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Show 248 THE CODE OF TERPSICHORE. but rather the author, who is thus prating, while the character through whom he speaks ought to be acting instead of trifling away his time, and exposing the poverty of the poet's genius."-ROUBAUD. 19. See D'Alembert, Batteux, Beaux Arts, Part III., chap. iii.; Marmontel, Gravina, Du Bos, Maffei, Montesquieu, &c. The last writer had a particular predilection for the comedy of Esope a la Cour, on account of the moral it conveyed. This production of Boursault's gives, indeed, the most useful instruction, and is capable, without any other assistance, satisfactorily to answer J. J. Rousseau's theatrical paradoxes. Beaumarchais, also, in his sprightly and satirical prefaces, inculcates the dramatic moral of his pieces. 20. The measures, movement, andcharacter of Grecian music. The Pyrrhic ( w o ) and the tribrach ( u o u ) are employed to express the light and joyous movements of the satiric dance ; slow and sedate move-mentsare accompanied by the spondee ( ) and the molossus ( ); passions of a quiet and pleasing character may be represented by the trochee ( - « ), and sometimes by the amphibrach ( u - u ) , which latter is a sweet and gentle measure. The iambic ( o - ) is full of force and fire ; the anapaest ( o u - ) is nearly of the same nature, expressing violent and warlike movement. To express gaiety and joy, we should employ the dactyl ( - o u ), whose character corresponds very well with such feelings. The antipast ( u o ) gives a striking idea of whatever is rude and clownish. If we would express rage and madness, not only should the anapaest be employed, but the fourth Paeon also (u u u - ) , which is still more effective.-Vossius. 21. See, Traiti EUmentaire Thiorique et Pratique de VArt de la Danse. See that part which treats on music. 22. The science of music appears unhappily to be somewhat on the decline. The styles of music peculiar to each class of the drama are now confounded; modern musicians seem to have forgotten that such men as Pergolese, Jomelli, Sacchiui, and Cimarosa, ever existed ; at least such a conclusion may be deduced from the fact of their paying so little attention to the models for every style that those talented men have left behind them ; were the works of these composers deeply studied, dramatic music would, perhaps, become more appropriate and natural. But 1 have spoken more at length upon this subject in Observations upon Singing, and the Expression of Dramatic Music, and also in an Essay upon the Introduction of Italian Music into France. 23. The properties {accessoires) of a theatre consist of whatever, in scenery and |
