I've seen a maid despond in A, Fly the perfidious one in B, Come back to see her wedding day, And perish in a minor key. I've seen the realm of bliss eternal, (The songs accompanied by harps); I've seen the land of pains infernal, With demons shouting in six sharps! [Sidenote: PANARD AT THE OPERA.] CHAPTER IV. INTRODUCTION AND PROGRESS OF THE BALLET. The Ballets of Versailles.--Louis XIV. astonished at his own importance.--Louis retires from the stage; congratulations addressed to him on the subject; he re-appears.--Privileges of Opera dancers and singers.--Manners and customs of the Parisian public.--The Opera under the regency.--Four ways of presenting a petition.--Law and the financial scheme.--Charon and paper money.--The Duke of Orleans as a composer.--An orchestra in a court of justice.--Handel in Paris.--Madame Sallé; her reform in the Ballet, and her first appearance in London. [Sidenote: A CORPS OF NOBLES.] After the Opera comes the Ballet. Indeed, the two are so intimately mixed together that it would be impossible in giving the history of the one to omit all mention of the other. The Ballet, as the name sufficiently denotes, comes to us from the French, and in the sense of an entertainment exclusively in dancing, dates from the foundation of the Académie Royale de Musique, or soon afterwards. During the first half of the 17th century, and even earlier, ballets were performed at the French court, under the direction of an Italian, who, abandoning his real name of Baltasarini, had adopted that of Beaujoyeux. He it was who in 1581 produced the "_Ballet Comique de la Royne_," to celebrate the marriage of the Duc de Joyeuse. This piece, which was magnificently appointed, and of which the representation is said to have cost 3,600,000 francs, was an entertainment consisting of songs, dances, and spoken dialogue, and appears to have been the model of the masques which were afterwards until the middle of the 17th century represented in England, and of most of the ballets performed in France until about the same period. There were dancers engaged at the French Opera from its very commencement, but it was difficult to obtain them in any numbers, and, worst of all, there were no female dancers to be found. The company of vocalists could easily be recruited from the numerous cathedral choirs; for the Ballet there were only the dancing-masters of the capital to select from, the profession of dancing-mistress not having yet been invented. Nymphs, dryads, and shepherdesses were for some time represented by young boys, who, like the fauns, satyrs, and all the rest of the dancing troop wore masks. At last, however, in 1681, Terpsichore was worthily represented by dancers of her own sex, and an aristocratic corps de ballet was formed, with Madame la Dauphine, the Princess de Conti, and Mdlle. de Nantes as principal dancers, supported by the