dancers perfect, and the dance itself of a character to admit of free, fluent, and _continuous_ motion. But this last condition will be sought vainly in the quadrilles, &c., which have for so many years banished the truly beautiful _country dances_ native to England. Those whose taste and sensibility were so defective as to substitute for the _beautiful_ in dancing the merely _difficult_, were sure, in the end, to transfer the depravations of this art from the opera house to the floors of private ball rooms. The tendencies even then were in that direction; but as yet they had not attained their final stage; and the English country dance [8] was still in estimation at the courts of princes. Now, of all dances, this is the only one, as a class, of which you can truly describe the motion to be _continuous,_ that is, not interrupted or fitful, but unfolding its fine mazes with the equability of light in its diffusion through free space. And wherever the music happens to be not of a light, trivial character, but charged with the spirit of festal pleasure, and the performers in the dance so far skilful as to betray no awkwardness verging on the ludicrous, I believe that many people feel as I feel in such circumstances, viz., derive from the spectacle the very grandest form of passionate sadness which can belong to any spectacle whatsoever. _Sadness_ is not the exact word; nor is there any word in any language (because none in the finest languages) which exactly expresses the state; since it is not a depressing, but a most elevating state to which I allude. And, certainly, it is easy to understand, that many states of pleasure, and in particular the highest, are the most of all removed from merriment. The day on which a Roman triumphed was the most gladsome day of his existence; it was the crown and consummation of his prosperity; yet assuredly it was also to him the most solemn of his days. Festal music, of a rich and passionate character, is the most remote of any from vulgar hilarity. Its very gladness and pomp is impregnated with sadness, but sadness of a grand and aspiring order. Let, for instance, (since without individual illustrations there is the greatest risk of being misunderstood,) any person of musical sensibility listen to the exquisite music composed by Beethoven, as an opening for Burger's "Lenore," the running idea of which is the triumphal return of a crusading host, decorated with laurels and with palms, within the gates of their native city; and then say whether the presiding feeling, in the midst of this tumultuous festivity, be not, by infinite degrees, transcendent to any thing so vulgar as hilarity. In fact, laughter itself is of all things the most equivocal; as the organ of the ludicrous, laughter is allied to the trivial and the mean; as the organ of joy, it is allied to the passionate and the noble. From all which the reader may comprehend, if he should not happen