, therefore, this contrast is frequently repeated, astonishment ceases. " Contrasts may be sometimes raised from the peculiar situations of characters ; and from change of scenes, pleasure may be introduced amidst horrors, and melancholy into the garden of delight. Thus scenes may be produced capable of inspiring opposite emotions, of moving the affections, and of transporting the soul."-St. L A M B E R T . The contrast of situations must be particularly attended to, in order that they may be varied accordingly ; thus several scenes of love succeeding each other are wearisome; the same may be observed with respect to enraged passion. Variety may be also observed in the arrangement of the scenery ; thus a gloomy representation should be succeeded by a bright and cheerful prospect. Let the sumptuous embellishments of a palace, be followed by the plain simplicity of private life. In the colours employed upon costume, also, sameness must be avoided. In short, the smallest circumstance in regard to contrast and variety should not be neglected, since it is the judicious union of these that produces the grandest effect. |