could be sung to dance-steps, and for a general shaping of words and music by the neat and exact form of dance-patterns.
The reaction of all this upon musical method was decided. The French mind was not content with the more or less formless Italian recitative or any treatment of the arioso not distinctly rhythmic—that was not a clear 'tune.' It tended at first to exalt piquancy of tonal effect above truth to the text.
While not avoiding serious themes, it frankly sought to devise captivating entertainments rather than to evolve a grand form of monumental art. Ere long it seized eagerly upon instruments as specially effective means for the decoration and elaboration of dance-themes of all kinds. Thus was early laid the foundation of that sprightly and brilliant type of composition that has always been characteristic of the French opera—a type of great utility to musical progress even when its works were not of the highest intrinsic value.
The evolution of the French drama is traceable with exceptional completeness.
Only a few points need here be mentioned. The Trouèvre
play, Robin et Marion (1285), was peculiar because wholly devoid of religious
elements, these being replaced by the secular features of amusing
story, light song and dancing. It is suspected that there were other similar
works, now lost. For over two centuries afterwards the performances
of Mysteries and Miracle-Plays were common and ambitious in various
French towns, usually under the care of societies like the Confrérie de la
Passion, Les Clercs de la Bazoche, Les Enfants sans Souci, etc., in whose
hands the free use of music and dancing increased.
The 'mascarade' or mimetic ballet was not a French invention, but after 1500 it became specially associated with French court festivities, and in some form has remained peculiarly characteristic of the French drama. Though what is now called the ballet has fallen to the low estate of a mere divertissement in the grand opera or been transformed into the orchestic farce, its historic prototype was significant as a dramatic form that might have been the forerunner of the modern opera had circumstances favored it. The notable performance in 1581 of the Ballet comique de la reine (properly Circé et ses nymphes) was almost as early as any like undertaking in Italy and much more pretentious. Its scenic scale is shown by its expense—over 3,600,000 francs. Its arranger, though not the composer of its incidental music, was the Italian violist Baltazarini. Its music resembled that of the Italian madrigal-plays in that it did not include solos. The popularity of the form, especially because of its unlimited spectacular possibilities, is evidenced by the record that under Henry IV. (1589-1610) about 80 ballets were produced at court. If some constructive genius had appeared, this early ballet might have become the progenitor of the opera proper. As it was, progress paused for almost a century.
