Code of Terpsichore the art of dancing, comprising its theory and practice, and a history of its rise and progress, from the earliest times

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THE COMPOSITION OF BALLETS. 249 decorations, is of a detached and portable nature, such as furniture, fire-arm s and instruments of every description, whether for use or pleasure. In Italy, a most particular attention is paid to this department. 24. I am aware that Addison has observed, speaking of tragedy, in words nearly to this effect, " Ordinary minds are as much delighted with the decorations as with the words ; but a man of sense is inspired with admiration from what a hero says, not from what accoutrements he wears. All the pomp and parade of royalty bestows not on Brutus one half of the majesty with which a single verse of Shakspeare adorns him." The theatre displays its pompous scenery and gorgeous decorations equally to the learned and to the illiterate ; and, if necessary, to the subject and con­formable to truth, such exhibition will not be blamed by men of taste. But when an author, confiding in these aids, neglects the interest of the plot, and leaves the characters imperfectly delineated, to give the painter and me­chanist an opportunity of displaying their talent, he becomes a proper subject for the severity of criticism. In order that the charm of dramatic illusion may be perfect, decorations should accompany and help to explain a piece in its progress, but should never be made principal objects. 25. W h o among an audience could possibly conclude that in the second act of the Ballet of Psyche', the person whom Psyche' supposes to be her mother is Venus herself, concealed beneath that disguise in order to deceive and destroy her hated rival ? Without the assistance of a programme, or a knowledge of Apuleius, or of La Fontaine, this piece could never be understood. This incon­venience must be attributed, in the first instance, to a meagre supply of panto - mimic action, or, in other words, explanatory gestures. It is the composer's business to exert his utmost, that he may avoid falling into such incertitude : even the Italians, when the subject is complicated, are not always sufficiently clear. 26. " If it is against the principles of morality to endeavour to debauch the mind by licentious exhibitions, in which every sense appears lost in pleasures. Should it be permitted to display to the eyes of an audience execrable and unnatqral passions ? Which is more scandalous, the fury of a tyrant, or the ecstacies of licentious pleasure ?" LEMIERRE. 27- W e shall here quote some verses by Riccoboni, which occur very oppor­tunely to sustain our argument and to assist young performers in counter­acting the force of bad example. The poet is addressing an actor :- " Non stupir se ti esamino e ti squadro; Quel moverti per arte e col compasso Ti rendon, sc noI sai, scipito e ladro.