70
I know not what truth there may be in Plato’s analysis of the soul into the three elements of spirit, appetite, and reason: but each of the three is admirably illustrated by the pantomime; he shows us the angry man, he shows us the lover, and he shows us every passion under the control of reason; this last—like touch among the senses—is all-pervading. Again, in his care for beauty and grace of movement, have we not an illustration of the Aristotelian principle, which makes beauty a third part of Good? Nay, I once heard some one hazard a remark, to the effect that the philosophy of Pantomime went still further, and that in the silence of the characters a Pythagorean doctrine was shadowed forth.
71
All professions hold out some object, either of utility or of pleasure: Pantomime is the only one that secures both these objects; now the utility that is combined with pleasure is doubled in value. Who would choose to look on at a couple of young fellows spilling their blood in a boxing-match, or wrestling in the dust, when he may see the same subject represented by the pantomime, with the additional advantages of safety and elegance, and with far greater pleasure to the spectator? The vigorous movements of the pantomime—turn and twist, bend and spring—afford at once a gratifying spectacle to the beholder and a wholesome training to the performer; I maintain that no gymnastic exercise is its equal for beauty and for the uniform development of the physical powers,—of agility, suppleness, and elasticity, as of solid strength.
