entation, they use such words as by their very sound express
some eminent quality in the thing, or metaphors; as when they say that
streams do "babble and flash"; that arrows fly "desirous the flesh to
wound"; or when they describe an equal battle by saying "the fight had
equal heads." They have likewise a great many significative compositions
in their verses. Thus Euripides of Perseus,

He that Medusa slew, and flies in air;

and Pindar of a horse,

When by the smooth Alpheus's banks
He ran the race, and never felt the spur;

and Homer of a race,

The chariots, overlaid with tin and brass,
By fiery horses drawn ran swiftly on.
(Euripedes, Frag. 975; Pindar, "Olympian," i. 31;
"Iliad," xxiii. 503.)

So in dancing, the [Greek omitted] represents the shape and figure, the
[Greek omitted] shows some action, passion, or power; but by the [Greek
omitted] are properly and significatively shown the things themselves,
for instance, the heaven, earth, or the company. Which, being done in
a certain order and method, resembles the proper names used in poetry,
decently clothed and attended with suitable epithets. As in these lines,

Themis the venerable and admired,
And Venus beauteous with her bending brows,
Fair Dione, and June crowned with gold.
(Hesiod, "Theogony," 16.)

And in these,

From Hellen kings renowned for giving laws,
Great Dorus and the mighty Xuthus sprang,
And Aeolus, whose chief delight was horse.

For if poets did not take this liberty, how mean, how grovelling and
flat, would be their verse! As suppose they wrote thus,

From this sprung Hercules, from the other Iphitus.
Her father, husband, and her son were kings,
Her brother and forefathers were the same;
And she in Greece Olympias was called.

The same faults may be committed in that sort of dancing called [Greek
omitted] unless the representation be lively and graceful, decent and
unaffected. And, in short, we may aptly transfer what Simonides said of
painting to dancing, and call dancing mute poetry, and poetry speaking
dancing; for poesy doth not properly belong to painting, nor painting
to poesy, neither do they any way make use of one another. But poesy
and dancing share much in common especially in that type of song called
Hyporchema, in which is the most lively representation imaginable,
dancing doing it by gesture, and poesy by words. So that po