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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/24643-8.txt b/24643-8.txt new file mode 100644 index 0000000..f5f11eb --- /dev/null +++ b/24643-8.txt @@ -0,0 +1,4431 @@ +The Project Gutenberg EBook of A Treatise on the Art of Dancing, by +Giovanni-Andrea Gallini + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: A Treatise on the Art of Dancing + +Author: Giovanni-Andrea Gallini + +Release Date: February 19, 2008 [EBook #24643] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK A TREATISE ON THE ART OF DANCING *** + + + + +Produced by Louise Hope, David Starner, Chuck Greif and +the Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by the Library of Congress) + + + + + + + [Transcriber's Note: + Spelling and punctuation are unchanged. Exceptions are noted + at the end of the text.] + + + [Illustration] + + + + A + + TREATISE + + on the + + ART + + of + + DANCING. + + + By _Giovanni-Andrea Gallini_. + + + _LONDON_: + + Printed for the AUTHOR; + And Sold by R. DODSLEY, in _Pall-Mall_; + T. BECKET and P. A. DE HONDT, in the _Strand_; + J. DIXWELL, in _St. Martin's-Lane_, + near _Charing-Cross_; + and + At Mr. BREMNER's Music Shop, opposite + _Somerset-House_, in the _Strand_. + + MDCCLXXII. + + + + + The TABLE + + of CONTENTS. + + + _Of the Antient Dance_ p. 17 + + _Of Dancing in General_ 49 + + _Of sundry Requisites for the Perfection + of the Art of Dancing_ 89 + + _Some Thoughts on the Utility of Learning to Dance, + and especially upon the Minuet_ 139 + + _Summary Account of various Kinds of Dances + in different Parts of the World_ 181 + + _Of Pantomimes_ 227 + + + + +ADVERTISEMENT. + + +What I have here to say is rather in the nature of an apology +than of a preface or advertisement. The very title of a Treatise +upon the art of dancing by a dancing-master, implicitly +threatens so much either of the exageration of the profession, +or of the recommendation of himself, and most probably of both, +that it cannot be improper for me to bespeak the reader's +favorable precaution against so natural a prejudice. My +principal motive for hazarding this production is, indisputably, +gratitude. The approbation with which my endeavours to please in +the dances of my composition have been honored, inspired me with +no sentiment so strongly as that of desiring to prove to the +public, that sensibility of its favor; which, in an artist, is +more than a duty. It is even one of the means of obtaining its +favor, by its inspiring that aim at perfection, in order to the +deserving it, which is unknown to a merely mercenary spirit. +Under the influence of that sentiment, it occurred to me, that +it might not be unpleasing to the public to have a fair state of +the pretentions of this art to its encouragement, and even to +its esteem, laid before it, by a practitioner of this art. In +stating these pretentions, there is nothing I shall more avoid +than the enthusiasm arising from that vanity or self-conceit, +which leads people into the ridicule of over-rating the merit +or importance of their profession. I shall not, for example, +presume to recommend dancing as a virtue; but I may, without +presumption, represent it as one of the principal graces, and, +in the just light, of being employed in adorning and making +Virtue amiable, who is far from rejecting such assistence. In +the view of a genteel exercise, it strengthens the body; in the +view of a liberal accomplishment, it visibly diffuses a graceful +agility through it; in the view of a private or public +entertainment, it is not only a general instinct of nature, +expressing health and joy by nothing so strongly as by dancing; +but is susceptible withall of the most elegant collateral +embellishments of taste, from poetry, music, painting, and +machinery. + +One of the greatest and most admired institutors of youth, whose +fine taste has been allowed clear from the least tincture of +pedantry, Quintilian recommends especially the talent of +dancing, as conducive to the formation of orators; not, as he +very justly observes, that an orator should retain any thing +of the air of a dancing-master, in his motion or gesture; but +that the impression from the graces of that art should have +insensibly stoln into his manner, and fashioned it to please. + +Even that austere critic, Scaliger, made the principles of it +so far his concern, that he was able personally to satisfy an +Emperor's curiosity, as to the nature and meaning of the Pirrhic +dance, by executing it before him. + +All this I mention purely to obviate the prepossession of the +art being so frivolous, so unworthy of the attention of the +manly and grave, as it is vulgarly, or on a superficial view, +imagined. It is not high notions of it that I am so weak as to +aim at impressing; all that I wish is to give just ones: it +being perhaps as little eligible, for want of consideration, to +see less in this art than it really deserves, than, from a fond +partiality for it, to see more than there is in it. + + + + + A + + TREATISE + + on the + + ART of DANCING. + + + + + _Of the ANTIENT Dance._ + + +In most of the nations among the antients, dancing was not only +much practised, but constituted not even an inconsiderable part +of their religious rites and ceremonies. The accounts we have of +the sacred dances, of the Jews especially, as well as of other +nations, evidently attest it. + +The Greeks, who probably took their first ideas of this art, +as they did of most others, from Egypt, where it was in great +esteem and practice, carried it up to a very high pitch. They +were in general, in their bodies, extremely well conformed, and +disposed for this exercise. Many of them piqued themselves on +rivalling, in excellence of execution, the most celebrated +masters of the art. That majestic air, so natural to them, while +they preserved their liberty, the delicacy of their taste, and +the cultivated agility of their limbs, all qualified them for +making an agreeable figure in this kind of entertainment. +Nothing could be more graceful than the motion of their arms. +They did not so much regard the nimbleness and capering with +the legs and feet, on which we lay so great a stress. Attitude, +grace, expression, were their principal object. They executed +scarce any thing in dancing, without special regard to that +expression which may be termed the life and soul of it. + +Their steps and motions were all distinct, clear, and neat; +proceeding from a strength so suppled, as to give their joints +all the requisite flexibility and obedience to command. + +They did not so much affect the moderately comic, or half +serious, as they did the great, the pompous, or heroic stile of +dance. They spared for no pains nor cost, towards the perfection +of their dances. The figures were exquisite. The least number of +the figurers were forty or fifty. Their dresses were magnificent +and in taste. Their decorations were sublime. A competent skill +in the theatrical, or actor's art, and a great one in that of +dancing, was necessary for being admitted into the number of +figurers. In short, every thing was in the highest order, and +very fit to prove the mistake of those who imagine that the +dances are, in operas for example, no more than a kind of +necessary expletive of the intervals of the acts, for the repose +of the singers. + +The Greeks considered dancing in another point of light; all +their festivals and games, which were in greater number than +in other countries, were intermixed and heightened with dances +peculiarly composed in honor of their deities. From before +their altars, and from their places of worship, they were soon +introduced upon their theatres, to which they were undoubtedly +a prior invention. The strophe, antistrophe, and epode, were +nothing but certain measures performed by a chorus of dancers, +in harmony with the voice; certain movements in dancing +correspondent to the subject, which were all along considered +as a constitutive part of the performance. The dancing even +governed the measure of the stanzas; as the signification of the +words strophe and antistrophe, plainly imports, they might be +properly called danced himns. The truth is, that tragedy and +comedy, made also originally to be sung, but which, in process +of time, upon truer principles of nature, came to be acted and +declaimed, were but super-inductions to the choruses, of which, +in tragedy especially, the tragic-writers, could not well get +rid, as being part of the religious ceremony. + +This solves, in a great measure, the seeming absurdity of their +interference with the subject of the drama: being deemed so +indispensable a part of the performance, that the scene itself +was hardly more so: consequently, there was no secret supposed +to be more violated by speaking before them, than before the +inanimate scene itself. But what was at least excusable, on this +footing, in the antients, would be an unpardonable absurdity in +the moderns. + +Athenæus, who has left us an account of many of the antient +dances, as the _Mactrismus_, a dance entirely for the female +sex, the _Molossic_, the Persian _Sicinnis_, &c. observes, that +in the earliest ages of antiquity, dancing was esteemed an +exercise, not only not inconsistent with decency and gravity, +but practised by persons of the greatest worth and honor. +Socrates himself, learnt the art, when he was already advanced +in years. + +Cautious as I am of using a false argument, I should say, that +the making dances a part of their religious ceremonies, was a +mark of their attributing even a degree of sanctity to them; but +that I am aware there were many things that found a place in +their festivals and games, which, among those heathens, were so +far from having any thing of sacred in them, that they did not +even show a respect for common decency or morality. + +But as to dancing, it may be presumed, that that exercise was +considered as having nothing intrinsically in it, contrary to +purity of manners or chastity, since it made a considerable part +of the worship paid to the presiding goddess of that virtue, +Diana, in the festivals consecrated to her. Her altar was held +in the highest veneration by the antients. Temples of the +greatest magnificence were erected in honor of this goddess. Who +does not know the great Diana of Ephesus? The assemblies in her +temples were solemn, and at stated periods. None were admitted +but virgins of the most spotless character. They executed dances +before the altar, in honor of the deity, with a most graceful +decency; invoking her continual inspiration of pure thoughts, +and her protection of their chastity. Those of them, who +distinguished themselves above the rest, by superior graces of +performance, received rewards not only from the priestess of +Diana, but from their own parents. Nor were the young men but +curiously inquisitive, as to who particularly excelled on these +occasions. Distinction in these dances was a great incentive to +love, and produced many happy unions. + +Such of these virgins as married, retained, in quality of wives, +such a veneration for this sort of worship, that they formed an +assembly of matrons, who on set days, performed much the same +devotion, imploring, in concert, of the goddess, a continuance +of her gifts, and of that spirit of purity, the fittest to make +them edifying examples of conjugal love and maternal tenderness. + +Innocent amusements having been ever reputed allowable, and even +necessary expedients for relaxing both mind and body from the +fatigue of serious or robust occupations, Diana had her temples, +especially in countries proper for hunting, where the parents +used to resort with their children, and encouraged them to +partake of the diversions in which dancing had a principal +share. + +The antients have left us an unaccountable description of the +Bacchanalians, whose deportment forms a striking contrast to +the decent regularity observed in the worship of Diana. The +Bacchanalians strolled the country, and, in the course of that +vagabond scheme, erected temporary huts, their residence being +always short wherever they came. In their intoxication they +seemed to defy all decency and order; affecting noise, and +a kind of tumultuous, boisterous joy, in which there could +never be any true pleasure or harmony. They were, in the +licentiousness of their manners, a nuisance to society; which +they scandalized and disturbed by their riots, their mad +frolics, and even by their quarrels. Their heads and waists were +bound with ivy, and in their hands they brandished a thirsus, or +kind of lance, garnished with vine-leaves. When by any foulness +of weather they were driven into their huts, they passed their +time in a kind of noisy merriment, of shoutings and dithirambic +catches, accompanied by timpanums, by cymbals, by sistrums, and +other instruments, in which noise was more consulted than music, +and corresponded to the sort of time they kept to them, in the +frantic agitations of their Bacchic enthusiasm. The Corybantes +were called so from their disorderly dancing as they went along. + +The Pirrhic dance differs not much from Plato's military dance. +The invention of it is most generally attributed to Pirrhus, son +of Achilles; at least this opinion is countenanced by Lucian, in +his treatise upon dancing; though it is most probably derived +from the Memphitic dance of Egypt. The manner of it was to dance +armed to the sound of instruments. Xenophon takes notice of +these dances in armour, especially among the Thracians, who were +so warlike a people. In their dance to music, they exhibited the +imitation of a battle. They executed various evolutions; they +seemed to wound each other mortally, some falling down as if +they had received their death-wound; while those who had given +the blow sung to the song of triumph, called _Sitalia_, and +then withdrew, leaving the rest to take up their seeming dead +comrade, and to make preparations for his mock-funeral, in the +pantomime stile of dance. He has also described the dance of the +Magnesians, in which they represented their tilling the ground, +in an attitude, and in readiness for defence, against expected +moroders. They put themselves in a posture of protecting their +plough, with other motions expressive of their resolution and +courage, all adapted to the sound of the flute. The moroders +arrive, prevail, and bind the husbandmen to their plough, and +this terminates the dance. Sometimes the dance varies, and the +husbandmen prevailing, bind the moroders. + +The same author mentions also the Mysians who danced in armour, +and used a particular sort of _peltæ_ or targets, on which they +received the blows. In short, these armed dances had different +names bestowed upon them, according to the countries in which +they were used. + +The Egyptians and Greeks were extravagantly expensive in their +public festivals, of which, dancing always constituted a +considerable part. + +The Romans, among whom the more coarse and licentious dances +derived from the Hetruscans, had at first prevailed, came at +length to adopt the improvements of taste, and consequently of +decency and regularity; the festivals, of which dancing was to +compose the principal entertainment, were adapted to the season +of the year. + +Every autumn, for example, it was a constant custom, for those +who could afford the expence, to build a magnificent saloon in +the midst of a delightful garden. This ball-room was decorated +in the most brilliant manner: At one end of the ball-room stood +a statue of Pomona, surrounded with a great number of baskets +made in the neatest manner, and full of all the finest fruits +that the season produced. These, with the statue, were placed +under a canopy hung round with clusters of real grapes and +vine-leaves, so artfully disposed as to appear of the natural +growth. These served to refresh both the eye and mouth. The +performers of the ball went up to this part of the saloon, in +couples, processionally, to avoid confusion. Each youth took +care to help his partner to what she liked best, and then +returned, in the same regular manner, to the other end of +the room, when they served what remained to the rest of the +spectators. After which the ball immediately began. + +I was shown, by an Italian painter, a curious picture in his +possession, of the antients celebrating one of this kind of +festivals. The attitudes into which the figures were put, and +which appeared to have been drawn for the conclusion of the +ball, were beautiful beyond imagination. + +In winter there were balls in the city of Rome; for which +the appropriated apartments were commodious; and where the +illuminations were so great, that notwithstanding the usual +rigor of that season, the room was sufficiently warm. + +Round the room there were tables and stands, on which was placed +the desert; and there were generally twelve persons chosen to +distribute the refreshments, and do the honors of the ball. The +whole was conducted with the utmost decency and regularity, +while Rome preserved her respect for virtue and innocence of +manners. + +By the best accounts procurable, their serious dances were +properly interspersed and inlivened with comic movements. Their +first steps were solemn and majestic, and, by couples they +turned under each other's arms; and when the whole thus turned +together, they could not but afford a pleasing sight. After +which they resumed the serious again, and so proceeded +alternately till they concluded the dance. + +In the spring, the country became naturally the scene of their +dances. The best companies resorted, especially to such villages +as were noted for the most pure and salubrious springs of water. +If the weather was mild, they danced upon an open green; if not, +they formed a large covered pavilion, in the middle of which +they placed the statue of Flora, ornamented with flowers, round +which they performed their dances. First the youth, then those +of riper years; and lastly, those of a more advanced age. After +each of these divisions had danced separately, they all joined +and formed one great circle. The most distinguished for +excellence in the performing these dances, had for reward the +privilege of taking a flower, with great solemnity, from the +statue of the goddess. This was esteemed so high an honor, that +it is scarce imaginable how great an emulation this inspired; as +this privilege was to be obtained by the impartial determination +of the best judges. + +Summer was however the season in which the pleasure of dancing +was carried to the highest pitch. For the scene of it, they +chose a shady and delightful part of a wood, where the sunshine +could not incommode them, and where care was taken to clear the +ground underfoot, for their performance. A young lady of the +most eminence for rank and beauty was chosen to personate the +goddess Ceres. Her dress was of an exquisite taste, ornamented +with tufts of gold, in imitation of wheat-sheaves: while her +head was decked with a kind of crown composed of spangles, +representing the ears of ripe corn, and perhaps, for the greater +simplicity, of the natural grain itself. Those who danced round +her, all wore wreaths of the choicest flowers, and were dressed +in white, with their hair flowing loose, in the stile of +wood-nimphs. On this occasion, there was always a great croud +of spectators; and the joy that appeared in each parent's eye, +when their daughters were applauded, made no small part of the +entertainment. As garlands, and wreaths of flowers composed the +principal ornament of the persons who performed in this dance, +such a respect was had for it by the people in general, that +they abstained from gathering any flowers, till after this +festival was over. + +I have myself seen a drawing of this rural dance, in which I +counted no less than sixty performers. + +The celebrated Pilades is mentioned to have been the great +improver of this dance. He excluded from it all jumping or +capering, for fear of violating or of disfiguring the graceful +regularity of the whole, which he considered as the most +essential towards preserving a pleasing effect. + +Not less than two months were the usual time of preparation for +this dance, to which there was always a confluence of persons +from all the neighbouring parts. But none were allowed the +liberty of dancing, except persons of the first rank and +distinction in the country; the whole being regulated by some +person acting in quality of _choragus_, or director of the +dance. + +The reign of Augustus Cæsar was undoubtedly the epoch, of the +establishment in Rome, of the art of dancing in its greatest +splendor. Cahusac, an ingenious French author, in his historical +treatise of this art, assigns to that emperor a deep political +design in giving it so great an encouragement as he undoubtedly +did; that of diverting the Romans from serious thoughts on the +loss of their liberty; especially in fomenting a dissention +among them, about so frivolous an object as the competition +between those two celebrated dancers, Pilades and Bathillus. +That something of this sort might be the design of that emperor, +is not to be doubted; but Cahusac, over-heated, perhaps, by his +subject, exagerates the importance of it beyond the bounds of +cool reason. So much however is true, that those two dancers +were extremely eminent in their art, and may be esteemed the +founders of that theatrical dancing, or pantomime execution, for +which it is not sufficient to be only a good dancer, but there +is also required the being a good actor; in both which lights, +these two artists were allowed to excel, Pilades in the serious +or tragic dance, Bathillus in the comic. + +These also founded a kind of academies of dancing, which +produced several eminent artists, but none that ever equalled +themselves in performance or reputation. What history records +of them, and of their powers, as well as of that theatrical +pantomime dance, of which they were the introductors, in Rome, +would exceed belief, if it was not attested by such a number of +authors as leave no room to think it an imposition. + +But as to dancing itself, either considered in a religious, +or in only an amusive light, it may be pronounced to have been +among the Romans, as old as Rome itself, and like that rude in +its beginnings, but to have received gradual improvement, as +fast as the other arts and sciences gained ground. + +Processional dances were also much in vogue among that people. +They had especially an anniversary ceremony or procession, +called, from its pre-eminence, singly, POMPA, or the Pomp. + +It was celebrated, in commemoration of a victory obtained over +the Latians, the news of which was said to have been brought by +Castor and Pollux, in person. This festival, was, at first, +consecrated to Jupiter, Juno, and Minerva. But it was afterwards +made more general, and celebrated in honor of all the Gods. This +procession was in the month of September. It began at the temple +of _Jupiter Capitolinus_, proceeded to the _Forum Romanum_, from +thence to the _Velabrum_, and afterwards to the _Grand Circus_. +You have in Onuphrius Panvinius, the order of this procession at +large, of which the directors were the chief magistrates of the +city: the sons of the nobility leading the van. Those of the +Equestrian order, whose fathers were worth a hundred and fifty +thousand sesterces, followed on horseback. It would be here +foreign from my purpose to give the whole description of this +procession, and of those who composed it. It is sufficient to +observe, that processional dancing constituted a considerable +part of it. The Pirrhic dance, executed to a martial air, called +the _Proceleumaticus_, employed the men of arms. These were +followed by persons who danced and leaped, in the manner of +Satirs, some of them in the dress ascribed to _Silenus_, +attended by performers on instruments adapted to that character +of dance. These made the comic part of the procession, and the +persons representing Satirs, took care to divert the people by +leaps, by a display of agility, and by odd uncouth attitudes, +such as were in the character they had assumed. There were also +in another part of the procession twelve _Salii_, or priests of +Mars, so