ON EXERCISES. 365 



competition of thefe dances belong to the bal- 

 let- matter, who fhould conftantly confult the 

 poet in his choice of {objects* for the dances 

 of an opera or other dramatic piece. It is in- 

 iufferable to a man of any tafte, to fee in the 

 Italian operas, ballets that have fcarce ever the 

 kaft relation to the mufical drama : the opera 

 of Titus, for example, is terminated by a Chi- 

 nefe ballet ; a very grave and tragic flory mall 

 be interlarded with a dance of gay, fportful 

 iliepherds. This is to join contrarieties and to 

 produce monfters. 



VIII. To exprefs the different characters of 

 the perfons who compofe a ballet, or any other 

 theatric dance whatever, the fubjects they are to 

 reprefent, and the fentiments they are fuppofed 

 to entertain, the matter of the ballet makes 

 wfe of the different modes or characters in mu- 

 fie, and the fteps that are appropriated to each 

 mode , as thofe of the faraband, courant, lou- 

 vre, &c. for the grave and ferious, and thofe 

 of the minuet, paffepie, chaconne, gavot, ri- 

 gaudoon, jig, &c. for the gay, lively or co- 

 mic. All thde are comprehended under the 

 name of the high dance, and are always accom- 

 panied by a graceful motion of the arms. The 

 ; adapting each of thefe fteps, fo as hap- 

 pily to exprtfs the various fentiments or emo- 

 tions of the mind, forms the talent of the bal* 

 let-mader, and is the greateft merit in the com- 

 pofition of a dance. 



IX. For- 



