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Show 180 THE CODE OF TERPSICHORE. four persons performing a piece, considering that number sufficient to explain the subject to the audience.-" Nee quarta loqui persona laboret." W e may certainly be allowed to admit more characters than prescribed by the great poetical lawgiver; but whatever characters are admitted must be necessary to the piece, and should share in the general interest. We should take care, however, not to imitate Schiller, who, in one of his plays (William Tell), has introduced fifty persons w h o speak, without mentioning an infinite number of mute parts, and characters who merely make their appearance. There are also twenty persons in the Julius Ccesar of Shakspeare. But this is one of the characteristics of writers in the romantic style16. A Ballet-master should make human nature his profound study; and should extend his observations over every class of society. H e ought also to remark the customs and manners peculiar to different countries, even to their particular features, and whatever other mark of distinction is remarkable between them. Some resemblance may sometimes be traced between the manners of certain nations, still there is always a sufficiency of characteristic to mark the distinction. Nothing, in short, should escape the observation of a composer, for there is scarcely any thing in nature that may not be turned to his advantage. H e must note particularly the peculiarities of the times or historical epochs in which his personages flourished. In classical representations, the audience should be enabled to recognize each character from his peculiar style of performing, and method of developing the passions. What a dissimilarity, for example, exists between the characters of Cassar and that of Achilles; between Achilles and that of Paris ! The character and conduct of Mahomet are totally opposed to those of Trajan. What an immense |
