It was not the French style, characterised by the elegance and difficulty of the step; it was a talent more connected with imagination and sentiment. The character of the music was alternately expressed by the exactitude and softness of the movements. Corinne, in dancing, conveyed to the souls of her spectators what was passing in her own. The same as in her improvisation, her performance on the lyre, or the efforts of her pencil,--she reduced everything to language. The musicians, in beholding her, exerted themselves to make the genius of their art felt more exquisitely; a kind of passionate joy, a sensibility of the imagination, electrified all the spectators of the magic dance, and transported them to that state of ideal existence in which we dream of happiness that does not exist in this world. There is a part of this Neapolitan dance when the lady kneels, whilst the gentleman moves round her, not as a master, but as a conqueror.--What at this moment were the charms and dignity of Corinne. How regal, even in kneeling, did she appear! And when she arose, striking her aerial cymbal, she seemed animated with that lively enthusiasm of youth and beauty, which would create a belief that nothing was wanting to complete her happiness. Alas! it was far otherwise; but Oswald feared it, and sighed in the midst of his admiration of Corinne, as if each triumph of her genius was a degree of separation from him: at the conclusion of the dance, the gentleman kneels in his turn, and the lady dances round him. Corinne in this part, if it were possible, surpassed herself; her step was so light, as she tripped two or three times round the same circle, that her buskined feet seemed to fly over the floor with the velocity of lightning; and when she lifted up one of her hands, shaking the tambourine, while with the other she motioned the Prince Amalfi to rise, all the male part of the company were tempted to throw themselves on their knees too, except Oswald, who retired a few paces backward, and the Count d'Erfeuil, who advanced a few paces forward to compliment Corinne. This enthusiasm of the Italians was by no means assumed, but was the spontaneous effect of their feelings. They are not sufficiently practised in society and in self-esteem to pay much regard to the effect which their actions will produce; they never let themselves be thwarted in their pleasures by vanity, nor turned aside from the object of their pursuit by applause.