of invention that the ingenious Goldoni
has so well exposed in one of his plays, in the following
speech, addressed to a young man.

"[*] For example, you, as the female dancer will come upon
the stage, with a distaff, twirling it, or with a pail to
draw water; or with a spade for digging. Your companion will
come next perhaps driving a wheel-barrow, or with a sickle
to mow corn, or with a pipe a-smoaking; and though the scene
should be a saloon, no matter, it will come soon to be
filled with rustics or sailors. Your companion to be sure
will not have seen you, at first; that is the rule; upon
which you will make up to him, and he will send you a
packing. You will tap him on the shoulder with one hand,
and he will give a spring from you to the other side of the
stage. You will run after him; he, on his part will scamper
away from you, and you will take pet at it. When he sees you
angry, he will take it into his head to make peace; he will
sue to you, and you in your turn will send him about his
business. You will run from him, and he after you. He will
be down on his knees to you; peace will be made; then,
shaking your footsies, you will invite him to dance. He also
will answer you with his feet, as much as to say, come, let
us dance."

"Then handing you backwards to the top of the stage, you
will begin gaily a _Pas-de-deux_, or Duet dance. The first
part will be lively, the second grave; the third a jig. You
will have taken care to procure six or seven of the best
airs for a dance, put together, that can be imagined. You
will execute all the steps that you are mistress of; and let
your character in the Pas-de-deux, be that of a country
wench, a gardener's servant, a granadier's trull, or a
statue; the steps will be always the same; and the same
actions for ever repeated; such as running after one
another, dodging, crying, falling in a passion, making peace
again, bringing the arms over the head, jumping in and out
of time, shaking legs and arms, the head, the body, the
shoulders, and especially smirking and ogling round you; not
forgetting gentle inflexions of the neck, as you pass close
under the lights, nor to make pretty faces to the audience,
and then, hey for a fine curtesy at the end of the dance!"

[Footnote *: Per esempio vendra fora la ballerina, colla
rocca, filando, o con un secchio a trar l'acqua, o con una
zappa a