THE BALLET.
FANNY ELSSLER has at last vouchsafed to grant the prayers of her vo- taries, which means all true devotees of the ballet, by assuming a new incarnation—that of a peasant-girl dazzled with a vision of splendour, and tempted to exchange her rustic attire and innocent gayety for the state of a court-beauty. La Paysanne Grande Dame, it is true, only affords a glimpse of FANNY ELSSLER'S pantomimic powers in one phase of character—the sportive ; the divertissement is too slight for serious interest: but the idea is embodied in so lively and perfect a manner that nothing seems wanting to its completeness. The exuberant delight of the sprightly girl, who cannot keep still for joy at the signing of her marriage-contract, is suddenly checked by the arrival of a grand seigneur : his flattering promises cast a shade of doubt over her happy state. But it is for a moment: the sight of her lover restores her tranquillity, and she defies the tempter ; till the mother is gained over, and then the daughter yields. We next see the village-lass in a magnifi- cent saloon, enraptured with a fine dress—running round after her train like a kitten chasing its tail—coquetting with the feathers in her head- dress, and trying to see herself in a glass on every side. Her childish glee is restrained by a grave chamberlain, who puts her into the trammels of state—teaches her to curtsey, to flirt with her fan, and ape the airs of a woman of quality: the aptness of the pupil is shown by turning her tutor out of the room ; and the metamorphosis is just complete, when the timely entrance of the forsaken swain awakens the yet innocent girl from her dream of grandeur ; she tears off her trinkets, and flies to the arms of her betrothed. The piquant playfulness of FANNY ELMER'S pantomime lends an indescribable charm to the incident, and an aspect of novelty as well as truthfulness. Her dancing illustrates every change of situation ; and the most extraordinary tours de force appear to be a com- ponent part of the business of the scene—whether she executes a rapid movement to the piccolo on the points of her toes, or careers round the stage in a series of revolving movements in which she scarcely appears to touch the ground. FANNY ELSSLER has indeed " a foot of fire " ; and her beaming smiles keep pace with the scintillations of her feet. No one would have supposed that the merry Paysanne was the same person who had just before danced the " Minuet de la Cour," wearing the dress and stately gravity of a cavalier of Louis Quatorze. It is a rare merit in a danseuse to assume personal character as well as the style of a particular dance : this dramatic effect heightens the charm of finished execution ; and in both FANNY ELSSLER is unrivalled.
CERITO performed the lady's part in the minuet very gracefully ; and also gave "La Gitana " in her prettiest style. ST. LEON exerted him- self prodigiously ; dancing with his whole body, and fairly flinging his muscular form into the air I Nor should PERROT'S expressive and cha- racteristic pantomime be forgotten. Earnestness is the secret of his success : whatever character he assumes, he never loses sight of dra- matic propriety, nor steps out of his part; while his by-play is so quiet and significant that the eye follows him everywhere. Then there are CouLoN and GOSSELIN, two admirable pantomimists : in short, the corps de ballet is so strong in this department, that one wonders its resources should have been so little employed.
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