called from their making sacred dances in honor of that +God, the most considerable part of their worship; these were +headed by their master or _Præsul_, the leader of the dance, +a term afterwards assumed by the Christian Prelates. There were +also the _Salian_ virgins, besides another division of the +_Salii_ called _Agonenses_ or _Collini_. + +Nor is the processional dancing any thing surprizing; concerning +that among the heathens, and even among the Hebrews, they were +greatly in use. Who does not know that David's dancing before +the arch was but in consequence of its being one of the +religious ceremonies on that occasion? + +The heathens used especially to form dances before their altars, +and round the statues of their gods. The _Salii_, or priests of +Mars, whose dances were so framed as to give an idea of military +exercise and activity, threw into their performance steps so +expressive and majestic, as not only to defend their motions and +gestures from any idea of levity and burlesque, which it is so +natural for the moderns to associate with that of dancing, but +even to inspire the beholders with respect and a religious awe. +The priests chosen for this function, were always persons of the +noblest aspect, suitable to the dignity of the sacerdotal +ministry. And so little needs that dignity of the heathen +ministry be thought to be wounded or violated by the act of +dancing, in religious worship, that dances were actually in use +among the primitive Christians, in their religious assemblies. +There was a place in their churches, especially allotted for +these consecrated dances, upon solemn festivals, which even +gave the name of _choir_ to those parts of the church now only +appropriated to the reading of the divine service, and to +singing. In Spain, it long remained an established custom for +Christians to assemble in the church-porches, where, in honor of +God, they sang sacred himns, and to the tunes of them, performed +dances, that were extremely pleasing, for the decent and +beautiful simplicity of the execution. All which I mention +purely to salve that inconsistence, of the levity of dancing +with the gravity of divine worship. An inconsistence of which +the antients had no idea; since, on that occasion, they almost +constantly joined dancing to singing. + +They are both natural expressions of joy and festivity; and +as such they thought neither of them improper in an address of +gratulation to the deity, whom they supposed rather pleased at +such innocent oblations of the heart, exulting in his manifold +bounties and blessings. + +From before the altar, among the heathens, the admission of +dances upon the theatre, was rather an extension of their power +to entertain, than a total change of their destination; since +the theatres themselves were dedicated to the worship _of the +heathen deities_, of which their making a part was one of the +principal objections of the primitive Christians to the theatres +themselves. However, it was from the theatres that dancing +received its great and capital improvement. + +As an exercise, the virtue of dancing was well known to the +antients, for its keeping up the strength and agility of the +human body. There is a remark which I submit to the +consideration of the reader, that it is not impossible but +that the antient Romans, who were, generally speaking, low in +stature, and yet were eminently strong, owed that advantage to +their cultivation of bodily exercise. This kept their limbs +supple, and rendered their constitution stout and hardy. Now, +very laborious exercises would rather wear out the machine than +they would invigorate it, if there was not a due relaxation, +which should not, however, be too abrupt a transition from the +most fatiguing exercises to a state of absolute rest. Whereas +that dancing, of which they were so fond, afforded them, not +only a pleasing employ of vacant hours, but, withall, in its +keeping up the pliability of their limbs, made them find more +ease in the application of themselves to more athletic, or to +more violent exercises, either of war or of the chace: while all +together bred that firmness of their muscles, that robust +compactness and vigor of body, which enabled them to atchieve +that military valor, to which they owed all their conquests and +their glory. + +Certain it is then, that among the Romans, even in the most +martial days of that republic, the art of dancing was taught, as +one of the points of accomplishment necessary to the education +of youth; and was even practised among the exercises of the +Circus. I need not observe, that there were also various abuses +of dancing, which they very justly accounted dishonorable to +those who practised them, whether in public or private. These, +in the degenerate days of Rome, grew to an enormous excess. But +I presume no one will judge of an art by the abuse that may be +made of it. + + + + + Of + + DANCING + + In General. + + +This is one of the arts, in which, as in all the rest, the study +of nature is especially to be recommended. She is an unerring +guide. She gives that harmony, that power of pleasing to the +productions of those who consult her, which such as neglect her +must never expect. They will furnish nothing but monsters and +discordances; or, at the best, but sometimes lucky hits, without +meaning or connexion. + +All the imitative arts acknowledge this principle. + +In Poetry, a happy choice of the most proper words for +expressing the sentiments and images drawn from the observation +of nature, constitutes the principal object of the poet. + +In Painting, the disposition of the subject, the resemblance +of the coloring to that of the original, in short the greatest +possible adherence to nature, is the merit of that art. + +In Music, that expression of the passions which should raise the +same in the hearer, whether of joy, affliction, tenderness, or +pity, can never have its effect without marking and adopting the +respective sounds of each passion as they are furnished by +nature. + +In Dancing, the attitudes, gestures, and motions derive also +their principle from nature, whether they caracterise joy, rage, +or affection, in the bodily expression respectively appropriated +to the different affections of the soul. A consideration this, +which clearly proves the mistake of those, who imagine the art +of dancing solely confined to the legs, or even arms; whereas +the expression of it should be pantomimically diffused through +the whole body, the face especially included. + +Monsieur Cahusac, in his ingenious treatise on this art, has +very justly observed, that both singing and dancing must have +existed from the primeval times; that is to say, from the first +of the existence of human-kind itself. + + "Observe, says he, the tender children, from their entry + into the world, to the moment in which their reason unfolds + itself, and you will see that it is primitive nature + herself, that manifests herself in the sound of their, + voice in the features of their face, in their looks, in + all their motions. Mark their sudden paleness, their quick + contortions, their piercing cries, when their soul is + affected by a sensation of pain. Observe again, their + engaging smile, their sparkling eyes, their rapid motions, + when it is moved by a sentiment of pleasure. You will then + be clearly persuaded of the principles of music and dancing + proceeding from the beginning of the world down to us." + +Certain it is, that even in children, the motions and gesture, +strongly paint nature; and their infantine graces are not +unworthy the remarks of an artist, who will be sure to find +excellence in no way more obtainable than by a rational study +of her, where she is the purest. + +The cultivation of the natural graces, and a particular care +to shun all affectation, all caricature, unless in comic or +grotesque dances, cannot be too much recommended to those who +wish to make any figure in this art. It is doing a great +injustice to it, to place its excellence in capers, in brilliant +motions of the legs, or in the execution of difficult steps, +without meaning or significance, which require little more than +strength and agility. + +I have already observed, that the Greeks, who were so famous for +this art, as indeed for most others, which is no wonder, since +all the arts have so acknowledged an affinity with each other, +studied especially grace and dignity in the execution of their +dances. That levity of capering, that nimbleness of the legs, +which we so much admire, held no rank in their opinion. They +were inconsistent with that clearness of expression, and +neatness of motion, of which they principally made a point. The +great beauty of movements, or steps, is, for every one of them +to be distinct; not huddled and running into one another, so as +that one should begin before the precedent one is finished. This +so necessary avoidance of puzzled or ambiguous motion, can only +be compassed by an attention to significance and justness of +action. This simplicity will arise from sensibility, from being +actuated by feelings. No one has more than one predominant +actual feeling at a time; when that is expressed clearly, the +effect is as sure as it is instantaneous. The movement it gives, +neither interferes with the immediately precedent, nor the +immediately following one, though it is prepared or introduced +by the one, and prepares or introduces the other. + +This the Greeks could the better effectuate, from their +preference of the sublime, or serious stile; which, having so +much less of quickness or rapidity of execution, than the comic +dance, admits of more attention to the neat expressiveness of +every motion, gesture, attitude, or step. + +As to the great nicety of the Greeks, in the ordering and +disposing their dances, I refer to what I have before said, for +its being to be observed, how much at present this art is fallen +short of their perfection in it, and how difficult it must be +for a composer of dances to produce them in that masterly manner +they were used to be performed among the antients. Let his +talent for invention or composition be never so rich or fertile, +it will be impossible for him to do it justice in the display, +unless he is seconded by performers well versed in the art, and +especially expert in giving the expression of their part in the +dance; not to mention the collateral aids of music, machinery, +and decoration, which it is so requisite to adapt to the +subject. + +But where all these points so necessary are duly supplied, and +dancing is executed in all its brilliancy, it would be no longer +looked upon, especially at the Opera, as merely an expletive +between the acts, just to afford the singers a little breathing +time. The dances might recover their former lustre, and give the +public the same pleasure as to the Greeks and Romans, who made +of them one of their most favorite entertainments, and carried +them up to the highest pitch of taste and excellence. + +The Romans seem to have followed the Greeks, in this passion +for dancing; and the theatrical dances, upon the pantomime plan, +were in Rome pushed to such a degree of perfection as is even +hard to conceive. Whole tragedies plaid, act by act, scene by +scene, in pantomime expression, give an idea of this art, very +different from that which is at present commonly received. + +Every step in dancing has its name and value. But not one should +be employed in a vague unmeaning manner. All the movements +should be conformable to the expression required, and in harmony +with one another. The steps regular, and properly varied, with a +graceful suppleness in the limbs, a certain strength, address, +and agility; just positions exhibited with ease, delicacy, and +above all, with propriety, caracterise the masterly dancer, and +in their union, give to his execution its due beauty. The least +negligence, in any of these points, is immediately felt, and +detracts from the merit of the performance. Every step or motion +that is not natural, or has any thing of stiffness, constraint, +or affectation, is instinctively perceived by the spectator. The +body must constantly preserve its proper position, without the +least contortion, well adjusted to the steps; while the motion +of the arms, must be agreeable to that of the legs, and the head +to be in concert with the whole. + +But in this observation I pretend to no more than just +furnishing a general idea of the requisites towards the +execution: the particulars, it is impossible, to give in verbal +description, or even by choregraphy or dances in score. + +Many who pretend to understand the art of dancing, confound +motions of strength, with those of agility, mistaking strength +for slight, or slight for strength; tho' so different in their +nature. It is the spring of the body, in harmony with sense, +that gives the great power to please and surprize. The same it +is with the management of the arms; but all this requires both +the theory of the art, and the practice of it. One will hardly +suffice without the other; which makes excellence in it so rare. + +The motion of the arms is as essential, at least, as that of +the legs, for an expressive attitude: and both receive their +justness from the nature of the passions they are meant to +express. The passions are the springs which must actuate the +machine, while a close observation of nature furnishes the art +of giving to those motions the grace of ease and expertness. +Any thing that, on the stage especially, has the air of being +forced, or improper, cannot fail of having a bad effect. +A frivolous, affected turn of the wrist, is surely no grace. + +One of the most nice and difficult points of the art of dancing +is, certainly, the management and display of the arms; the +adapting their motion to the character of the dance. In this +many are too arbitrary in forming rules to themselves, without +consulting nature, which would not fail of suggesting to them +the justest movements. For want of this appropriation of +gesture and attitude, the movements fit for one character are +indistinctly employed in the representation of another. And into +this error those will be sure to fall, who deviate from the +unerring principles of nature; which has for every character an +appropriate strain of motion and gesture. + +Nothing then has a worse effect, than any impropriety in the +management of the arms: it gives to the eye, the same pain that +discordance in music does to the ear. + +There are some who move their arms with a tolerably natural +grace, without knowing the true rules rising out of nature into +art: but where the advantage of theory gives yet a greater +security, consequently a greater ease and a nobler freedom to +the motions of the performer; the performance cannot but meet +with fuller approbation. And yet it may be as bad to show too +much art, as to have too little. The point is to employ no more +of art than just what serves to grace nature, but never to hide +or obscure her. + +Great is the difference between the antient and the modern +dances. The antient ones were full of sublime simplicity. +But that simplicity was far from excluding the delicate, the +graceful, and even the brilliant. The moderns are so accustomed +to those dances from which nature is banished, and false +refinements substituted in her room, that it is to be questioned +whether they would relish the returning in practice to the purer +principles of the art. Myself knowing better, and sensible that +the principles of nature are the only true ones, have been +sometimes forced to yield to the torrent of fashion, and to +adopt in practice those florishings of art, which in theory +I despised; and justly, for surely the plainest imitation of +nature must be the grounds from which alone the performance can +be carried up to any degree of excellence. It is with our art, +as in architecture, if the foundation is not right, the +superstructure will be wrong. + +This primitive source then must be studied, known, and well +attended to; or we only follow the art blindly, and without +certainty. Thence the common indifference of so many performers, +who mind nothing more than a rote of the art, without tracing it +to its origin, nature. + +To succeed, we must abandon the false taste, and embrace the +true; which is not only the best guide to perfection; but +when rendered familiar, by much the most easy and the most +delightful. It has all the advantages that truth has over +falshood. + +The greater the simplicity of steps in a dance, the more +beautiful it is; and requires the more attention in the +performer to exactness and delicacy; for slowness and neatness +being in the character of simplicity, afford the spectator both +leisure and distinctness for his examination: whereas dances of +intricate evolutions, or quick motions, in their confusion and +hurry, allow no clearness, or time for particular observation. + +If the merit of a theatrical dancer were to consist, as many +imagine, in nothing but in the motions of the legs, in cutting +lively or brilliant capers, in surprizing steps, in the agility +of the body, in vigorous springs, in vaulting, in a tolerable +management of the arms, and especially in being well acquainted +with those parts of the stage where the perspective gives him +the greatest advantage; the art of dancing might be, as it is +generally looked upon to be, an art easily acquired. Whereas, +for the attaining to a just perfection in it, there are many +other points required, but none so much as the close imitation +of beautiful nature; and that especially in its greatest +simplicity. + +Nor should it be imagined that the simplicity I recommend, tends +to save the composer of dances any trouble of invention: on the +contrary, that sort of simplicity of execution intended to +produce, by means of its adherence to nature, the greatest +effect, will cost him more pains, more exertion of genius, +than those dances of which the false brilliants of extravagant +decoration, and of mere agility without meaning or expression, +constitute the merit. It is with the composition of dances, as +with that of music, the plainest and the most striking, are ever +the most difficult to the composer. + +The comic, or grottesque dancers, indeed are in possession of a +branch of this art, in which they are dispensed from exhibiting +the serious or pathetic; however, they may be otherwise as well +acquainted with the fundamental principles of the art, as the +best masters. But as their success depends chiefly on awakening +the risible faculty, they commonly chuse to throw their whole +powers of execution into those motions, gestures, grimaces, and +contortions, which are fittest to give pleasure by the raising +a laugh. And certainly this has its merit; but in no other +proportion to the truth of the art, which consists in moving +the nobler passions, than as farce is to tragedy or to genteel +comedy. They are in this art of dancing, what Hemskirk and +Teniers are in that of painting. + +The painter, can only in his draught present one single unvaried +attitude in each personage that he paints: but it is the duty +of the dancer, to give, in his own person, a succession of +attitudes, all like those of the painter, taken from nature. + +Thus a painter who should paint Orestes agitated by the furies, +can only give him one single expression of his countenance and +posture: but a dancer, charged with the representation of that +character, can, seconded by a well-adapted music, execute a +succession of motions and attitudes, that will more strongly and +surely with more liveliness, convey the idea of that character, +with all its transports of fury and disorder. + +It was in this light, that the antients required the union of +the actor and of the dancer in the same person. They expected, +on the theatre especially, dances of character, that should +express to the eye the sensations of the soul: without which, +they considered it as nothing but an art that had left nature +behind it; a mere corpse without the animating spirit; or at the +best, carrying with it a character of falsity or tastelessness. +A thorough master of dancing, should, in every motion of every +limb, convey some meaning; or rather be all expression or +pantomime, to his very fingers ends. + +How many requisites must concur to form an accomplished +possession of this talent! It is not enough that the head should +play on the shoulders with all the grace of a fine connection; +nor that his countenance should be enlivened with significance +and expression; that his eyes should give forth the just +language of the passions belonging to the character he +represents; that his shoulders have the easy fall they ought to +have; let even the motions of his arms be true; let his elbows +and wrists have that delicate turn of which the grace is so +sensible; let the movement of the whole person be free, genteel, +and easy; let the attitudes of the bending turn be agreeable; +his chest be neither too full nor too narrow; his sides clean +made, strong, and well turned; his knees well articulated, and +supple; his legs neither too large, nor too small, but finely +formed; his instep furnished with the strength necessary to +execute and maintain the springs he makes; his feet in just +proportion to the support of the whole frame; all these, +accompanied with a regularity of motion; and yet all these, +however essential, constitute but a small part of the talent. +Towards the perfection of it, there is yet more, much more +required, in that sensibility of soul, which has in it so much +more of the gift of nature, than of the acquisition of art; and +is perhaps in this, what it is in most other arts and sciences, +if not genius itself, an indispensable foundation of genius. +There is no executing well with the body, what is not duly +felt by the soul: sentiment gives life to the execution, and +propriety to the looks, motions and gestures. + +Those who would make any considerable progress in this art, +should, above all things, study justness of action. They cannot +therefore too closely attend to the representation of nature, +either upon the stage, or in life. I cannot too often repeat it; +those who keep most the great original, Nature, in view, will +ever be the greatest masters of this art. + +As to the different characters of dances, there are, properly +speaking, four divisions of the characters of dances: the +serious, the half serious, the comic, and the grottesque; but +for executing any of them with grace, the artist should be well +grounded in the principles of the serious dance, which will give +him what may be called a delicacy of manner in all the rest. + +But as one of these divisions may be more adapted to the humor, +genius, or powers of an artist, than another, he should, if he +aims at excellence, examine carefully for which it is that he is +the most fit. + +After determining which, whatever imperfections he may have from +nature, he must set about correcting, as well as he can, by art. +Nothing will hardly be found impossible for him to subdue, by an +unshaken resolution, and an intense application. + +Happy indeed is that artist, in whom both the requisites of +nature and art are united: but where the first is not grossly +deficient, it may be supplemented by the second. However well a +beginner may be qualified for this profession by nature, if he +does not cultivate the talent duly, he will be surpassed by +another, inferior to him in natural endowments, but who shall +have taken pains to acquire what was wanting to him, or to +improve where deficient. The experience of all ages attests +this. + +The helps of a lively imagination, joined to great and assiduous +practice, carry the art to the highest perfection. But practice +will give no eminent distinction without study. Whoever shall +flatter himself with forming himself by practice alone, without +the true principles and sufficient grounds of the art, can only +proceed upon a rote of tradition, which may appear infallible +to him. But this adoption of unexamined rules, and this plodding +on in a beaten track, will never lead to any thing great or +eminent. It carries with it always something of the stiffness +of a copy, without any thing of the graceful boldness of +originality, or