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Show 208 THE CODE OF TERPSICHORE. and ceremonious manner, the remembrance of some renowned deed. It may be thus perceived that the Ballet consists of as many varieties as other theatrical performances. It follows, also, that in pursuing this object, great authors should be deeply studied, together with the whole range of the drama, and those good Ballets, also, that may fall under observation. Nor can the talents of young composers be better employed and developed, than in uniting the principles of art to the remarks of experience. Pity and terror appertain to tragedy; those authors, therefore, who, in order to produce striking effects, dispose of events so as to produce unmixed horror, rather than simply to inspire terror, cannot serve as models in the art of moving the affections, or of raising interest. Feeble minds are greatly alarmed by auch productions; and this, in fact, in the judgment of men of taste, who can properly appreciate what is good, is the only object they attain. These representations merely serve to augment such horrible and disgusting productions as the Parthenius de Nicee, and the romances of the Radcliffe school. The great Arouet requires that the scene should not be stained by blood, except upon extraordinary occasions, when it becomes indispensable, and even then it should be executed with such care, that the public may be spared, as much as possible, the sight of such horrors. W e may remark, also, with Dubos, that " it is not the quantity of blood that is shed, but the manner of shedding it, which constitutes the character of tragedy. Besides, tragedy, when extravagant, becomes cold; and we are rather inclined to laugh than to weep at the productions of a poet, who fancies that he is pathetic in proportion to the quantity of blood he spills: some wicked wag might even send to him for a list of killed and wounded." It is rarely necessary at the thea- |
