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Show 232 THE CODE OF TERPSICHORE. rience, almost universal, to a fertile and varied imagination. Let it not be thought extraordinary that so much should be expected from a composer. He never loses his time who knows how to employ it. There is nothing prodigious in such an extensive acquisition; besides, nature herself assists the progress of those w h o m she destines for celebrity. Maffei remarks that, in the list of qualifications deemed indispensable for a composer of dances, according to Lucian, "the study of morals is not required." W h y , it may be asked should not a Ballet-master complete the course of his studies? Is not his art essentially considered equal to that of Corneille, Alfieri, or Moliere ? Should not he, whose business it is to display men and their passions on the stage, be acquainted with a science which introduces us to a knowledge of the virtues and vices of our species ? This criticism, therefore, of the Italian author is inconsiderately pronounced. Without a knowledge of mankind, he could never have produced so fine a piece as M4rope, which subject also, as treated by Voltaire, is a masterpiece. The former could not have been ignorant of this truth, but perhaps he thought it would not be expected in a composer of Ballets. Manufacturers of Ballets are plentiful, but talented composers are rare. The office of composer is often filled by ignorant impostors, and the imperfections in this department may, in some measure, be attributed to audiences which have become too easy and indulgent towards avaricious managers, and to performers who are too indolent to acquire perfection in an art which, however, they are proud of professing. The intrinsic value and excellence of a picture, fresh from the hands of an artist, consists in its perfect imitation of nature; the same observation may be made with respect to Ballets. A Ballet should represent a picture |