of the strokes of genius. + +Vanity should never mislead a man in the judgment he forms +of his own talents: much less should an artist resort to the +meanness of depending in the support of cabals: it must be the +general approbation that must seal his patent of merit. + +I have before observed that the grave or serious stile of +dancing, is the great ground-work of the art. It is also the +most difficult. Firmness of step, a graceful and regular motion +of all the parts, suppleness, easy bendings and risings, the +whole accompanied with a good air, and managed with the greatest +ease of expertness and dexterity, constitute the merit of this +kind of dancing. The soul itself should be seen in every motion +of the body, and express something naturally noble, and even +heroic. Every step should have its beauty. + +The painter draws, or ought to draw his copy, the actor his +action, and the statuary his model, all from the truth of +nature. They are all respectively professors of imitative arts; +and the dancer may well presume to take rank among them, since +the imitation of nature is not less his duty than theirs; with +this difference, that they have some advantages of which the +dancer is destitute. The Painter has time to settle and correct +his attitudes, but the dancer must be exactly bound to the time +of the music. The actor has the assistance of speech, and the +statuary has all the time requisite to model his work. The +dancer's effect is not only that of a moment, but he must every +moment represent a succession of motions and attitudes, adapted +to his character, whether his subject be heroic or pastoral, or +in whatever kind of dancing he exhibits himself. He is by the +expressiveness of his dumb show to supplement the want of +speech, and that with clearness; that whatever he aims at +representing may be instantaneously apprehended by the +spectator, who must not be perplexed with hammering out to +himself the meaning of one step, while the dancer shall have +already begun another. + +In the half-serious stile we observe vigor, lightness, agility, +brilliant springs, with a steadiness and command of the body. +It is the best kind of dancing for expressing the more general +theatrical subjects. It also pleases more generally. + +The grand pathetic of the serious stile of dancing is not what +every one enters into. But all are pleased with a brilliant +execution, in the quick motion of the legs, and the high springs +of the body. A pastoral dance, represented in all the pantomime +art, will be commonly preferred to the more serious stile, +though this last requires doubtless the greatest excellence: +but it is an excellence of which few but the connoisseurs are +judges; who are rarely numerous enough to encourage the composer +of dances to form them entirely in that stile. All that he can +do is to take a great part of his attitudes from the serious +stile, but to give them another turn and air in the composition; +that he may avoid confounding the two different stiles of +serious and half-serious. For this last, it is impossible to +have too much agility and briskness. + +The comic dancer is not tied up to the same rules or +observations as are necessary to the serious and half serious +stiles. He is not so much obliged to study what may be called +nature in high life. The rural sports, and exercises; the +gestures of various mechanics or artificers will supply him with +ideas for the execution of charracters in this branch. The more +his motions, steps, and attitudes are taken from nature, the +more they will be sure to please. + +The comic dance has for object the exciting mirth; whereas, +on the contrary, the serious stile aims more at soothing and +captivating by the harmony and justness of its movements; by the +grace and dignity of its steps; by the pathos of the execution. + +The comic stile, however its aim may be laughter, requires +taste, delicacy, and invention; and that the mirth it creates +should not even be without wit. This depends not only upon the +execution, but on the choice of the subject. It is not enough to +value oneself upon a close imitation of nature, if the subject +chosen for imitation is not worth imitating, or improper to +represent; that is to say, either trivial, indifferent, +consequently uninteresting; or disgustful and unpleasing. +The one tires, the other shocks. Even in the lowest classes of +life, the composer must seize only what is the fittest to give +satisfaction; and omit whatever can excite disagreeable ideas. +It is from the animal joy of mechanics or peasants in their +cessations from labor, or from their celebration of festivals, +that the artist will select his matter of composition; not from +any circumstances of unjoyous poverty or loathsome distress. He +must cull the flowers of life, not present the roots with the +soil and dirt sticking to them. + +Even contrasting characters, which are so seldom attempted on +the stage, in theatrical dances, might not have a bad effect; +whereas most of the figures in them are simmetrically coupled. +Of the first I once saw in Germany a striking instance; an +instance that served to confirm that affinity between the arts +which renders them so serviceable to one another. + +Passing through the Electorate of Cologne, I observed a number +of persons of all ages, assembled on a convenient spot, and +disposed, in couples, in order for dancing; but so odly paired +that the most ugly old man, had for his partner the most +beautiful and youngest girl in the company, while, on the +contrary, the most decrepid, deformed old woman, was led by the +most handsome and vigorous youth. Inquiring the reason of so +strange a groupe of figures, I was told that it was the humor of +an eminent painter, who was preparing a picture for the gallery +at Dusseldorp, the subject of which was to be this contrast; and +that in order to take his draught from nature, he had given a +treat to this rustic company, in the design of exhibiting at one +view, the floridness of youth contrasted to the weakness and +infirmities of old age, in a moral light, of exposing the +impropriety of those matches, in which the objection of a +disparity of years should not be duly respected. + +I have mentioned this purely to point out a new resource +of invention, that may throw a pleasing variety into the +composition of dances; and save them from too constant a +simmetry, or uniformity, either of dress or figure, in the +pairing the dancers: by which I am as far from meaning that that +simmetry should be always neglected, as that it should be always +observed. + +The comic dance, having then the diversion of the spectator, +in the way of laughing, for its object, should preserve a +moderately buffoon simplicity, and the dancer, aided by a +natural genius, but especially by throwing as much nature as +possible into his execution, may promise himself to amuse and +please the spectator; even though he should not be very deep in +the grounds of his art; provided he has a good ear, and some +pretty or brilliant steps to vary the dance. The spectators +require no more. + +As to the grotesque stile of dance, the effect of it chiefly +depends on the leaps and height of the springs. There is more of +bodily strength required in it than even of agility and flight. +It is more calculated to surprize the eye, then to entertain it. +It has something of the tumbler's, or wire-dancer's merit of +difficulty and danger, rather than of art. But the worst of it +is, that this vigor and agility last no longer than the season +of youth, or rather decrease in proportion as age advances, and, +by this means, leave those who have trusted solely to that vigor +and agility deprived of their essential merit. Whereas such as +shall have joined to that vigor and agility, a proper study of +the principles of their art; that talent will still remain as a +resource for them. Commonly those dancers who have from nature +eminently those gifts which enable them to shine in the +grottesque branch, do not chuse to give themselves the trouble +of going to the bottom of their art, and acquiring its +perfection. Content with their bodily powers, and with the +applause their performances actually do receive from the public, +they look no further, and remain in ignorance of the rest of +their duty. Against this dissipation then, which keeps them +always superficial, they cannot be too much, for their own +advantage, admonished. + +They will not otherwise get at the truth of their art, like him +who qualifies himself for making a figure in the serious, and +half-serious stiles, which also contribute to diffuse a grace +over every other kind of dancing, however different from them. + +But though the grotesque may be a caricature of nature, it is +never to lose sight of it. It must ever bear a due relation to +the objects of which it attempts to exhibit the imitation, +however exagerated. But in this it is for genius to direct the +artist. And it is very certain that this kind of dancing, well +executed, affords to the public, great entertainment in the way, +if what may be called broad mirth; especially where the figure +of the grotesque dancer, his gestures, dress, and the +decorations, all contribute to the creation of the laugh. He +must also avoid any thing studied or affected in his action. +Every thing must appear as natural as possible, even amidst the +grimaces, contortions, and extravagancies of the character. + + + + + Of + + SUNDRY REQUISITES, + + for + + PERFECTION OF THE + + ART + + of + + DANCING. + + +I have already observed how necessary it is that all the steps, +in the theatrical dances, which have imitation for their object, +should be intelligible at the first glance of the eye. This +cannot be too much inculcated. The passions and manners of +mankind, have all a different expression, which cannot be +presented too plain, and too obvious. The adjustment of the +motions to the character must be observed through every stile of +dancing, the serious, the half-serious, the comic, and the +grotesque. The various beauties of these different kinds of +dances, all center in the propriety or truth of nature. Looks, +movements, attitudes, gestures, should in the dancer, all +have an appropriate meaning; so plainly expressed as to be +instantaneously understood by the spectator, without giving him +the trouble of unriddling them: otherwise, it is like talking to +them in a foreign language for which an interpretor is needed. + +But to give a sentiment, a man must have it first: where a +pathetic sentiment is well possessed of the mind, the expression +of it is diffused over the whole body. + +The theatre shows to advantage a well proportioned dancer. +A tall person appears the more majestic on it; but those of a +middling stature are more generally fit for every character; +and may make up in gracefulness what they want in size. The +remarkably tall commonly want the graces to be seen in those of +the more general standard. + +A young dancer who displays a dawn of genius, cannot be too much +exhorted to deliver himself up to the power of nature; so that +acquiring a particular manner of his own, he may himself proceed +on original. If he would hope to arrive at any eminence in the +art, he must break the shackles of a servile imitation, and +preserve nothing but the principles and grounds of his art, +which will be so far from fettering him, that they will assist +his soaring upon the wings of his own genius. + +Where a dancer undertakes to represent a subject on the theatre, +he must ground his plan of performance on the selecting all the +most proper situations for furnishing the most strikingly +pictures, prospects, and consequently, producing the greatest +effect. + +This was doubtless the great secret of Pilades, the founder, at +least in Rome, of the pantomime art. It was on this choice of +situations, that the understanding whole pieces, both tragic and +comic, executed in dances, entirely depends. + +And here, upon mentioning the pantomime art, be it allowed me +to defend it against the objections made to it, by those who +consider it only under a partial or vulgar point of view. + +If any one should pretend that the pantomime art is superior to +the actor's power of representation in tragedy or comedy, or +that such an entertainment of dumb show ought to exclude that of +speaking characters; nothing could be more ridiculous or absurd +than such a proposition. + +That indeed would be rejecting one of the most noble +improvements of nature, in favor of an art rather calculated for +the relaxation of the mind than for the instruction of it; in +which it can only claim a subordinate share. + +Those subjects, whether serious or comic, which are executed by +dances, or in the pantomime strain, are chiefly intended for the +throwing a variety into theatrical entertainments, without +disputing any honors of rank. + +The very same person who shall have at one time, taken pleasure +in seeing and hearing the noble and pathetic sentiments of +tragedy, or the ridicule of human follies in a good comedy, +finely represented, may, without any sort of inconsistence, not +be displeased at seeing, at another time, a subject executed in +dances, while the music, the decorations, all contribute to the +happy diversification of his entertainment. Ought he therefore +either to call his own taste to an account for his being +pleased, or to grudge to others a pleasure, which nature itself +justifies, in his having given to mankind a love of variety? + +Nor is there perhaps, in the world, an art more the genuine +offspring of Nature, more under her immediate command, than +the art of dancing. For to say nothing of that dancing, which +has no relation to the theatre, and which is her principal +demonstrations of joy and festivity, the theatrical branch +acknowledges her for its great and capital guide. All the +motions, all the gestures, all the attitudes, all the looks, can +have no merit, but in their faithful imitation of Nature: while +man himself, man, the noblest of her productions, is ever the +subject which the dancer paints through all his passions and +manners. + +The painter presents man in one fixed attitude, with no more of +life than the draught and colors can give to his figure: the +dancer exhibits him in a succession of attitudes, and, instead +of painting with the brush, paints, surely more to the life, +with his own person. A dance in action, is not only a moving +picture, but an animated one: while to the eloquence of the +tongue, it substitutes that of the whole body. + +The art, viewed in this light, shows how comparatively little +the merely mechanical part of it, the agility of the legs and +body, contributes to the accomplishment of the dancer; however +necessary that also is. We might soon form a dancer, if the art +consisted only in his being taught to shake his legs in cadence, +to ballance his body, or to move his arms unmeaningly. But if he +has not a genius, susceptible of cultivation, and which is +itself far the most essential gift, he will make no progress +towards the desirable distinction: he is a body without a soul: +his performance will have more of the poppet moved by wires, +than of the actor giving that life to the character, which +himself receives from the sensibility of genius. + +There are many young beginners, who, looking on this art as a +good way of livelihood, enter on the rudiments of it, with great +ardor. But this ardor soon abates, in proportion, as they +advance, and find there is more study and pains required from +them than they expected to find, towards their arrival at any +tolerable degree of perfection. Having considered this art as +purely a mechanical one, they are surprised at the discovery of +its exacting thought and reflection, for which their ideas of it +had not prepared them. A man who has not sufficient share of +genius to attempt the vanquishing these difficulties, of which, +in his false conception of things, he has formed to himself no +notion; either treats these great essentials of the art, as +innovations, and such as he is not bound to admit, or in the +despair of acquiring them, sits down contented with his +mediocrity. It is well if he does not rail at, or attempt to +turn into ridicule, perfections which are beyond his reach. And +to say the truth, the art has not greater enemies than those +professors of it, who stick at the surface, and want the spirit +necessary to go to the bottom of it. In vain does the public +refuse its applause to their indifferent, ordinary, +uninteresting performance: rather than allow the fault to be in +themselves, their vanity will lay it on the public: they never +refuse themselves that approbation which others can see no +reason for bestowing on them. They are perfectly satisfied with +having executed in their little manner, the little they know or +are capable of; they have no idea of any thing beyond their +short reach. + +Certainly the best season of life, for the study of this art, +is, as for that of most others, for obvious reasons, the time of +one's youth. It is the best time of laying the foundation both +of theory and practice. + +But the theory should especially be attended to, without however +neglecting the practice. For though a dancer, by an assiduous +practice, may, at the first unexamining glance, appear as well +in the eyes of the public, as he who possesses the rules; the +illusion will not be lasting; it will soon be dissipated, +especially where there is present an object of comparison. He +whose motions are dirrected only by rote and custom, will soon +be discovered essentially inferior to him whose practice is +governed by a knowledge of the principles of his art. + +A master does not do his duty by his pupil, in this art, if he +fails of strongly inculcating to him the necessity of studying +those principles; and of kindling in him that ardor for +attaining to excellence, which if it is not itself genius, it +is certain that no genius will do much without it. + +Invention is also as much a requisite in our art as in any +other. But to save the pains of study, we often borrow and copy +from one another. Indolence is the bane of our art. The trouble +of thinking necessary to the invention and composition of +dances, appears to many too great a fatigue: this engages them +to appropriate to themselves the fruits of other peoples +invention; and they appear to themselves well provided at a +small expence, when they have made free with the productions of +others. Some again, instead of cultivating their talent, chuse +indolently to follow the great torrent of the fashion, and stick +to the old tracks, without daring to strike out any thing new, +so that their prejudices are, in fact, the principles by which +they are governed, and which sometimes serves them for their +excuse; since they know better, but do not care to give +themselves the trouble of acting up to their knowledge. Thus +they plod in the safe, and broad road of mediocrity, but without +any reputation or name. They are neither envied nor applauded. + +As for those who borrow from others, content with being copies, +when they ought to strive to be originals; nothing can more +obstruct their progress in the discoveries of the depths of +their art, than this scheme of subsisting on the merit of +others. + +Many, besides those who are incapable of invention, are tempted +at once by their indolence, and by the hope of not being +discovered or minded in their borrowing from others, to give +stale or hackneyed compositions, which having seen in one +country, they flatter themselves they may palm for new and +original upon the public in another. Thence it is that the +audience is cloyed with repetitions of pantomime dances; perhaps +some of them very pretty at their first appearance, but which +cannot fail of tiring when too often repeated; or when the same +grounds or subject of action is only superficially or slightly +diversified. + +It is this barrenness of invention that the ingenious Goldoni +has so well exposed in one of his plays, in the following +speech, addressed to a young man. + + "[*] For example, you, as the female dancer will come upon + the stage, with a distaff, twirling it, or with a pail to + draw water; or with a spade for digging. Your companion will + come next perhaps driving a wheel-barrow, or with a sickle + to mow corn, or with a pipe a-smoaking; and though the scene + should be a saloon, no matter, it will come soon to be + filled with rustics or sailors. Your companion to be sure + will not have seen you, at first; that is the rule; upon + which you will make up to him, and he will send you a + packing. You will tap him on the shoulder with one hand, + and he will give a spring from you to the other side of the + stage. You will run after him; he, on his part will scamper + away from you, and you will take pet at it. When he sees you + angry, he will take it into his head to make peace; he will + sue to you, and you in your turn will send him about his + business. You will run from him, and he after you. He will + be down on his knees to you; peace will be made; then, + shaking your footsies, you will invite him to dance. He also + will answer you with his feet, as much as to say, come, let + us dance." + + "Then handing you backwards to the top of the stage, you + will begin gaily a _Pas-de-deux_, or Duet dance. The first + part will be lively, the second grave; the third a jig. You + will have taken care to procure six or seven of the best + airs for a dance, put together, that can be imagined. You + will execute all the steps that you are mistress of; and let + your character in the Pas-de-deux, be that of a country + wench, a gardener's servant, a granadier's trull, or a + statue; the steps will be always the same; and the same + actions for ever repeated; such as running after one + another, dodging, crying, falling in a passion, making peace + again, bringing the arms over the head, jumping in and out + of time, shaking legs and arms, the head, the body, the + shoulders, and especially smirking and ogling round you; not + forgetting gentle inflexions of the neck, as you pass close + under the lights, nor to make pretty faces to the audience, + and then, hey for a fine curtesy at the end of the dance!" + + [Footnote *: Per esempio vendra fora la ballerina, colla + rocca, filando, ò con un secchio à trar l'acqua, ò con una + zappa à zappar. El vostro compagno vendra fora ò colla + cariola à portar qualche cosa, ò colla falce à tagliar il + grano, ò colla pipa a fumar, e si ben, che la scena fosse + una sala, tanto e tanto, se vien a far da contadini ò da + marinari. El vostro compagno non vi vedra: voi andarete a + cercarlo, e el vi scacciera via. Gli batterete una man su + la spalla, ed el con un salto anderà dall'altra banda. Voi + gli correrete dietro, lui se scampera, e voi anderete in + collera. Quando voi sarete in collera, a lui le vendra la + voglia di far pace, e lui vi preghera, voi lo scacciarete. + Scamparete via, e lui vi correra dietro. El se + inginocchiera, farete pace, voi, menando I pedini, + l'invitarete a ballar: anche ello, menando I piedi, + a segni dira, "balliamo," e tirandovi indietro + allegramente cominciarete el _Pas-de-deux_. La prima parte + allegra, la segonda grave, la terza una giga. Procurarete + di cacciargli dentro sei o sette delle migliori arie di + ballo che s'abbiano sentito; farete tutti i passi che + sapete fare, e che sia il _Pas-de-deux_ o da paesana, o da + giardinera, o da Granatiera, o da statue, i passi saranno + sempre gli istessi, correrse dietro, scampar, pianger, + andar in collera, far pace, tirar i bracci sopra la testa, + saltar in tempo e fora di tempo, menar gli bracci, e le + gambe, e la testa, e la vita, e le spalle, e sopra tutto + rider sempre col popolo, e storcer un pochetto il collo + quando si passa prossimo i lumi, e fare delle belle + smorfie all udienza, e una bella riverenza in ultima.] + +Nothing however would more obstruct the progress of this art, +than thus contenting one self with adopting the productions +of others. It even would, in the disgust which repetition +occasions, bring on the decline of this entertainment, in the +opinion of a public which is always fond of novelty. + +And of novelty, the beauties of nature furnish an inexhaustible +fund, in their infinite variety. Among these it is the business +of the artist to chuse such as can be brought upon the scene, +and theatrically adapted to the execution of his art. But for +this he must be possessed of taste, which is a qualification as +necessary to him, as a composer, as that of the graces are to +him as a performer. Both are gifts. But if a due exercise of +the art can add to the natural graces, taste does not stand +less in need of cultivation: it refines itself by a judicious +observation of the beauties and delicacies of nature. These he +must incessantly study, in order to transplant into his art such +as are capable of producing the most pleasing effect. He must +particularly consult the fitness of time, place and manners; +otherwise what would please in one dance might displease in +another. Propriety is the great rule of this art, as of all +others. A discordance in music hurts a nice ear; a false +attitude or motion in dancing equally offends the judicious eye. + +The looks of the dancer are far from insignificant to the +character he is representing. Their expression should be +strictly conformable to his subject. The eye especially should +speak. Thence it is that the Italian custom of dancing with +uncovered faces, cannot but be more advantageous than that of +dancing masked, as is commonly done in France; when the passions +can never be so well represented as by the changes of +expression, which the dancer should throw into his countenance. + +And it is by these changes of countenance, as well as of +attitude and gesture, that the dancer can express the gradations +of the passions; whereas the painter is confined intirely to one +passion, that of the particular moment in which he will have +chosen to draw a character. For example, a painter, who means to +represent a country-maid, under the influence of the passion of +love, can only aim at expressing some particular degree of that +passion, suitable to the circumstances of the rest of his +picture, or to the situation in which he shall have placed her. +But a dancer may successively represent all the gradations of +love; such as surprize at first sight, admiration, timidity, +perplexity, agitation, languor, desire, ardor, eagerness, +impatience, tumultous transports, with all the external simptoms +of that passion. All these may be executed in the most lively +manner, in time and cadence, to a correspondent music or +simphany. And so of all the other passions, whether of fear, +revenge, joy, hatred, which have all their subdivisions +expressible, by the quick shift and succession of steps, +gestures, attitudes, and looks, respectively adapted to each +gradation. + +A mask then cannot but hide a great part of the necessary +expression, or justness of action. It can only be favorable to +those who have contracted ill habits of grimacing or of +contortions of the face while they perform. + +There are however some characters in which a mask is even +necessary: but then great care should be taken to model and fit +it as exactly as possible to the face, as well as to have it +perfectly natural to the character represented. The French are +particularly, and not without reason, curious in this point. + +The female dancers have naturally a greater ease of expression +than the men. More pliable in their limbs, with more sensibility +in the delicacy of their frame; all their motions and actions +are more tenderly pathetic, more interesting than in our sex. We +are besides prepossessed in their favor, and less disposed to +remark or cavil at their faults. While on the other hand, that +so natural desire they have of pleasing, independently of their +profession, makes them studiously avoid any motion or gesture +that might be disagreeable, and consequently any contortion of +the face. They, instinctively then, one may say, make a point of +the most graceful expression. + +A woman, who should only depend on the exertion of strength in +her legs or limbs, without attention to expression, would +possess but a very defective talent. Such an one might surprize +the public, by the masculine vigor of her springs; but should +she attempt to execute a dance, where tender expressions are +requisite, she would certainly fail of pleasing. + +The female dancers have also an advantage over the men, in that +the petticoat can conceal many defects in their execution; even, +if the indulgence due to that amiable sex, did not only make +great allowances, but give to the least agreeable steps in them, +the power of obtaining applause. + +At the Italian theatres at Rome, in the Carnaval, where the +female dancers are not suffered to perform the dances, and where +the parts of the women are perform'd by men in the dresses of +women, it appears plainly, how much the execution suffers by +this expedient. However well they may be disguised, there is an +inherent clumsiness in them, which it is impossible for them to +shake off, so as to represent with justness the sprightly graces +and delicacy of the female sex. The very idea of seeing men +effeminated by such a dress, invincibly disgusts. An effeminate +man appears even worse than a masculine woman. + +But however the consulting a looking-glass gives to men, in +general, the air of fops or coxcombs; it is to those who would +make a figure in dancing a point of necessity. A glass is to +them, what reflexion is to a thinking person; it serves to make +them acquainted with their defects, and to correct them. To +practice then before it is even recommendable, that practice +will give the advantage of expertness, and expertness will give +the grace of ease, which is invaluable; nothing being such an +enemy to the graces as stiffness or affectation. This is a +general rule both for composition and performance. + +Education has doubtless a great share in giving early to the +body a command of graceful positions, especially for the grand +and serious dances, which, as I have before observed, are the +principal grounds of the art. And once more, the great point is +not to stick at mediocrity; but to aim at an excellence in the +art, that may give at least the best chance for not being +confounded with the croud. If it is true, that, among the +talents, those which are calculated for pleasing, are not those +that are the least sure of encouragement; it is also equally +true, that for any dependence to be had on them, it is something +more than an ordinary degree of merit in them that is required. + +In support of this admonition, I am here tempted to enliven this +essay with the narrative of an adventure in real life, that may +serve to break the too long a line of an attempt at instruction. + +A celebrated female dancer in Italy, designing to perform at a +certain capital, wrote to her correspondent there to provide her +an apartment suitable to the genteel figure which she had always +made in life. On her arrival, her acquaintance seeing she had +brought nothing with her, but her own person and two servants, +asked her when she expected her baggage. She answered, with a +smile, "If you will come to-morrow morning and breakfast with +me, you, and whoever you will bring with you, shall see it, and +I promise you it is worth your while seeing, being a sort of +merchandize that is very much in fashion." + +Curiosity carried a number early to the rendezvous, where, after +an elegant breakfast, she got up, and danced before them in a +most surprizingly charming manner. + +"These, said she, (pointing at her legs,) are all the baggage I +have left; the Alps have swallowed up all the rest." The truth +was, she had been really robbed of her baggage in her journey, +and the merchandize on which she now depended, was her talent at +dancing. Nor was she deceived, for her inimitable performance, +joined to the vivacity with which she bore her misfortunes, in +the spirit of the old Philosopher, who valued himself upon +carrying his all about him, made her many friends, whose +generous compassion soon enabled her to appear in her former +state. + +As to the composition of dances, it is impossible for a +professor of this art, to make any figure without a competent +stock of original ideas, reducible into practice. A dance should +be a kind of regular dramatic poem to be executed by dancing, in +a manner so clear, as to give to the understanding of the +spectator no trouble in making out the meaning of the whole, or +of any part of it. All ambiguity being as great a fault of stile +in such compositions, as in writing. It is even harder to be +repaired; for a false expression in the motions, gestures, or +looks, may confuse and bewilder the spectator so as that he will +not easily recover the clue or thread of the fable intended to +be represented. + +Clearness then is one of the principal points of merit which the +composer should have in view; if the effect, resulting from the +choice and disposition of the ground-work of his drama, does +honor to his inventiveness or taste; the justness, with which +every character is to be performed, is not less essential to the +success of his production, when carried into execution. + +To be well assured of this, it cannot but be necessary that the +composer of the dance or ballet-master, should be himself a good +performer, or at least understand the grounds of his art. + +He must also, in his composition, be pre-assured of all the +necessaries for their complete execution. Otherwise decorations +either deficient or not well adapted; an insufficient number of +performers, or their being bad ones; or, in short, the fault of +a manager, who, through a misplaced economy, would not allow the +requisite expences; all these, or any of these, might ruin the +composition, and the composer might, after taking all imaginable +pains to please, find his labor abortive, and himself condemned +for what he could not help. There is no exhibiting with success +any entertainment of this sort without having all the necessary +performers and accompaniments. It will be in a great measure +perfect or imperfect in proportion as they are supplied or +withheld. + +A good ballet-master must especially have regard to both +poetical and picturesque invention; his aim being to unite both +those arts under one exhibition. The poetical part of the +composition being necessary to furnish a well-composed piece +that shall begin with a clear exposition, and proceed unfolding +itself to the conclusion, in situations well chosen, and well +expressed. The picturesque part is also highly essential for the +formation of the steps, attitudes, gestures, looks, grouping the +performers, and planning their evolutions; all for the greatest +and justest effect. + +He should himself be thoroughly struck with his initial idea, +which will lead him to the second, and so on methodically until +the whole is concluded, without having recourse to a method +justly exploded by the best masters, that of choregraphy or +noting dances, which only serves to obstruct and infrigidate the +fire of composition. When he shall have finished his +composition, he may then coolly review it, and make what +disposition and arrangement of the parts shall appear the best +to him. Every interruption is to be avoided, in those moments, +when the imagination is at its highest pitch of inventing and +projecting. There are few artists who have not, at times, +experienced in themselves a more than ordinary disposition or +aptitude, for this operation of the mind; and it is these +critical moments, which may otherwise be irretrievable, they +ought particularly to improve, with as little diversion from +them as possible. They should pursue a thought, or a hint of a +thought, from its first crudity to its utmost maturity. + +A man of true genius in any of the imitative arts, and there is +not one that has a juster claim to that title than the art of +dancing, sensible that nature is the varied and abundant spring +of all objects of imitation, considers her and all her effects +with a far different eye from those who have no intention of +availing themselves of the matter she furnishes for observation. +He will discover essential differences between objects, where a +superficial beholder sees nothing but sameness; and in his +imitation he will so well know how to render those differences +discernible, that in the composition of his dance, the most +trite subject will assume the air of novelty with the grace of +variety. + +There is nothing disgusts so much as repetitions of the same +thing; and a composer of dances will avoid them as studiously as +painters do in their pieces, or writers tautology. + +The public complains, with great reason, that dances are +frequently void of action, which is the fault of the performers +not giving themselves the trouble to study just ones: satisfied +with the more mechanical part of dancing, they never think of +connecting the part of the actor with it, which however is +indispensably necessary to give to their performance, spirit, +and animation. + +A dance without meaning is a very insipid botch. The subject of +the composition should always be strictly connected to the +dances, so as that they should be in equal correspondence to one +another. And, where a dance is expletively introduced in the +intervals of the acts, the subject of it should have, at least, +some affinity to the piece. A long custom has made the want of +this attention pass unnoticed. It is surely an absurd and an +unnatural patchwork, between the acts of a deep tragedy, to +bring on, abruptly by way of diversion, a comic dance. By this +contrast both entertainments are hurt; the abruptness of the +transition is intolerable to the audience; and the thread, +especially of the tragic fable, is unpleasingly broken. The +spectators cannot bear to be so suddenly tossed from the serious +to the mirthful, and from the mirthful to the serious. In short, +such an heterogeneous adulteration has all the absurdity +reproached to the motley mixture in tragi-comedy, without any +thing of that connection which is preserved in that kind of +justly exploded dramatic composition. How easy too to avoid this +defect, by adapting the subjects of the dances to the different +exigences of the different dramas, whether serious, comic, or +farcical! + +One great source of this disorder, is probably the managers +considering dances in nothing better than in the light of merely +a mechanical execution for the amusement of the eye, and +incapable of speaking to the mind. And in this mistake they are +certainly justifiable by the great degeneracy of this art, from +the pitch of perfection to which it was antiently carried, and +to which the encouragement of the public could not fail to +restore it. The managers would then see their interest too +clearly in consulting the greater pleasure of the public, not to +afford to this art, the requisite cultivation and means of +improvement. + +The composer, who must even have something of the poet in him; +the musician, the painter, the mechanic, are essentially +necessary to the contribution of their respective arts, towards +the harmony and perfection of composition, in a fine dramatic +dance; even the dresses are no inconsiderable part of the +entertainment. The _costume_, or in a more general term, +propriety, should have the direction of them. It is not +magnificence, that is the great point, but their being well +assorted to character and circumstances. The French are +notoriously faulty in over-dressing their characters, and in +making them fine and showy, where their simplicity would be +their greatest ornament. I do not mean a simplicity that should +have any thing mean, low or indifferent in it; but, for example, +in rural characters, the simplicity of nature, if I may use the +expression, in her holy-day-cloaths. + +As to the decorations and machines especially, I know of no +place where there is less excuse for their being deficient in +them than in London, where they are too manifestly, to bear any +suspicion of flattery in the attributing it to them, executed to +a perfection that is not known in any other part of Europe. The +quickness with which the shifts and deceptions in the pantomime +entertainments are performed here, have been attempted in many +other parts; but the persons there employed, not having the same +skill and depth in mechanics as the artists here, cannot come up +to them in this point. And it is in this point precisely that a +composer of dances may be furnished with great assistence in the +effects from the theatrical illusion. And in an entertainment, +where by an established tacit agreement between the audience and +performers, there is such a latitude of introducing superhuman +personages, either of the heathen deities, or of fairy-hood, +inchanters, and the like, those transformations and deceptions +of the sight are even in the order of natural consequences, from +the pre-supposed and allowed power of such characters to operate +them. At the same time the rules of probability must even there +be observed. Nor is it amiss to be very sparing and reserved in +the composition of those dances, grounded on the introduction of +purely imaginary beings, such as the allegorical impersonation +of the moral Beings, whether the Virtues or the Vices. Unless +the invention is very interesting indeed, the characters +distinctly marked, and the application very just and obvious; +their effect is rarely answerable to expectation, especially on +the audiences of this country. The taste here for those airy +ideal characters is not very high, and perhaps not the worse for +not being so. + +Among the many losses which this art has sustained, one surely, +not the least regrettable, even for our theatres, was that of +the dances in armour, practised by the Greeks, which they used +by way of diversion and of _exercise_ for invigorating their +bodies. Sometimes they had only bucklers and javelins in their +hands: but, on certain occasions they performed in panoply, or +complete suits of armour. Strengthened by their daily and +various manly exercises, they were enabled to execute these +dances, with a surprising exactness and dexterity. The martial +simphony that accompanied them, was performed by a numerous band +of music; for the clash of their arms being so loud, would else +have drowned the tune or airs of the musicians. It is impossible +to imagine a more sublime, splendid and picturesque sight than +what these dances afforded, in the brilliancy of their arms, and +the variety of their evolutions; while the delight they took in +it, inspired them with as much martial fire, as if they had been +actually going to meet the enemy. And indeed this diversion was +so much of the nature of the military exercise, that none could +be admitted who were not thoroughly expert in all martial +training. In time of peace, this kind of dance was considered as +even necessary to keep up that suppleness and athletic +disposition of body, to bear action and fatigue, essential to +the military profession. If the practice had been neglected, but +for a few days, they observed a numbness insensibly diffuse +itself over the whole body. They were persuaded then that the +best way of preserving their health, and fitness for action, and +consequently to qualify them for the most heroic enterprizes, +was to keep up this kind of exercise, in the form of diversion. + +These martial dances, have, in some operas of Italy, been +attempted to be imitated, with some degree of success: but as +the performers had not been trained up to such an exercise, like +the Greeks, it was not to be expected that the representation +should have the same perfection, or color of life. + +The composition of the music, and the suiting the airs to the +intended execution of a dance, is a point of which it is scarce +needful to insist on the importance, from its being so obvious +and so well known. Nothing can produce a more disagreeable +discordance than a performer's dancing out of time. And here it +may be observed, how much lies upon a dancer, in his being at +once obliged to adapt his motions exactly to the music and to +the character: which forms a double incumbence, neither point of +which he can neglect, without falling into unpardonable errors. + +Where dances are well composed, they may give a picture, to the +life, of the manners and genius of each nation and each age, in +conformity to the subject respectively chosen. But then the +truth of the _costume_, and of natural and historical +representation must be strictly preserved. Objects must be +neither exagerated beyond probability, nor diminished so as not +to please or affect. A real genius will not be affraid of +striking out of the common paths, and, sensible that +inventiveness is a merit, he will create new theatrical +subjects, or produce varied combinations of old ones. And where +the decorations, or requisite accompaniments are not supplied as +he could wish, he must endeavour to make the most of what he can +get, towards the exhibition of his production; if not with all +the advantage of which it is susceptible, at least with all +those he can procure for it. Where the best cannot be obtained, +he must be content with the least bad. But especially a composer +of dances should never lose sight of his duty in preserving to +his art its power of competition, as well as its affinity with +the other imitative arts, in the expression of nature; all the +passions and sentiments being manifestly to be marked by motion, +gestures, and attitudes, to the time of a correspondent and well +adapted music. While all this aided and set off, by the +accompaniments of proper decorations of painting, and, where +necessary, of machinery, makes that, a well composed dance, may +very justly be deemed a small poem, thrown into the most lively +action imaginable; into an action so expressive as not to need +the aid of words, for conveying its meaning; but to make the +want of them rather a pleasure than matter of regret; from its +exercising, without fatiguing, the mind of the spectator, to +which it can never be but an agreeable entertainment, to have +something left for its own making out, always provided that +there be no perplexing difficulty or ambiguity. Nothing of which +is impossible to an artist who has the talent of making a right +choice among the most pleasing objects of nature; of +sufficiently feeling what he aims at expressing; of knowing how +far it is allowable for his art, to proceed towards the +embellishing nature, and where it should stop to avoid its +becoming an impertinence; and especially of agreeably disposing +his subject, in the most neat and intelligible manner that can +be desired. + + + + + Some + + THOUGHTS + + On the UTILITY of + + LEARNING TO DANCE, + + And Especially upon the + + MINUET. + + +Was I, in quality of a dancing-master, to offer even the +strongest reasons of inducement to learn this art, they could +not but justly lose much, if not all, of their weight, from my +supposed interest in the offering them; besides the partiality +every artist has for his art. + +It would however exceed the bounds prescribed to modesty itself, +were I to neglect availing myself of the authority of others, +who were not only far from being professors of this art, but who +hold the highest rank in the public opinion for solidity of +understanding, and purity of morals, and who yet did not disdain +to give their opinion in favor of an art only imagined +frivolous, for want of considering it in a just and inlarged +view. + +After this introduction, I need not be ashamed of quoting Mr. +Locke, in his judicious treatise of education. + + "Nothing (says he) appears to me to give children so much + becoming confidence and behaviour, and so to raise them to + the conversation of those above their age, as dancing. + I think they should be taught to dance as soon as they are + capable of learning it; for though this consists only in + outward gracefulness of motion, yet, I know not how, it + gives children manly thoughts and carriage more than any + thing." + +In another place, he says, + + "Dancing being that which gives graceful motions to all our + lives, and above all things, manliness, and a becoming + confidence to young children, I think it cannot be learned + too early, after they are once capable of it. But you must + be sure to have a good