Volume II Part 15 (2/2)
”Decidedly But I reat many poor writers have purposely inserted such verses into their prose, believing that they would make it ed against much Italian literature But I suppose you are the only writer who takes so much pains”
”The only one? Certainly not All the authors who can compose blank verses very easily, as I can, employ them when they intend to make a fair copy of their prose Ask Crebillon, the Abby de Voisenon, La Harpe, anyone you like, and they will all tell you the sa Voltaire was the first to have recourse to that art in the s For instance, the epistle to Madanificent Read it, and if you find a single he”
I felt some curiosity about the matter, and I asked Crebillon about it
He told ht, but he added that he had never practised that art himself
Patu wished very much to take me to the opera in order to witness the effect produced upon me by the performance, which must truly astonish an Italian 'Les Fetes Venitiennes' was the title of the opera which was in vogue just then--a title full of interest for h the audience was standing, the company was excellent, for the opera was the favourite amusement of the Parisians
After a symphony, very fine in its way and executed by an excellent orchestra, the curtain rises, and I see a beautiful scene representing the small St Mark's Square in Venice, taken froe, but I am shocked to see the ducal palace on ht, that is to say the very reverse of reality
I laugh at this ridiculous , cannot help joining h in the ancient style, at first amused me on account of its novelty, but it soon wearied ued iven out of season That melopaeia, of the French replaces--at least they think so--the Greek melapaeia and our recitative which they dislike, but which they would admire if they understood Italian
The action of the opera was limited to a day in the carnival, when the Venetians are in the habit of proe was ani theues The costu I laughed very heartily, and it was truly a curious sight for a Venetian, when I saw the Doge followed by twelve Councillors appear on the stage, all dressed in thea 'pas d'ensemble' Suddenly the whole of the pit burst into loud applause at the appearance of a tall, well-, the hair of which went half-way down his back, and dressed in a robe open in front and reaching to his heels Patu said, almost reverently, ”It is the inimitable Dupres” I had heard of hi forith measured steps, and when the dancer had arrived in front of the stage, he raised slowly his rounded arracefully backward and forward, htness, took a few small steps, made some battements and pirouettes, and disappeared like a butterfly The whole had not lasted half a minute The applause burst from every part of the house I was astonished, and asked my friend the cause of all those bravos
”We applaud the grace of Dupres and, the divine hare, and those who saw hio say that he is always the same”
”What! Has he never danced in a different style?”
”He could not have danced in a better one, for his style is perfect, and what can you want above perfection?”
”Nothing, unless it be a relative perfection”
”But here it is absolute Dupres always does the sa, and everyday we fancy we see it for the first tiood and beautiful, of the true and sublime, which speak to the soul
His dance is true harmony, the real dance, of which you have no idea in Italy”
At the end of the second act, Dupres appeared again, still with aexactly the sahts, and stopped one instant in a graceful attitude Patu wanted to force ave way Suddenly everyone roundhimself!”
And in reality he was like an elastic body which, in developing itself, would get larger Ihiraceful in all his movements Immediately after him we had a feht and left, but heavily, yet she was applauded 'con furore'
”This is,” said Patu, ”the fa arrived in Paris in time to see her, for she has accomplished her twelfth lustre”
I confessed that she was a wonderful dancer
”She is the first artist,” continued e None ventured upon doing it before her, and, what is more extraordinary, she does not wear any drawers”
”I beg your pardon, but I saw”
”What? Nothing but her skin which, to speak the truth, is not o,” I said, with an air of repentance, ”does not please me I like Dupres o, seated on my left, told me that in her youth she could perforouillade', and that nobody had ever seen her thighs, although she always danced without drawers
”But if you never saw her thighs, how do you know that she does not wear silk tights?”