Pantomime is to language what marmalade, according to the label on the pot, is to butter, "an excellent (occasional) substitute." But its powers as an interpreter of thought are limited. At least, in real life they are so. As regards a ballet, it is difficult to say what is not explainable by pantomime. I have seen the bad man in a ballet convey to the première danseuse by a subtle movement of the left leg, together with some slight assistance from the drum, the heartrending intelligence that the lady she had been brought up to believe was her mother was in reality only her aunt by marriage. But then it must be borne in mind that the première danseuse is a lady whose quickness of perception is altogether unique. The première danseuse knows precisely what a gentleman means when he twirls round forty-seven times on one leg, and then stands on his head. The average foreigner would, in all probability, completely misunderstand the man.
A friend of mine once, during a tour in the Pyrenees, tried to express gratitude by means of pantomime. He arrived late one evening at a little mountain inn, where the people made him very welcome, and set before him their best; and he, being hungry, appreciated their kindness, and ate a most excellent supper.
Indeed, so excellent a meal did he make, and so kind and attentive were his hosts to him, that, after supper, he felt he wanted to thank them, and to convey to them some idea of how pleased and satisfied he was.
He could not explain himself in language. He only knew enough Spanish to just ask for what he wanted—and even to do that he had to be careful not to want much. He had not got as far as sentiment and emotion at that time. Accordingly he started to express himself in action. He stood up and pointed to the empty table