master, that knows and can teach what + is graceful and becoming, and what gives a freedom and + easiness to all the motions of the body. One that teaches + not this, is worse than none at all; natural awkwardness + being much better than apish affected postures: and I think + it much more passable, to put off the hat, and make a leg + like an honest country-gentleman, than like an ill-fashioned + dancing-master. For as for the jigging, and the figures of + dance, I count that little or nothing better than as it + tends to perfect graceful carriage." + +The Chevalier De Ramsay, author of Cyrus's travels, in his plan +of education for a young Prince, has (page 14.) the following +passage to this purpose. + + "To the study of poetry, should be joined that of the three + arts of imitation. The antients represented the passions, by + gests, colors and sounds. Xenophon tells us of some + wonderful effects of the Grecian dances, and how they moved + and expressed the passions. We have now lost the perfection + of that art; all that remains, is only what is necessary to + give a handsome action and airs to a young gentleman. This + ought not to be neglected, because upon the external figure + and appearance, depends often the regard we have to the + internal qualities of the mind. A graceful behaviour, in the + house of Lords or Commons, commands the attention of a whole + assembly." + +And most certainly in this last allegation of advantage to be +obtained by a competent skill, or at least tincture of the art, +the Chevalier Ramsay, has not exagerated its utility. Quintilian +has recommended it, especially in early years, when the limbs +are the most pliable, for procuring that so necessary +accomplishment, in the formation of orators gesture: observing +withall, that where that is not becoming, nothing else hardly +pleases. + +But even independent of that consideration, nothing is more +generally confessed, than that this branch of breeding qualifies +persons for presenting themselves with a good grace. To whom can +it be unknown that a favorable prepossession at the first sight +is often of the highest advantage; and that the power of first +impressions is not easily surmountable? + +In assemblies or places of public resort, when we see a person +of a genteel carriage or presence, he attracts our regard and +liking, whether he be a foreigner or one of this country. At +court, even a graceful address, and an air of ease, will more +distinguish a man from the croud, than the richest cloaths that +money may purchase; but can never give that air to be acquired +only by education. + +There are indeed who, from indolence or self-sufficiency, affect +a sort of carelessness in their gait, as disdaining to be +obliged to any part of their education, for their external +appearance, which they abandon to itself under the notion of its +being natural, free, and easy. + +But while they avoid, as they imagine, the affectation of +over-nicety, they run into that of a vicious extreme of +negligence, which proves nothing but either a deficiency of +breeding, or if not that, a high opinion of themselves, with +what is not at all unconsequential to that, a contempt of +others. + +Such are certainly much mistaken, if they imagine that an art, +which is principally designed to correct defects, should leave +so capital an one subsisting as that of want of ease, and +freedom, in the gesture and gait. On the contrary, it is as +great an enemy to stiffness, as it is to looseness of carriage, +and air. It equally reprobates an ungainly rusticity, and a +mincing, tripping, over-soft manner. Its chief aim is to bring +forth the natural graces, and not to smother them with +appearances of study and art. + +But of all the people in the world, the British would certainly +be the most in the wrong for not laying a great enough stress on +this part of education; since none have more conspicuously the +merit of figure and person; and it would in them be a sort of +ingratitude to Nature, who has done so much for them, not to do +a little more for themselves, in acquiring an accomplishment, +the utility of which has been acknowledged in all ages, and in +all countries, and especially by the greatest and most sensible +men in their own. + +As to the ladies, there is one light in which perhaps they would +not do amiss to view the practice of this art, besides that of +mere diversion or improvement of their deportment: it is that of +its being highly serviceable to their health, and to what it can +never be expected they should be indifferent about, their +beauty, it being the best and surest way of preserving, or even +giving it to their whole person. + +It is in history a settled point, that beauty was no where more +florishing, nor less rare, than among such people as encouraged +and cultivated exercise, especially in the fair sex. The various +provinces and governments in Greece, all agreed, some in a less, +some in a greater degree, in making exercise a point of female +education. The Spartans carried this to perhaps an excess, since +the training of the children of that sex, hardly yielded to that +of the male in laboriousness and fatigue. Be this confessed to +be an extreme: but then it was in some measure compensated by +its being universally allowed, that the Spartan women owed to it +that beauty in which they excelled the rest of the Grecian +women, who were themselves held, in that point, preferable to +the rest of the world. Hellen was a Spartan. Yet the legislator +of that people, did not so much as consider this advantage among +the ends proposed in prescribing so hardy an education to the +weaker sex. His views were for giving them that health and vigor +of body, which might enable them to produce a race of men the +fittest to serve their country in war. + +But as the best habit of body is ever inseparable from the +greatest perfection of beauty, of which its possessor is +susceptible, it very naturally followed, that the good plight to +which exercise brought and preserved the females, gave also to +their shape, that delicacy and suppleness, and to their every +motion, that graceful agility which caracterized the Grecian +beauties, and distinguished them for that nymph-stile of figure, +which we to this day admire in the description of their +historians, of their poets, or in the representations that yet +remain to us in their statues, or other monuments of antiquity. + +But omitting to insist on the Spartan austerity, and especially +on their gimnastic training for both sexes, and to take the +milder methods of exercise in use among the Grecians, we find +that the chace, that foot-races, and especially dancing, +principally composed the amusement of the young ladies of that +country; where, in the great days of Greece, no maxim ever more +practically prevailed, than that sloth or inactivity was equally +the parent of diseases of the body, as of vices of the mind. +Agreeable to which idea, one of the greatest physicians now in +Europe, the celebrated Tronchin, while at Paris, vehemently +declaimed against this false delicacy and aversion against +exercise; from which the ladies, especially of the higher rank +of life, derived their bad habits of body, their pale color, +with all the principles of weakness, and of a puny diseased +constitution, which they necessarily intail on their innocent +children. Thence it was that he condemned the using oneself too +much to coaches or chairs, which, he observed, lowers the +spirits, thickens the humors, numbs the nerves, and cramps the +liberty of circulation. + +Considering the efficacy of exercise, and that fashion has +abolished or at least confined among a very few, the more robust +methods of amusement, it can hardly not be eligible to cultivate +and encourage an art, so innocent and so agreeable as that of +dancing, and which at once unites in itself the three great +ends, of bodily improvement, of diversion, and of healthy +exercise. As to this last especially, it has this advantage, its +being susceptible at pleasure, of every modification, of being +carried from the gentlest degree of motion, up to that of the +most violent activity. And where riding is prescribed purely for +the sake of the power of the concussion resulting from it, to +prevent or to dissipate obstructions, the springs and agitations +of the bodily frame, in the more active kind of dances, can +hardly not answer the same purpose, especially as the motion is +more equitably diffused, and suffers no checks or partiality +from keeping the seat, as either in riding, or any other method +of conveyance. At least, such an entertainment, one would +imagine, preferable, for many reasons, to an excess of such +sedentary amusements as those of cards, and the like. + +Certainly those of the fair sex who use exercise, will, in their +exemption from a depraved or deficient appetite, in the +freshness or in the glow of their color, in the firmness of +their make, in the advantages to their shape, in the goodness in +general of their constitution, find themselves not ill repaid +for conquering any ill-habit of false delicacy and sloth, to +which so many, otherwise fine young ladies, owe the disorders of +their stomach, their pale sickly hue, and that languid state of +health which must poison all their pleasures, and even endanger +their lives. These are not strained nor far-fetched +consequences. + +But even as to those of either sex, the practice of dancing is +attended with obviously good effects. Such as are blessed by +nature with a graceful shape and are clean-limbed, receive still +greater ease and grace from it; while at the same time, it +prevents the gathering of those gross and foggy humors which in +time form a disagreeable and inconvenient corpulence. On the +other hand, those whose make and constitution occasion a kind of +heavy proportion, whose muscular texture is not distinct, whose +necks are short, shoulders round, chest narrow, and who, in +short are, what may be called, rather clumsy figures; these will +greatly find their account in a competent exercise of the art of +dancing, not only as it will give them a freedom and ease one +would not, at the first sight, imagine compatible with their +figure, but may contribute much to the cure, or at least to the +extenuation of such bodily defects, by giving a more free +circulation to the blood, a habit of sprightliness and agility +to the limbs, and preventing the accumulation of gross humors, +and especially of fat, which is itself not among the least +diseases, where it prevails to an excess. Not that I here mean +any thing so foolishly partial, as that nothing but dancing +could operate all this; but only place it among not the least +efficacious means. + +Nothing is more certain than that exercises in general, +diversions, such as that of hunting, and the games of dexterity, +keep up the natural standard of strength and beauty, which +luxury and sloth are sure to debase. + +Dancing furnishes then to the fair-sex, whose sphere of exercise +is naturally more confined than that of the men, at once a +salutary amusement, and an opportunity of displaying their +native graces. But as to men, fencing, riding and many other +improvements have also doubtless their respective merit, and +answer very valuable purposes. + +But where only the gentlest exercise is requisite, the minuet +offers its services, with the greatest effect; and when +elegantly executed, forms one of the most agreeable fights +either in private or public assemblies, or, occasionally, even +on the theatre itself. + +Yet I speak not of this dance here with any purpose of +specifying rules for its attainment. Such an attempt would be +vain and impracticable. Who does not know that almost every +individual learner requires different instructions? The laying a +stress on some particular motion or air which may be proper to +be recommended to one, must be strictly forbidden to another. In +some, their natural graces need only to be called forth; in +others the destroying them by affectation is to be carefully +checked. Where defects are uncurable, the teacher must show how +they may be palliated and sometimes even converted into graces. +It will easily then be granted that there is no such thing as +learning a minuet, or indeed any dance merely by book. The +dead-letter of it can only be conveyed by the noting or +description of the figure and of the mechanical part of it; but +the spirit of it in the graces of the air and gesture, and the +carriage of the dancer can only be practically taught by a good +master. + +I have mentioned the distinction of a good master, +most assuredly not in the way of a vain silly hint of +self-recomdation; but purely for the sake of giving a caution, +too often neglected, against parents, or those charged with the +education of youth, placing children, at the age when their +muscles are most flexible, their limbs the most supple, and +their minds the most ductile, and who are consequently +susceptible of the best impressions, under such pretended +masters of this art, who can only give them the worst, and who, +instead of teaching, stand themselves in need of being taught. +The consequence then of such a bad choice, is, that young people +of the finest disposition in the world, contract, under such +teachers, bad, awkward habits, that are not afterwards easily +curable. + +Those masters who possess the real grounds of their art, find in +their uniting their practice with their knowledge, resources +even against the usual depredations of age; which, though it may +deprive them of somewhat of their youthful vigor, has scarce a +sensible influence on their manner of performance. There will +still long remain to them the traces of their former excellence. + +I have myself seen the celebrated Dupré, at near the age of +sixty, dance at Paris, with all the agility and sprightliness of +youth, and with such powers of pleasing, as if the graces _in +him_ had braved superannuation. + +Such is the advantage of not having been content with a +superficial tincture of this art; or with a mere rote of +imitation, without an aim at excellence or originality. + +But though there is no necessity for most learners to enter so +deep into the grounds and principles of the art, as those who +are to make it their profession, it is at least but doing +justice to one's scholars to give them those essential +instructions as to the graces of air, position, and gesture; +without which they can never be but indifferent performers. + +For example, instead of being so often told to turn their toes +out, they should be admonished to turn their knees out, which +will consequently give the true direction to the feet. A due +attention should also be given to the motion of the instep, to +the air of sinking and rising; to the position of the hips, +shoulders, and body; to the graceful management of the arms, and +particularly to the giving the hand with a genteel manner, to +the inflections of the neck and head, and especially to the so +captivating modesty of the eye; in short, to the diffusing over +the whole execution, an air of noble ease, and of natural +gracefulness. + +It might be too trite to mention here what is so indispensable +and so much in course, the strict regard to be paid to the +keeping time with the music. + +Nothing has a better effect, nor more prepossessing in favor of +the performance to follow, than the bow or curtsy at the opening +the dance, made with an air of dignity and freedom. On the +contrary, nothing is more disgustful than that initial step of +the minuet, when auckwardly executed. It gives such an ill +impression as is not easily removed by even a good performance +in the remaining part of the dance. + +There is another point of great importance to all, but to the +ladies especially, which is ever strictly recommended in the +teaching of the minuet; but which in fact, like most of the +other graces of that dance, extends to other occasions of +appearance in life. This point is the easy and noble port of the +head. Many very pretty ladies lose much of the effect of their +beauty, and of the signal power of the first impressions, as +they enter a room, or a public assembly, by a vulgar or improper +carriage of the head, either poking the neck, or stooping the +head, or in the other extreme, of holding it up too stiff, on +the Mama's perpetually teizing remonstrance, of "hold up your +head, Miss," without considering that merely bridling, without +the easy grace of a free play, is a worse fault than that of +which she will have been corrected. + +Certainly nothing can give a more noble air to the whole person +than the head finely set, and turning gracefully, with every +natural occasion for turning it, and especially without +affectation, or stifly pointing the chin, as if to show which +way the wind sits. + +But it must be impossible for those who stoop their heads down, +to give their figure any air of dignity, or grace of politeness. +They must always retain something of ignoble in their manner. +Nothing then is more recommendable than for those who are +naturally inclined to this defect, to endeavor the avoiding it +by a particular attention to this capital instruction in +learning the minuet. It is also not enough to take the +minuet-steps true to time, to turn out their knees, and to slide +their step neatly, if that flexibility, or rise and fall from +the graceful bending of the instep, is not attended to, which +gives so elegant an air to the execution either of the minuet, +or of the serious theatrical dances. Nothing can more than that, +set off or show the beauty of the steps. + +It should also be recommended to the dancers of the minuet, ever +to have an expression of that sort of gaity and chearfulness in +the countenance, which will give it an amiable and even a noble +frankness. Nothing can be more out of character, or even +displeasing, than a froward or too pensive a look. There may be +a sprightly vacancy, an openness in the face, without the least +tincture of any indecent air of levity: as there may be a +captivating modesty, without any of that bashfulness which +arises either from low breeding, wrong breeding, or no breeding +at all. + +But to execute a minuet in a very superior manner, it is +recommendable to enter into some acquaintance, at least, with +the principles of the serious or grave dances, with a naturally +genteel person, a superficial knowledge of the steps, and a +smattering of the rules, any one almost may soon be made to +acquit himself tolerably of a minuet; but to make a +distinguished figure, some notion of the depths and refinements +of the art, illustrated by proper practice, are required. + +It is especially incumbent on an artist, not to rest satisfied +with having pleased: he should, from his knowledge of the +grounds of his art, be able to tell himself why he has pleased; +and thus by building upon solid principles, preferably to mere +lucky hits, or to transient and accidental advantages of form or +manner, insure the permanency of his power to please. + +There is a vice in dancing, against which pupils cannot be too +carefully guarded; it is that of affectation. It is essentially +different from that desire of pleasing, which is so natural and +so consistent even with the greatest modesty, in that it always +builds on some falsity, mistaken for a means of pleasing, though +nothing can more surely defeat that intention; there is not an +axiom more true than that the graces are incompatible with +affectation. They vanish at the first appearance of it: and the +curse of affectation is, that it never but lets itself be seen, +and wherever it is seen, it is sure to offend, and to frustrate +its own design. + +The simplicity of nature is the great fountain of all the +graces; from which they flow spontaneous, when unchecked by +affectation, which at once poisons and dries them up. + +Nature does not refuse cultivation, but she will not bear being +forced. The great art of the dancing-master is not to give +graces, for that is impossible, but to call forth into a nobly +modest display those latent ones in his scholars, which may have +been buried for want of opportunities or of education to break +forth in their native lustre, or which have been spoiled or +perverted, by wrong instruction, or by bad models of imitations. +In this last case, the master's business is rather to extirpate +than to plant; to clear the ground of poisonous exotics, and to +make way for the pleasing productions of nature. + +This admirable prerogative of pleasing, inseparable from the +natural graces, unpoisoned by affectation, is in nothing more +strongly exemplified, than in the rural dances, where simplicity +of manners, a sprightly ease, and an exemption from all design +but that of innocent mirth, give to the young and handsome +villagers, or country-maids, those inimitable graces for ever +unknown to artifice and affectation. Not but, even in those +rural assemblies, there may be found some characters tainted +with affectation; but then in the country they are exceptions, +whereas in town they constitute the generality, who are so apt +to mistake airs for graces, though nothing can be more +essentially different. + +But how shall those masters guard a scholar sufficiently against +affectation, who are themselves notoriously infected with it? +Nay, this is so common to them, that it is even the foundation +of a proverbial remark, that no gentleman can be said to dance +well, who dances like a dancing-master. Those false refinements, +that finical, affected air so justly reproached to the +generality of teachers, a master should correct in himself +before he can well give lessons for avoiding them to his pupils. +And, in truth, they are but wretched substitutes to the true +grounds and principles of the art, in which nothing is more +strongly inculcated than the total neglect of them, and the +reliance on the engaging and noble simplicity of nature. + +It is then no paradox to say that the more deep you are in the +art, the less will it stifle nature. On the contrary, it will, +in the noble assurance which a competent skill is sure to bring +with it, give to the natural graces a greater freedom and ease +of display. Imperfection of theory and practice cramps the +faculties; and gives either an unpleasing faulteringness to the +air, steps, and gestures, or wrong execution. And as the minuet +derives its merit from an observation of the most agreeable +steps, well chosen in nature and well combined by art, there is +no inconsistence in avering that art may, in this, as in many +other objects of imitative skill, essentially assist nature, and +place her in the most advantageous point of light. + +The truth of this will be easily granted, by numbers who have +felt the pleasure of seeing a minuet gracefully executed by a +couple who understood this dance perfectly. Nay, excellence in +the performance of it, has given to an indifferent figure, at +least a temporary advantage over a much superior one in point of +person only; and sometimes an advantage of which the impression +has been more permanent. + +But besides the effect of the moment in pleasing the spectators; +the being well versed in this dance especially contributes +greatly to form the gait, and address, as well as the manner in +which we should present ourselves. It has a sensible influence +in the polishing and fashioning the air and deportment in all +occasions of appearance in life. It helps to wear off any thing +of clownishness in the carriage of the person, and breathes +itself into otherwise the most indifferent actions, in a genteel +and agreeable manner of performing them. + +This secret and relative influence of the minuet, _Marcel_, my +ever respected master, whom his own merit in his profession, and +the humorous mention of him by _Helvetius_, in his famous book +DE L'ESPRIT, have made so well known, constantly kept in view, +in his method of teaching it. His scholars were generally known +and distinguished from those of other masters, not only by their +excellence in actual dancing, but by a certain superior air of +easy-genteelness at other times. He himself danced the minuet to +its utmost perfection. Not that he confined his practice to that +dance alone; on the contrary, he confessed himself obliged for +his greatest