The concluding words promise largely; but they are in Rousseau's usual glowing and rhetorical vein. How singularly such a style, and the entire Rousseau nature, contrast with the austere taciturnity, the manly vigour, the wild and impetuous energy of the Corsican! Rousseau and Corsican seem ideas standing at an infinite distance apart--natures the very antipodes of each other, and yet they touch each other like corporeal and incorporeal, united in time and thought. It is strange to hear, amid the prophetic dreams of a universal democracy predicted by Rousseau, the wild clanging of that Corybantian war-dance of the Corsicans under Paoli, proclaiming the new era which their heroic struggle began. It is as if they would deafen, with the clangour of their arms, the old despotic gods, while the new divinity is being born upon their island, Jupiter--Napoleon, the revolutionary god of the iron age. CHAPTER III. THE MORESCA--ARMED DANCE OF THE CORSICANS. The Corsicans, like other brave peoples of fiery and imaginative temperament, have a war-dance, called the Moresca. Its origin is matter of dispute--some asserting it to be Moorish and others Greek. The Greeks called these dances of warlike youths, armed with sword and shield, Pyrrhic dances; and ascribed their invention to Minerva, and Pyrrhus, the son of Achilles. It is uncertain how they spread themselves over the more western countries; but, ever since the struggles of the Christians and Moors, they have been called Moresca; and it appears that they are everywhere practised where the people are rich in traditions of that old gigantic, world-historical contest between Christian and Pagan, Europe and Asia,--as among the Albanians in Greece, among the Servians, the Montenegrins, the Spaniards, and other nations. I do not know what significance is elsewhere attached to the Moresca, as I have only once, in Genoa, witnessed this magnificent dance; but in Corsica it has all along preserved peculiarities attaching to the period of the Crusades, the Moresca there always representing a conflict between Saracens and Christians; the deliverance of Jerusalem, perhaps, or the conquest of Granada, or the taking of the Corsican cities Aleria and Mariana, by Hugo Count Colonna. The Moresca has thus assumed a half religious, half profane character, and has received from its historical relations a distinctive and national impress.