skill in that, to his having a general knowledge of +all the other dances, which he had practised, but especially +those of the serious stile. + +But certainly it is not only to the professed dancer, that +dancing in the serious stile, or the minuet, with grace and +ease, is essential. The possessing this branch of dancing is of +great service on the theatre, even to an actor. The effect of it +steals into his manner, and gait, and gives him an air of +presenting himself, that is sure to prepossess in his favor. +Persons of every size or shape are susceptible of grace and +improvement from it. The shoulders so drawn back as not to +protuberate before, but as it were, to retreat from sight, or as +the French express it _bien effacées_, the knees well turning +outwards, with a free play; the air of the shape noble and +disengaged; the turns and movements easy; in short, all the +graces that characterise a good execution of the minuet, will, +insensibly on all other occasions, distribute through every limb +and part of the body, a certain liberty and agreeableness of +motion easier to be conceived than defined. To the actor, in all +characters, it gives, as I have just before observed, a graceful +mien and presence; but, in serious characters, it especially +suggests that striking portliness, that majestic tread of the +stage, for which some actors from the very first of their +appearance so happily dispose the public to a favorable +reception of their merit in the rest of their part. An influence +of the first impression, which a good actor will hardly despise, +especially with due precaution against his contracting any thing +forced or affected in his air or steps, from his attention to +his improvement by dancing, as the very best things may be even +pernicious by a misuse. Whatever is not natural, free, and easy, +will undoubtedly, on the stage, as every where else, have a bad +effect. A very little matter of excess will, from his aim at a +grace, produce a ridiculous caricature. Too stiff a regulation +of his motions or gestures, by measure and cadence, would even +be worse than abandoning every thing to chance; which might, +like the Eolian harp, sometimes suffer lucky hits to escape him; +whereas affectation is as sure forever to displease, as it is +not to escape the being seen where it exists. + +Among the many reasons for this dance of the minuet having +become general, is the possibility of dancing it to so many +different airs, though the steps are invariable. If one tune +does not please a performer, he may call for another; the minuet +still remaining unalterable. + +There is no occasion however for a learner to be confined to +this dance. He should rather be encouraged, or have a curiosity +be excited in him, to learn especially those dances, which are +of the more tender or serious character, contributing, as they +greatly do, to perfect one in the minuet; independently of the +pleasure they besides give both in the performance and to the +sight. The dances the most in request are, the _Saraband_, the +_Bretagne_ the _Furlana_, the _Passepied_, the _Folie +d'Espagne_, the _Rigaudon_, the _Minuet du Dauphin_ the +_Louvre_, _La Mariée_, which is always danced at the Opera of +Roland at Paris. Some of these are performed solo, others are +duet-dances. The _Louvre_ is held by many the most pleasing of +them all, especially when well executed by both performers, in a +just concert of motions; no dance affording the arms more +occasion for a graceful display of them, or a more delicate +regularity of the steps; being composed of the most select ones +from theatrical dances, and formed upon the truest principles of +the art. This dance is executed in most countries of Europe +without any variation. It is generally followed or terminated by +a minuet; and these two dances, the Louvre and the minuet, are +at present the most universally in fashion, and will, in all +probability, continue so, from their being both pleasing beyond +all others, to the performers, as well as to the spectators, and +from their not being difficult to learn, if the scholar has but +common docility. + +Youth being for learning this art undoubtedly the best season, +for reasons as I have before observed, too obvious to need +insisting on, the master cannot pay too much attention to the +availing himself of the pliancy of that age, to give his +scholars the necessary instructions for preparing and +well-disposing their limbs. This holds good, particularly with +regard to that propensity innate to most persons of turning in +their toes. I have already mentioned the expediency of curing +this defect, by the directing them to acquire a habit of turning +the knees outward, to which I have to add, that on the proper +turn of the knee, chiefly depend the graces of the under part of +the figure, that is to say, from the foot to the hip. + +Frequent practice also of dancing, or of any salutary exercise, +is also highly recommendable for obtaining a firmness of body; +for a tottering dancer can never plant his steps so as to afford +a pleasing execution. It may sound a little odd, but, the truth +is, that in dancing, sprightliness and agility are principally +produced by bodily strength; while on the contrary, weakness, or +infirmity, must give every step and spring, not only a +tottering, but a heavy air. The legs that bear with the most +ease the weight of the body, will naturally make it seem the +lightest. + + + + + A + + SUMMARY ACCOUNT + + Of various kinds of + + DANCES + + In different Parts of the WORLD. + + _Cantatur et saltatur apud omnes gentes, + aliquo saltem modo_, + QUINT. + + + + + In EUROPE. + + +As almost every country has dances particular to it, or, at +least, so naturalized by adoption from others, that in length of +time they pass for originals; a slight sketch of the most +remarkable of them may serve to throw a light upon this subject, +entertaining to some, and both entertaining and useful to +others. + +In BRITAIN, you have the hornpipe, a dance which is held an +original of this country. Some of the steps of it are used in +the country-dances here, which are themselves a kind of dance +executed with more variety and agreeableness than in any part of +Europe, where they are also imitatively performed, as in Italy, +Germany and in several other countries. Nor is it without reason +they obtain, here the preference over the like in other places. +They are no where so well executed. The music is extremely well +adapted, and the steps in general are very pleasing. Some +foreign comic dancers, on their coming here, apply themselves +with great attention to the true study of the hornpipe, and by +constant practice acquire the ability of performing it with +success in foreign countries, where it always meets with the +highest applause, when masterly executed. There was an instance +of this, sometime ago at Venice, at an opera there, when the +theatre was as well provided with good singers and dancers, as +any other. But they had not the good fortune to please the +public. A dancer luckily for the manager, presented himself, who +danced the hornpipe in its due perfection. This novelty took so, +and made such full houses, that the manager, who had begun with +great loss, soon saw himself repaired, and was a gainer when he +little expected it. + +It is to the HIGHLANDERS in North-Britain, that I am told we are +indebted for a dance in the comic vein, called the _Scotch +Reel_, executed generally, and I believe always in _trio_, or by +three. When well danced, it has a very pleasing effect: and +indeed nothing can be imagined more agreeable, or more lively +and brilliant, than the steps in many of the Scotch dances. +There is a great variety of very natural and very pleasing ones. +And a composer of comic dances, might, with great advantage to +himself, upon a judicious assemblage of such steps as he might +pick out of their dances, form a dance that, with well adapted +dresses, correspondent music, and figures capable of a just +performance, could hardly fail of a great success upon the +theatre. + +I do not know whether I shall not stand in need of an apology +for mentioning here a dance once popular in England, but to +which the idea of low is now currently annexed. It was +originally adapted from the Moors, and is still known by the +name of Morris-dancing, or Moresc-dance. It is danced with +swords, by persons odly disguised, with a great deal of antic +rural merriment: it is true that this diversion is now almost +exploded, being entirely confined to the lower classes of life, +and only kept up in some counties. What the reason may be of its +going out of use, I cannot say; but am very sure, there was not +only a great deal of natural mirth in it, but that it is +susceptible enough of improvement, to rescue it from the +contempt it may have incurred, through its being chiefly in use +among the vulgar; though most probably it may have descended +among them from the higher ranks. For certainly of them it was +not quite unworthy, for the Pirrhic or military air it carries +with it, and which probably was the cause of its introduction +among so martial a people. Rude, as it was, it might require +refinement, but it did not, perhaps, deserve to become quite +obsolete. + +In SPAIN, they have a dance, called, _Les Folies d'Espagne_, +which is performed either by one or by two, with castanets. +There is a dress peculiarly adapted to it, which has a very +pleasing effect, as well as the dance itself. + +In FRANCE, their _Contre-dances_, are drawn from the true +principles of the art, and the figures and steps are generally +very agreeable. No nation cultivates this art with more taste +and delicacy. Their _Provençale_ dance, is most delightfully +sprightly, and well imagined. The steps seem to correspond with +the natural vivacity and gaiety of the Provençals. This dance is +commonly performed to the pipe and tabor. + +The FLEMISH dances run in the most droll vein of true rural +humor. The performers seem to be made for the dances, and the +dances for the performers; so well assorted are the figures to +the representation. Several eminent painters in the grotesque +stile, Teniers especially, have formed many diverting pictures +taken from life, upon this subject. + +At NAPLES, they have various grotesque dances, which are +originals in their kind, being extremely difficult to execute, +not only for the variety of the steps, but for the intricacy and +uncommonness, or rather singularity of them. + +But while I am mentioning Naples, I ought not to omit that +effect of dancing, which is attributed to it, upon those who are +bitten with the _Tarantula_. The original of this opinion, was +probably owing to some sensible physician, prescribing such a +violent motion, more likely to be kept up in the patient, by the +power of music, than by any thing else, as might enable him to +expel the poison, by being thereby thrown into a copious sweat, +and by other benefits from such a vehement agitation. This, it +is supposed, was afterwards abused and turned into a mere trick, +to assemble a croud and get money, either by sham bites, or by +making a kind of show of this method of practice in real ones. +However, that may be, the various grimaces or contortions, leaps +and irregular steps, commonly used on this occasion, to be +executed to that sort of music, or airs adapted to it, might +afford a good subject for a grotesque dance, to be formed upon +the plan of a burlesque or mock-imitation: and I am not quite +sure that the idea of such a dance, has not been already carried +into execution. + +The castanets the NEAPOLITANS most frequently use, are of the +largest size. It is also from Naples that we have taken the +Punchinello dance. + +At FLORENCE, they have a dance, called, _il Treschone_. The +country-women, in the villages, are very fond of it. They are +generally speaking, very robust, and capable of holding out the +fatigue of this dance, for a long time. To make themselves more +light for it, they often pull off their shoes. The dance is +opened by a couple, one of each sex. The woman holds in her hand +a handkerchief, which she flings to him whom she chuses for her +next partner, who, in his turn has an equal right to dispose of +it in the same manner, to any woman of the company he chuses. +Thus is the dance carried on without any interruption till the +assembly breaks up. + +The favorite dance of the VENETIANS, is what they call the +_Furlana_, which is performed by two persons dancing a-round +with the greatest rapidity. Those who have a good ear, keep time +with the crossing their feet behind; and some add a motion of +their hands, as if they were rowing or tugging at an oar. This +dance is practiced in several other parts of Italy. + +The Peasants of TIROL, have one of the most pleasant and +grotesque dances that can be imagined. They perform it in a sort +of holy-day dress, made of skins, and adorned with ribbons. They +wear wooden shoes, not uncuriously painted; and the women +especially express a kind of rural simplicity and frolic mirth, +which has a very agreeable effect. + +The GRISONS are in possession of an old dance, which is not +without its merit, and which they would not exchange for the +politest in Europe; they being as invariably attached to it, as +to their dress. + +The HUNGARIANS are very noisy in their dances, with their iron +heels, but when they are of an equal size, and dressed in their +uniforms, the agility of their steps, and the regularity of +dress in the performers, render them not a disagreeable sight. + +The GERMANS have a dance called the _Allemande_, in which the +men and women form a ring. Each man holding his partner round +the waist, makes her whirl round with almost inconceivable +rapidity: they dance in a grand circle, seeming to pursue one +another: in the course of which they execute several leaps, and +some particularly pleasing steps, when they turn, but so very +difficult as to appear such even to professed dancers +themselves. When this dance is performed by a numerous company, +it furnishes one of the most pleasing sights that can be +imagined. + +The POLISH nobility have a dance, to which the magnificence of +their dress, and the elegance of the steps, the gracefulness of +the attitudes, the fitness of the music, all contribute to +produce a great effect. Were it performed here on the theatre, +it would hardly fail of a general applause. + +The COSSACS, have, amidst all their uncouth barbarism, a sort of +dancing, which they execute to the sound of an instrument, +somewhat resembling a Mandoline, but considerably larger, and +which is highly diverting, from the extreme vivacity of the +steps, and the oddity of the contortions and grimaces, with +which they exhibit it. For a grotesque dance there can hardly be +imagined any thing more entertaining. + +The RUSSIANS, afford nothing remarkable in their dances, which +they now chiefly take from other countries. The dance of dwarfs +with which the Czar Peter the Great, solemnized the nuptials of +his niece to the Duke of Courland, was, probably rather a +particular whim of his own, than a national usage. + + + + + In ASIA. + + +In TURKY, dances have been, as of old in Greece, and elsewhere +instituted in form of a religious ceremony. The _Dervishes_ who +are a kind of devotionists execute a dance, called the _Semaat_ +in a circle, to a strange wild-simphony, when holding one +another by the hand, they turn round with such rapidity, that, +with pure giddiness, they often fall down in heaps upon one +another. + +They have also in Turky, as well as India and Persia, professed +dancers, especially of the female sex, under the name of +dancing-girls, who are bred up, from their childhood, to the +profession; and are always sent for to any great entertainment, +public or private, as at feasts, weddings, ceremonies of +circumcision, and, in short, on all occasions of festivity and +joy. They execute their dances to a simphony of various +instruments, extremely resembling the antient ones, the +_tympanum_, the _crotala_, the _cimbals_, and the like, as well +as to songs, being a kind of small dramatic compositions, or +what may properly be called _ballads_, which is a true word for +a song at once sung and danced: _ballare_ signifying to dance; +and _ballata_, a song, composed to be danced. It is probable +that from these eastern kind of dances, which are undoubtedly +very antient, came the name, among the Romans, of _balatrones_. +Nothing can be imagined more graceful, nor more expressive, than +the gestures and attitudes of those dancing-girls, which may +properly be called the eloquence of the body, in which indeed +most of the Asiatics and inhabitants of the southren climates +constitutionally excel, from a sensibility more exquisite than +is the attribute of the more northern people; but a sensibility +ballanced by too many disadvantages to be envied them. The +Siamese, we are told, have three dances, called the _Cone_, the +_Lacone_, and the _Raban_. The _Cone_ is a figure-dance, in +which they use particularly a string-instrument in the nature of +a violin, with some others of the Asiatic make. Those who dance +are armed and masked, and seem to be a fighting rather than +dancing. It is a kind of Indian Pirrhic. Their masks represent +the most frightful hideous countenances of wild-beasts, or +demons, that fancy can invent. In the _Lacone_ the performers +sing commutually stanzes of verses containing the history of +their country. The Raban is a mixed dance, of men and women, not +martial, nor historical, but purely gallant; in which the +dancers have all long false nails of copper. They sing in this +dance, which is only a slow march without any high motions, but +with a great many contortions of body and arms. Those who dance +in the Raban and Cone have high gilt caps like sugar-loaves. The +dance of the _Lacone_ is appropriated to the dedication of their +temples, when a new statue of their _Sommona-codom_ is set up. + +In many parts of the East, at their weddings, in conducting the +bride from her house to the bridegroom's, as in Persia +especially, they make use of processional music and dancing. +But, in the religious ceremonies of the Gentoos, when, at stated +times, they draw the triumphal car, in which the image of the +deity of the festival is carried, the procession is intermixed +with troops of dancers of both sexes, who, proceed, in chorus, +leaping, dancing, and falling into strange antics, as the +procession moves along, of which they compose a part; these +adapt their gestures and steps to the sounds of various +instruments of music. + +Considering withal that the Romans, in their most solemn +processions, as in that called the _Pompa_, which I have before +mentioned, in which not only the Pirrhic dance was +processionally executed, but other dances, in masquerade, by men +who, in their habits, by leaping and by feats of agility, +represented satirs, the _Sileni_, and _Fauni_, and were attended +by minstrels playing on the flute and guitar; besides which, +there were _Salian_ priests, and _Salian_ virgins, who followed, +in their order, and executed their respective religious dances; +it may bear a question whether not an unpleasing use might not +be made, on the theatres, of processional dances properly +introduced, and connected, especially in the burlesque way. In +every country, and particularly in this, processions are +esteemed an agreeable amusement to the eye; and certainly they +must receive more life and animation from a proper intermixture +of dances, than what a mere solemn march can represent, where +there is nothing to amuse but a long train of personages in +various habits, walking in parade. I only mention this however +as a hint not impossible to be improved, and reduced into +practice. + +But even, where it might be improper or ridiculous to think of +mixing dances with a procession, though it were but in +burlesque, which must, if at all, be the preferable way of +mixing them, the pleasure of those who delight in seeing +processions and pageantry exhibited on the theatre, might be +gratified, without any violence to propriety, by making them +introductory to the dances of the grandest kind. For example; +where a dance in Chinese characters is intended, a procession +might be previously brought in, of personages, of whom the +habits, charactures, and manners might be faithfully copied from +nature, and from the truth of things, and convey to the +spectator a juster notion, of the people from which the +representation was taken, of their dress and public processions, +than any verbal description, or even prints or pictures. After +which, the dance might naturally take place, in celebration of +the festival, of which, the procession might be supposed the +occasion. + +In order to give a more distinct idea of this hint, I have +hereto annexed the print of a Chinese procession taken from the +description of a traveller into that country; by which a good +composer would well know how to make a proper choice of what +might be exhibited, and what was fit to be left out; especially +according as the dance should be, serious or burlesque. In the +last case; even the horses might be represented by a theatrical +imitation. And certainly, bringing the personages on in such a +regular procession at first, would give a better opportunity of +observing their dresses, than in the huddled, confused manner of +grouping them, that has been sometimes practised: to say nothing +of the pleasure afforded to the eye by the procession itself. + +The print annexed represents the procession of a Chinese +Mandarin of the first order. First appear two men who strike +each upon a copper instrument called a gongh, resembling a +hollow dish without a border, which has pretty much the effect +of a kettle-drum. + +Follow the ensign-bearers, on whose flags are written in large +characters the Mandarin's titles of honour. Next fourteen +standards, upon which appear the proper simbols of his office, +such as the dragon, tiger, phoenix, flying tortoise, and other +winged creatures of fancy, emblematically exhibited. + +Six officers, bearing a staff headed by an oblong square board, +raised high, whereon are written in large golden characters the +particular qualities of this Mandarin. + +Two others bear, the one a large umbrella of yellow silk (the +imperial color) of three folds, one above the other; the other +officer carries the case in which the umbrella is kept. + +Two archers on horseback, at the head of the chief guard: then +the guards, armed with large hooks, adorned with silk fringe, in +four rows one above another; two other files of men in armor, +some bearing maces with long handles; others, maces in the form +of a hand, or of a serpent: others, equipped with large hammers +and long hatchets like a crescent. Other guards bearing sharp +axes: some, weapons like scythes, only strait. Soldiers carrying +three-edged halberds. + +Two porters, carrying a splendid coffer, containing the seal of +his office. + +Two other men, beating each a _gongh_, which gives notice of the +Mandarin's approach. + +Two officers, armed with staves, to keep off the croud. + +Two mace-bearers with gilt maces in the shape of dragons, and a +number of officers of justice, some equiped with bamboes, a kind +of flat cudgels, to give the bastinado: others with chains, +whips, cutlasses, and hangers. + +Two standard-bearers, and the captain of the guard. + +All this equipage precedes the Mandarin or Viceroy, who is +carried in his chair, surrounded with pages and footmen, having +near his person an officer who carries a large fan in the shape +of a hand-fire-screen. + +He is followed by guards, some armed with maces, and others with +long-handled sabres; after whom come several ensigns and +cornets, with a great number of domestics on horseback, every +one bearing some necessary belonging to the Mandarin: as for +example, a particular Tartarian cap, if the weather should +oblige him to change the one he has on. + +From the above, it may appear, what scope or range a composer +may have for the exhibition of processions and pageantry of +other nations, as well as of the Chinese; in all which, nothing +is more recommendable than adhering, in the representation, as +much as the limitations of the theatre will admit, to the truth +of things, as they actually pass in the countries where the +scene is laid: which is but, in saying other words, in this, as +in every other imitative branch, strike to nature as close as +possible. + + + + + In AFRICA. + + +The spirit of dancing prevails, almost beyond imagination, among +both men and women, in most parts of Africa. It is even more +than instinct, it is a rage, in some countries of that part of +the globe. + +Upon the Gold-coast especially, the inhabitants are so +passionately fond of it, that in the midst of their hardest +labor, if they hear a person sing, or any musical instrument +plaid, they cannot refrain from dancing. + +There are even well attested stories of some Negroes flinging +themselves at the feet of an European playing on a fiddle, +entreating him to desist, unless he had a mind to tire them to +death; it being impossible for them to cease dancing, while he +continued playing. Such is the irresistible passion for dancing +among them. + +With such an innate fondness for this art, one would imagine +that children taken from this country, so strong-made and so +well-limbed as they generally are, and so finely disposed by +nature, might, if duly instructed, go great lengths towards +perfection in the art. But I do not remember to have heard that +the experiment was ever made upon any of them, by some master +capable of giving them such an improvement, as one would suppose +them susceptible of. + +Upon the Gold-coast, there long existed and probably still +exists a custom, for the greater part of the inhabitants of a +town or village to assemble together, most evenings of the year, +at the market-place to dance, sing, and make merry for an hour +or two, before bed-time. On this occasion, they appear in their +best attire. The women, who come before the men, have a number +of little bells tinkling at their feet. The men carry little +fans or rather whisks in their hand made of the tails of +elephants and horses, much like the brushes used to brush +pictures; only that theirs are gilt at both ends. They meet +usually about sunset. Their music consists of horn-blowers or +trumpeters, drummers, players on the flute, and the like; being +placed a-part by themselves. The men and women, who compose the +dance, divide into couples, facing each other, as in our +country-dances, and forming a general dance, fall into many wild +ridiculous postures, advancing and retreating, leaping, stamping +on the ground, bowing their heads, as they pass, to each other, +and muttering certain words; then snapping their fingers, +sometimes speaking loud, at other times whispering, moving now +slow, now quick, and shaking their fans. + +Artus and Villault add, that they strike each another's +shoulders alternately with those fans; also that the women, +laying straw-ropes in circles on the ground, jump into or dance +round them; and clicking them up with their toes, cast them in +the air, catching them as they fall with their hands. + +They are strangely delighted with these gambols; but do not care +to be seen at them by strangers, who can scarce refrain +laughing, and consequently putting them out of countenance. + +After an hour or two spent in this kind of exercise, they retire +to their respective homes. + +Their dances vary according to times, occurrences, and places. +Those which are in honor of their religious festivals, are more +grave and serious. There have been sometimes public dances +instituted by order of their Kings, as at Abrambo, a large town +in Widaw, where annually, for eight days together, there +resorted a multitude of both sexes from all parts of the +country. This was called the dancing-season. To this solemnity +all came dressed in the best manner, according to their +respective ability. The dance was ridiculous enough; but it +served to keep up their agility of body. And amidst all the +uncouth barbarism of their gestures and attitudes, nature breaks +out into some expressions of joy, or of the passions, that would +not be unworthy of an European's observation. + +They have also their kind of Pirrhic dances, which they execute +by mock-skirmishing in cadence, and striking on their targets +with their cutlasses. + +I have already mentioned that it is from Africa, the +Moresc-dances originally came. But what is somewhat surprising, +the Portugueze themselves, among whom I will not however include +the higher ranks of life in that nation, but, at least, the +number of the people who adopted, from the Caffrees, or Negroes +of their African possessions, a dance called by them +_LasCheganças_, (Approaches) was so great that the late King of +Portugal was obliged to prohibit it by a formal edict. The +reason of which was, that some of the motions and gestures had +so lascivious an air, and were so contrary to modesty, that the +celebrated _Frey Gaspar_, a natural son, if I mistake not, of +the late King of Portugal, represented so efficaciously to his +Portugueze Majesty, the shame and scandal of this dance being +any longer suffered, that it was put down by royal authority. +Nor was this done without occasioning heavy complaints against +_Frey Gaspar_, against whom there were lampoons and ballads +publickly sung, upon his having used his influence to procure +that prohibition. + + + + + In AMERICA. + + +In this part of the world, so lately discovered, nothing is a +stronger proof of the universality of dancing, of its being, in +short, rather an human instinct, than an art, than the fondness +for dancing every where diffused over this vast continent. + +In BRAZIL, the dancers, whether men or women, make a point of +dancing bare-headed. The reason of this is not mentioned: it +cannot however be thought a very serious one, since nothing can +be more comical than their gestures, their contortions of body, +and the signs they make with the head to each other. + +In MEXICO, they have also their dances and music, but in the +most uncouth and barbarian stile. For their simphony they have +wooden drums, something in form of a kettle-drum, with a kind of +pipe or flageolet, made of a hollow cane or reed, but very +grating to an European ear. It is observed they love every thing +that makes a noise how disagreeable soever the sound is. They +will also hum over something like a tune, when they dance thirty +or forty in a circle, stretching out their hands, and laying +them on each others shoulders. They stamp and jump, and use the +most antic gestures for several hours, till they are heartily +weary. And one or two of the company sometimes step out of the +ring, to make sport for the rest, by showing feats of activity, +throwing up their lances into the air, catching them again, +bending backwards, and springing forwards with great agility. +Then when they are in a violent sweat, from this exercise, they +will frequently jump into the water, without the least bad +consequences to their health. Their women have their dancing and +music too by themselves; but never mingle in those of the men. + +In VIRGINIA, according to the author of the history of that +country, they have two different kinds of dancing; the first, +either single, or at the most in small companies; or, secondly, +in great numbers together, but without having any regard either +to time or figure. + +In the first kind one person only dances, or two, or three at +most. While during their performance, the rest, who are seated +round them in a ring, sing as loud as they can scream, and ring +their little bells. Sometimes the dancers themselves sing, dart +terribly threatening looks, stamp their feet upon the ground, +and exhibit a thousand antic postures and grimaces. + +In the other dance, consisting of a more numerous company of +performers, the dance is executed round stakes set in the form +of a circle, adorned with some sculpture, or round about a fire, +which they light in a convenient place. Every one has his little +bell, his bow and arrow in his hand. They also cover themselves +with leaves, and thus equipped, begin their dance. Sometimes +they set three young women in the midst of the circle. + +In PERU, the manner of dancing has something very particular. +Instead of laying any stress on the motion of the arms, in most +of their dances, their arms hang down, or are wrapped up in a +kind of mantle, so that nothing is seen but the bending of the +body, and the activity of the feet; they have however many +figure-dances, in which they lay aside their cloaks or mantles, +but the graces they add, are rather actions than gestures. + +The PERUVIAN Creolians dance after the same manner, without +laying aside their long swords, the point of which they contrive +to keep up before them so that it may not hinder them from +rising, or in coupeeing, which is sometimes to such a degree +that it looks like kneeling. + +They have a dance there, adopted from the natives, which they +call _Zapatas_, (shoes) because in dancing they alternately +strike with the heels and toes, taking some steps, and +coupeeing, as they traverse their ground. + +Among the savages of North-America, we are told there are +various dances practised, such as that of the calumet, the +leaders dance, the war-dance, the marriage-dance, the +sacrifice-dance, all which, respectively differ in the +movements, and some, amidst all the wildness of their +performance, are not without their graces. But the dance of the +calumet is esteemed the finest; this is used at the reception of +strangers whom they mean to honor, or of ambassadors to them on +public occasions. This dance is commonly executed in an oval +figure. + +The AMERICANS, in some parts, prescribe this exercise by way of +phisic, in their distempers: a method of treatment, not, it +seems unknown to the antients: but, in general, their motive for +dancing, is the same as with the rest of the world, to give +demonstrations of joy and welcome to their guests, or to divert +themselves. On some occasions indeed, they make them part of the +ceremony at their assemblies upon affairs, when even their +public debates are preceded by dancing, as if they expected that +that exercise would rouse their mental faculties, and clear +their heads. The war-dance is also used by them, by way of +proclamation of war against their enemies. + +The foregoing summary sketch of some of the various dances, +which are practised in different parts of the globe, and which, +to describe universally and minutely, would fill whole volumes, +may serve to show that nature has, in all parts of the inhabited +world, given to man the instinct of dancing, as well as of +speaking, or of singing. But it certainly depends on the nations +who encourage the polite arts, once more to carry it up to that +pitch of excellence, of which the history of the Greeks and +Romans shows it to have been susceptible, among the antients, +however the moderns may have long fallen short of it. There has +indeed lately appeared a dawning hope of its recovery; which, +that it may not be frustrated, is the interest of all who wish +well to an innocent and even useful pleasure. + + + + + Of PANTOMIMES. + +As this branch of the art of dancing is often mentioned, +especially in this country, without a just idea being affixed to +it, or any other idea than what is vulgarly taken from a species +of compositions which are sometimes exhibited after the play, on +the theatre here, (not to mention Sadler's wells) and go by the +name of pantomime entertainments; it may not be unacceptable to +the reader, my laying down before him the true grounds and +nature of this diversion, which once made so great a figure in +the theatrical sphere of action. + +And as, on this point, Monsieur Cahusac, an ingenious French +writer, has treated the historical part of it with so much +accuracy, that it was hardly possible to offer any thing new +upon it, beyond what he has furnished; and that not to make use +of his researches would only betray me into a fruitless +affectation of originality, I am very ready to confess, that for +the best and greatest part of what I am now going to offer upon +this subject I am indebted to his production. + +That prodigious perfection to which the antients carried the +pantomime art, appeared so extraordinary to the celebrated abbot +Du Bos, that, not being able to contradict the authorities which +establish the truth of it, he was tempted to consider the art of +dancing in those times as something wholly different from what +is at present understood by dancing. + +The chevalier Ramsay places it also among the lost arts. Both, +no doubt, grounding their opinion on that deficiency of +execution on the modern theatres, compared to what is +incontestably transmitted to us, by history, of the excellence +of the antient pantomimes. + +But none have more contributed to establish the opinion of the +pantomime art being an art totally different from that of +dancing, and not merely an improvement of it, as was certainly +the case, than some of the professors of the art themselves, who +even exclaimed against M. Cahusac, for his attempts to give +juster notions, and to recommend the revival of it. + +We are too apt to pronounce upon possibilities from our own +measure of knowledge, or of capacity. Nothing is more common +than to hear men of a profession declare loudly against any +practice attempted to be established for the improvement of +their art, and peremptorily to aver such a practice being +impossible, for no other reason than that their own study and +efforts had not been able to procure them the attainment of it. +In this too they are seconded by that croud of superficial +people who frequent the theatres, and who can believe nothing +beyond what themselves have seen: any thing above the reach of +what they are accustomed or habituated to admire, always seems +to them a chimera. + +The reproach of incredulity is commonly made to men of the +greatest knowledge, because they are not over-apt to admit any +proposition without proof: but this reproach may, with more +justice, be oftenest made to the ignorant, who generally reject, +without discussion, every thing beyond their own narrow +conception. + +To these it may sound more than strange; it may appear +incredible, that on the theatre of Athens, the dance of the +Eumenides, or Furies, had so expressive a character, as to +strike the spectators with irresistible terror. The Areopagus +itself shuddered with horror and affright; men grown old in the +profession of arms, trembled; the multitude ran out; women with +child miscarried; people imagined they saw in earnest those +barbarous deities commissioned with the vengeance of heaven, +pursue and punish the crimes of the earth. + +This passage of history is furnished by the same authors, who +tell us, that Sophocles was a genius; that nothing could +withstand the eloquence of Demosthenes; that Themistocles was a +hero; that Socrates was the wisest of men; and it was in the +time of the most famous of the _Greeks_ that even upon those +highly privileged souls, in sight of irreproachable witnesses, +the art of dancing produced such great effects. + +At Rome, in the best days of this art, all the sentiments which +the dancers expressed, had each a character of truth, so great a +power, such pathetic energy, that the multitude was more than +once seen hurried away by the illusion, and mechanically to take +part in the different emotions presented to them by the animated +picture with which they were struck. In the representation of +_Ajax in a frenzy_, the spectators took such violent impressions +from the acting-dancer who represented him, that they perfectly +broke out, into outcries; stripped, as it were, to fight, and +actually came to blows among each other, as if they had caught +their rage from what was passing on the theatre. + +At another time they melted into tears at the tender affliction +of Hecuba. + +And upon whom were these lively impressions produced? Upon the +cotemporaries of Mecenas, of Lucullus, Augustus, Virgil, Pollio; +upon men of the most refined taste, whose criticism was as +severe as their approbation honorable; who never spared their +censure nor their applause, where either was due. How, +especially under the eyes of Horace, could any thing pass the +approbation of the public, unless under the seal of excellence +in point of art and good taste? Would Augustus have declared +himself the special patron of a kind of entertainment that had +been deficient as to probability and genius? Would Mecenas, the +protector of Virgil, and of all the fine arts, have been pleased +with a sight that was not a striking imitation of beautiful +nature? + +The proofs shown of the perfection of dancing at Athens, and +under the reign of Augustus, being incontestable, it is plain +that what now passes for the art of dancing, is as yet only in +its infancy. To display the arms gracefully, to preserve the +equilibrium in the positions, to form steps with a lightness of +air; to unfold all the springs of the body in harmony to the +music, all these points, sufficient to what may be called +private, or to assembly-dancing, are little more than the +alphabet of the theatrical dances, or of pantomime execution. +The steps and figures are but the letters and words of this art. +A writing-master is one who teaches the mechanical part of +forming letters. A mere dancing-master is an artist who teaches +to form steps. But the first is not more different from what we +call a man of letters, or a _writer_, than the second is from +what may deserve on the theatre, the name of principal dancer. + +Besides the necessity of learning his art elementally, a dancer, +like a writer, should have a stile of his own, an original +stile: more or less valuable, according as he can exhibit, +express, and paint with elegance a greater or lesser quantity of +things admirable, agreeable, and useful. + +Speech is scarce more expressive, than the gestual language. The +art of painting, which places before our eyes the most pathetic, +or the most gay images of human life, composes them of nothing +but of attitudes, of positions of the arms, expressions of the +countenance, and of all these parts dancing is composed, as well +as painting. + +But, as I have before observed, painting can express no more +than an instant of action. Theatrical dancing can exhibit all +the successive instants it chuses to paint. Its march proceeds +from picture to picture, to which, motion gives life. In +painting, life is only imitated; in dancing, it is always the +reality itself. + +Dancing is, evidently, in its nature, an action upon the +theatres; nothing is wanting to it but meaning: it moves to the +right, to the left; it retrogrades, it advances, it forms steps, +it delineates figures. There is only wanting to all this an +arrangement of the motions, to furnish to the eye a theatrical +action upon any subject whatever. + +The history of the art proves that the dancers of genius, had no +other means or assistance in the world but this to express all +the human passions, and the possibilities of it are in all +times, the very same. + +Both here, and in France, there have been some of these dramatic +pieces in action, by dance, attempted, which have been well +received by the public. + +Some years ago, the Dutchess of Maine ordered simphonies to be +composed for the scene of the fourth act of the _Horatii_; in +which the young Horatius kills Camilla. Two dancers, one of each +sex, represented this action at _Sceaux_; and their dance +painted it with all the energy and pathos of which it was +susceptible. + +In Italy especially many subjects of a what may be called low +comedy, are very naturally expressed by dancing. In short, there +is hardly any comic action but what they represent upon their +theatres, if not with perfection, at least satisfactorily. And +certainly the dance in action has the same superiority over +sheer unmeaning dancing, that a fine history-piece has over +cutting flowers in paper. In the last there is little more +required than mechanical nicety, and, at the best, it affords no +great pretention to merit. But it is only for genius to order, +distribute and compose, in the other. A Raphael is allowed to +take place in the Temple of Fame, by a Virgil; and the art of +dancing is capable of having its Raphaels too. Pilades, and +Bathillus were painters, and great ones, in their way. +Picturesque composition is not less the duty of a composer of +dances, than of a painter. + +Among the antients, that _Protheus_, of whom fabulous history +records such wonders, was only one of their dancers, who, by the +rapidity of his steps, by the strength of his expression, and by +the employment of the theatrical deceptions, seemed at every +instant, to change his form. The celebrated _Empusa_ was a +female dancer, whose agility was so prodigious that she appeared +and vanished like a spirit. + +But it was at Rome that the Pantomime art received its highest +improvement. Pilades born in Cilicia, and Bathillus of +Alexandria, where the two most surprising geniuses, who, under +the reigns of Augustus Cæsar, displayed their talents in their +utmost lustre. The first invented the solemn, grave and pathetic +dances. The compositions of Bathillus were in the lively, gay, +and sprightly stile. + +Bathillus had been the slave of Mecenas, who had given him his +freedom in favor of his talents. Having seen Pilades in Cilicia, +he engaged him to come to Rome, where he had disposed Mecenas in +his favor, who, becoming the declared protector of both, +procured to them the encouragement of the Emperor. + +A theatre was built for them: the Romans flocked to it, and saw, +with surprise, a complete tragedy; all the passions painted with +the most vigorous strokes of representation: the exposition, +plot, catastrophe expressed in the clearest and most pathetic +manner, without any other means or assistence but that of +dancing, executed to the simphonies the best adapted, and far +superior to any that had been before heard in Rome. + +Their surprise was not to end here. To this a second +entertainment succeeded; in which an ingenious action, without +needing the voice or speech, presented all the characters, all +the pleasant strokes, and humorous pictures of a good comedy. + +And in both these kinds, the executive talents of Pilades and +Bathillus corresponded to the boldness and beauty of the kind of +compositions they had ventured to bring on the stage. + +Pilades especially, who was at the head of this project, was the +most singular man that had till then appeared on the theatre. +His fertile imagination constantly supplied him with new means +of perfecting his art and embellishing his entertainments. +Athenæus mentions his having written a book much esteemed on the +depths and principles of his art. + +Before him, some flutes composed the orchestra of the Romans. He +reinforced it with all the known instruments. He added choruses +of dances to his representations, and took care that their steps +and figures, should always have some relation or affinity to the +principal action. He provided them with dresses in the highest +taste of propriety, and omitted nothing towards producing, +keeping up, and pushing to the highest pitch, the charm of the +theatrical illusion. + +The actions on the Roman theatres were tragic, comic, or +satirical; these last pretty nearly answering to what we +understand by grotesque or farcical. + +Esopus and Roscius had been, from their excellence in +declamation, the delight and admiration of Rome. But on their +leaving no successors to their degree of merit; the taste for +dramatic poetry which was no longer supported by actors equal to +them, began to decline; and the theatrical dances under such +great masters as Pilades and Bathillus, either by their novelty, +or by their merit, or by both, made the Romans the less feel +their loss of those incomparable actors. The gestual language +took place of that which was declaimed; and produced regular +pieces acted in the three kinds of tragedy, comedy, and farce or +grotesque. The spectators grew pleased with such an exercise of +their understanding. Steps, motions, attitudes, figures, +positions, now were substituted to speech; and there resulted +from them an expression so natural, images so resembling, +a pathos so moving, or a pleasantry so agreeable, that people +imagined they heard the actions they saw. The gestures alone +supplied the place of the sweetness of the voice, of the energy +of speech, and of the charms of poetry.[*] + + [Footnote *: Hanc partem Musicæ disciplinæ Majores + mutam nominârunt, quæ ore clauso loquitur, et quibusdam + gesticulationibus facit intelligi, quod vix narrante + lingua, aut scripturæ textu possit agnosci. + + _Cassiod_, var. 1. 20. + + Loquacissimas manus, linguosos digitos, silentium + clamosum, expositionem tacitam. + + _Idem._] + +This kind of entertainment, so new, though formed upon a +ground-work already known, planned and executed by genius, and +adopted with a passionate fondness by the Romans, was called the +_Italic dance_; and in the transports of pleasures it caused +them, they gave to the actors of it, the title of _Pantomimes_. +This was no more than a lively, and not at all exagerated +expression, of the truth of their action, which was one +continual picture to the eyes of the spectators. Their motion, +their feet, their hands, their arms, were but so many different +parts of the picture; none of them were to remain idle; but all, +with propriety, were to concur to the formation of that +assemblage, from which result the harmony, and, with pardon for +the expression, the happy _all-together_ of the composition and +performance. A dancer learned from his very name of _pantomime_, +that he could be in no esteem in Rome, but so far as he should +be _all the actor_. + +And, in fact, this art was carried to a point of perfection hard +to believe; but for such a number of concurrent and authentic +testimonies. + +It appears also clearly from history, that this art, in its +origin, (so favored by an arbitrary prince, and who also made +some use of it, towards establishing his despotism, nay even +primordially introduced by Bathillus, a slave) could no longer +preserve its great excellence, than the spirit of liberty was +not wholly worn out in the Roman breasts; and, like its other +sister arts, gradually decayed and sunk under the subsequent +emperors. + +Pilades gave a memorable instance of the (as yet) unextinguished +spirit of liberty, when, upon his being banished Rome, for some +time, by Augustus Cesar, upon account of the disturbances the +pantomime parties occasioned, he told him plainly to his face, +that he was ungrateful for the good his power received, by the +diversion to the Romans from more serious thoughts on the loss +of their liberty. "Why do not you," says he, "let the people +amuse themselves with our quarrels?" + +This dancer had such great powers in all his tragedies, that he +could draw tears from even those of the spectators the least +used to the melting mood. + +But in truth, the effect of these pantomimes, in general, was +prodigious. Tears and sobs interrupted often the representation +of the tragedy of _Glaucus_, in which the pantomime Plancus +played the principal character. + +Bathillus, in painting the amours of Leda, never failed of +exciting the utmost sensibility in the Roman ladies. + +But what is more surprising yet, _Memphir_, a Pithagorean +philosopher, as Athenæus tells us, expressed, by dancing, all +the excellence of the philosophy of Pithagoras, with more +elegance, more clearness and energy, than the most eloquent +professor of philosophy could have done. + +Upon considering all this, one is almost tempted to say, with M. +Cahusac, "We have, upon the stage, excellent feet, lively legs, +admirable arms: what a pity it is, that with all this we have so +little of the art of dancing!" + +Our tragedy and our comedy have an extent and duration which are +supported by the charms of speech, by the interestingness of +narration, by the variety of the sallies of wit. The action is +divided into acts, each act into scenes, these scenes +successively present new situations, and these situations keep +up the warmth of interest and attention, form the plot, lead to +the conclusion or unravelment, and prepare it. + +Such must have been, or such must be, (but with more precision +and markingness) tragedies or comedies represented by dancing; +as gesture is something more marking and succinct than speech. +There are required many words to express a thought, but one +single motion may paint several thoughts, and situations. + +In such compositions, then, made to be danced, the theatrical +action must go forward with the utmost rapidity: there must not +be one unmeaning entry, figure, or step in them. Such a piece +ought to be a close crouded abstract of some excellent written +dramatic piece. + +Dancing, like painting, can only present situations to the eye; +and every truly theatrical situation is nothing but a living +picture. + +If a composer of dances should undertake to represent upon the +stage any great action or theatrical subject, he must begin by +making an extract from it, of all the most picturesque +situations. No other parts beside these can enter into his plan; +all the others are defective or useless, they can only embarras, +perplex, confound, and render it cold and insipid. + +Whereas, if the situations succeed one another naturally, and in +great number; if their being well linked together conducts them +with rapidity, from the first situation to the last, which must +clearly and strikingly unravel the whole; the choice is +complete, and the theatrical effect will be sure. + +It is that final effect, of which, in the execution, the +composer and performer must never lose sight. Successive +pictures must be exhibited, and animated with all the expression +that can result from the impassioned motions of the dance. + +This was doubtless the great secret of the art of Pilades, who +so highly excelled in his ideas of theatrical expression: this +is, perhaps, too for all kinds of theatrical composition, +whether to be declaimed, or to be executed by dancing, a general +rule that is not to be slighted. + +One instance of the regard shewn by Pilades to theatrical +propriety is preserved to us, and not unworthy of attention. He +had been publickly challenged by Hilas, once a pupil of his, to +represent the greatness of Agamemnon: Hilas came upon the stage +with buskins, which, in the nature of stilts, made him of an +artificial height; in consequence of which he greatly +over-topped the croud of actors who surrounded him. This passed +well enough, 'till Pilades appeared with an air, stern and +majestic. His serious steps, his arms a-cross, his motion +sometimes slow, sometimes animated, with pauses full of meaning, +his looks now fixed on the ground, now lifted to heaven, with +all the attitudes of profound pensiveness, painted strongly a +man taken up with great things, which he was meditating, +weighing, and comparing, with all the dignity of kingly +importance. The spectators, struck with the justness, with the +energy and real elevation of so expressive a portraiture, +unanimously adjudged the preference to Pilades, who, coolly +turning to Hilas, said to him, "_Young man, we had to represent +a king who commanded over twenty kings: you made him tall: +I showed him great._" + +It was in the reign of Nero, that a cinical mock-philosopher, +called Demetrius, saw, for the first time, one of these +pantomime compositions. Struck with the truth of the +representation, he could not help expressing the greatest marks +of astonishment: but whether his pride made him feel a sort of +shame for the admiration he had involuntarily shewn, or whether +naturally envious and selfish, he could not bear the cruel pain +of being forced to approve any thing but his own singularities; +he attributed to the music the strong impression that has been +made upon him: as, in that reign, a false philosophy very +naturally had a greater influence than the real, this man was, +it seems, of consequence enough for the managers of the dances +to take notice of this partiality, or at least to be piqued +enough, for their own honor, to lay a scheme for undeceiving +him. He was once more brought to their theatre, and seated in a +conspicuous part of the house, without his having been +acquainted with their intention. + +The orchestra began: an actor opens the scene: on the moment of +his entrance, the simphony ceases, and the representation +continues. Without any aid but that of the steps, the positions +of the body, the movements of the arms, the piece is performed, +in which are successively represented the amours of Mars and +Venus, the Sun discovering them to the jealous husband of the +goddess, the snares which he sets for his faithless spouse and +her formidable gallant, the quick effect of the treacherous net, +which, while it compleats the revenge of Vulcan, only publishes +his shame, the confusion of Venus, the rage of Mars, the arch +mirth of the gods, who came to enjoy the sight. + +The whole audience gave to the excellence of the performance its +due applause, but the Cinic, out of himself, could not help +crying out, in a transport of delight; "_No! this is not a +representation; it is the very thing itself._" + +Much about the same time a dancer represented the _labors of_ +Hercules. He retraced in so true a manner all the different +situations of that hero, that a king of Pontus, then at Rome, +and who had never seen such a sight before, easily followed the +thread of the action, and charmed with it, asked with great +earnestness of the emperor, that he would let him have with him +that extraordinary dancer, who had made such an impression upon +him. + + "Do not, says he to Nero, be surprised at my request. I have + for borderers upon my kingdom, some Barbarian nations whose + language none of my people could understand, nor they learn + ours. Such a man as this dancer would be an admirable + interpreter between us." + +It would then surely be a great error to imagine, that an +habitual dexterity, a daily practice, with their arms, their +legs and feet, were the only talents of these pantomime dancers. +Their execution, without doubt, required all these advantages of +the body in the most eminent degree; but their compositions +supposed, and indispensably implied an infinite number of +combinations which belong intirely to the mind, or intellectual +faculties; as for example, especially an attentive and judicious +discernment of the most interesting truths of human nature. How +extensive a study this exacts, it is more easy to conceive than +to attain. + +And surely there is an evident necessity for studying men, +before one can undertake to paint or represent them. It is not +till after a profound examination of the passions, that one +ought to flatter one's self with characterising them purely by +the powers of external signs of actions. All the passions have +affinities to each other, which it is only for a great justness +of understanding to seize; they have shades that distinguish +them, which nothing but a nice eye can perceive, and which +easily escape a superficial observer. + +In serious dancing, where the character of a hero is to be +given, there are in his actions, in the course of his life, +certain marking strokes, certain incidents or extraordinary +passages, which are subjects proper for the stage, and which +must be separated from others perhaps more brilliant in history, +but which would infrigidate a theatrical composition. + +In the state of dancing of our days, the dancers, and even the +composers of dances, aspire to little more than the mechanical +part of their art; and, indeed, they hardly know any thing +beyond that, and cannot in course, cultivate what they have no +conception of. + +When M. Cahusac wrote, he observed that this was sufficient for +the spectators, who required nothing more than a brilliant +execution from the dancers in the old track of steps and capers; +and this is, in fact, true of the greater number now. But +lately, the taste for dances of action, animated with meaning +and conveying the idea of some fable or subject, has begun to +gain ground. People are less tired with a dance, in which the +understanding is exercised, without the fatigue of perplexity, +than by merely seeing a succession of lively steps, and +cabriols, however well executed; which, in point of merit, bear +no more proportion to that of a well-composed dance, than a +tiresome repetition of vignettes, of head-pieces and +tail-pieces, would do to the gravings of historical pieces after +a Raphael, a Michael Angelo, or a Correggio. + +As hitherto the composer of the dances of action, have not been +able to recover that height of perfection to which the antient +pantomimes carried their art; the most that any composers could +do, I mean with success, (for there have been some attempts +made, that, for want of a proper plan and execution, failed,) +was to furnish certain dances, in the nature of _poemetti_ or +small dramatic poems, which, where the subject of action has +been clearly and intelligibly executed, have ever been received +with the most encouraging applause by the public. + +And here the ingenious author to whom I am so much obliged in +this chapter, furnishes me with rules of composition for the +dances of action, which can hardly be too much recommended. + +All theatrical compositions ought to have three essential parts. + +By a lively dialogue, in a piece made to be spoken, or by an +incident dextrously introduced in one made for a dance in +action, the spectator is to be prepared for the subject that is +to be represented, and to have some acquaintance of the +character, quality, and manners of the persons of the drama: +this is what is called _the exposition_. + +The circumstances, the obstacles which arise out of the +ground-work of the subject, embroil it, and retard its march +without stopping it. A sort of embarrasment forms itself out of +the actions of the characters, which perplexes the curiosity of +the spectators, from whose even guess-work, the manner how all +is to be ultimately unravelled is to be kept as great a secret +as possible: and this embarrasment is what is called _the plot_. + +From this embarrasment, one sees successively break forth +lights, the more unexpected, the better. They unfold the action, +and conduct it by insensible degrees to an ingenious conclusion: +this is what is called _the unravelment_. + +If any of these three parts is defective, the theatrical merit +is imperfect. If they are all three in due proportion, the +action is complete, and the charm of the representation is +infallible. + +As the theatrical dance then is a representation, it must be +formed of these three essentially constitutive parts. Thus it +will be more or less perfect, according as its exposition shall +be more or less clear, its plot more or less ingenious, its +unravelment more or less striking. + +But this division is not the only one that should be known and +practised. A dramatic work is commonly composed of five or fewer +acts; and an act is composed of scenes in dialogue or soliloquy. +Now every act, every scene, should have, subordinately, its +exposition, its plot, and its unravelment, just as the total of +the piece has, of which they are the parts. + +So ought, also every representation in dancing to have those +three parts, which constitute every thing that is action. +Without their union, there is no action that is perfect: a fault +in one of those parts will have a bad effect on the others; the +chain is broke; the picture, whatever beauty it may have in +other respects, is without any theatrical merit. + +Besides these general laws of the theatre, which are in common +to those compositions of dances, that are to be executed on it, +they are subjected to other particular rules, which are derived +from the primitive principles of the art. + +As the art of dancing essentially consists in painting by +gestures and attitudes, there is nothing of what would be +rejected by a painter of good taste, that the dancer can admit; +and, consequentially, every thing that such a painter would +chuse, ought to be laid hold of, distributed, and properly +placed in a dance of action. + +Here, on this point, recurs that never too often repeated rule, +as infallible as it is plain: _let nature, in every thing, be +the guide of art; and let art, in every thing, aim at imitating +nature_: a rule this, than which there is not one more trite, +more hackneyed in the theory, nor less regarded in the practice. + +Nature then being always Nature, always invariable in her +operations and productions; there is no false conclusion, nor +straining inferences, in avering, that the art of dancing could +not but be a great gainer by a revival of the taste of the +antients for the pantomime branch; which, upon the theatre, +converted a transient flashy amusement of the eye, into a +rational or sensible entertainment, and made of dancers, who are +otherwise, a mere mechanical composition of feet, legs, and +arms, without spirit or meaning, artists formed to paint with +the most pathetic expression, the most striking situations of +human nature: I am not afraid of using here the term of the most +pathetic expression, injuriously to the great power of +theatrical declamation; because the great effect and charm of +the moment is, evidently, the more likely to be produced by +attitudes or gestures alone, unseconded by the voice; for that +the pleasure of the spectator will have been the greater for the +quickness of his apprehension not having needed that help to +understand the meaning of them. And this is so true of the force +of impression depending on that part of bodily eloquence, that +even in oratory, action was, by one of the greatest judges of +that art, pronounced to be the most essential part of it. + +This may be, perhaps, an exaggeration: but when people resort to +a theatre to unbend, or relax, they will hardly think their +pleasure tastelesly diversified by a fine pantomime execution of +a dramatic composition, to the perfection of which, poetry, +music, painting, decoration, and machinery will have all +contributed their respective contingents. + +For the subjects of these poetical dances, the composer will +undoubtedly find those which are the most likely to please, in +fabulous history, especially for the serious, or pathetic stile. +This we find was the great resource of the antients, who had, in +that point, a considerable advantage, from which the moderns are +excluded, by the antient mithology having lost that effect, and +warmth of interest, which accompanied all transactions taken +from it by their poets, and brought upon the theatre. The heroes +of antiquity, the marvellous of their deities, and the histories +of their amours, or of their exploits, can never make the same +impression on the moderns so thoroughly differing in manners and +ways of thinking, from those, to whom such exhibitions were a +kind of domestic, and even religious remembrancers. The +spectators of those times were more at home to what they saw +represented upon their theatres; the ground-work of the fable +represented to the audience being generally foreknown, +contributed greatly to the quickness of their apprehension; and +its being part of their received theology, and often of the +history of their own country, procured it the more favorable +attention. + +The greatest part of these advantages are wanting in the +employment of these fictions among the moderns; and to which +however they are, in some measure, compelled to have recourse, +for want of theatrical subjects striking enough to be agreeably +thrown into a dance; by which I do not mean to exclude all +subjects that have not those poetical fictions of Greek and +Roman antiquity for a basis; on the contrary, it might justly +pass for a barrenness of invention, the being reduced constantly +to borrow from them, but purely to point out a treasure, ever +open to the artist who shall know how to make a selection with +judgment and taste: always remembering, that the more +universally the fable is foreknown, the more easy will the task +be of rendering it intelligible in the execution. + +There are, doubtless, some parts of the antient mithology so +obscure, and so little known, that any plan taken from them, +would, to the generality of the spectators, be as great a +novelty, as if the composer had himself invented the subject. +There are others again of which all the interest is entirely +antiquated and exploded. + +As to the pieces of composition in the comic vein, there is +nothing like taking the subject of them from the most agreeable +and the most marking occurrences in real, current life; and the +stronger they are of the manners and practice of the times, the +nearer they will seem to the truth of nature, and the surer at +once to be understood, and to have a pleasing effect. + +And here I shall take the liberty of concluding with offering +two instances of poetic dances; the one in the serious, the +other in the comic vein, which are furnished rather as hints of +the improvable nature of such compositions, than in the least +meant for models of them. + + + The first has for title, + + VENUS and ADONIS. + +The decoration represents a wood intersected by several walks, +which form an agreeable perspective of distances. At the bottom +of the theatre, and in the middle, there is a grand walk, +terminated by a small mount, on the summit of which is seen a +colonnade, that forms the peristile of a temple. + +Venus, preceded by the Graces and several nimphs, comes out of +the temple, descends the mount, and advances to the front of the +wood; the simphony to be the most agreeable and melodious +imaginable, to announce the arrival of the goddess of love. + +The Graces and the nimphs open the action, and, by their +gestures and steps, express their endeavour to sooth the +impatience of Venus on the absence of Adonis. The agitation in +which she is, ought to be painted on her countenance, and +expressed by the discomposure of her steps, marking her anxiety +and desire of seeing her lover. + +The sound of the chace is heard, which betokens the approach of +Adonis. Joy breaks forth in the eyes, the gestures, and steps of +Venus and her train. + +Adonis, followed by several hunters, enters through one of the +side-walks of the wood. Venus runs to meet him, and seems to +chide him for having been so long away. He shows her the head of +a stag, which he has killed, and which is carried, as in +triumph, upon a hunting-pole, by one of the hunters; and offers +it, as the fruit of his chace, in homage to the goddess, who is +presently appeased, and graciously receives his offering. These +two lovers then express in a _pas-de-deux_, their mutual +satisfaction. + +The hunters mix with the Graces and nimphs, and form a dance +which characterises their harmony. + +Soon a noisy simphony, of military instrumental music, gives +warning of the arrival of Mars. Venus, Adonis, the Graces, the +nimphs, and hunters, show signs of uneasiness and terror. + +Mars, followed by several warriors, enters precipitately through +a walk opposite to that by which Adonis and the hunters came. +Venus separates from Adonis, having insisted on his getting out +of the way of the formidable god of war. He withdraws with his +train by the same way as he came. Mars, inraged with jealousy, +makes a shew of going to pursue Adonis. Venus stops him, and +employs, in her soothing and caresses, all the usual arts of +appeasing and blinding a jealous lover. She prevails at length, +not only to dissipate his passion, but to make him believe +himself in the wrong for having been jealous. + +The warriors address themselves to the Graces and nimphs, and +form together a dance expressive of a sort of reconciliation; +after which Mars and his train return by the same way as they +came. + +Venus, the Graces, and the nimphs, see them go, and when they +are got a little distance from them, testify their satisfaction +at having got so well over this interruption. + +Adonis returns alone: Venus springs to meet him, and gives him +to understand that he has now nothing to fear; that Mars will +not return in haste. + +In the same walk from which Adonis came, the hunters of his +train are seen pursuing a wild boar, that tries to escape just +by where the Graces and the nimphs are, who, in their fright, +attempt to fly from him: but he is already so near them, that +they do not know how to avoid him. Adonis runs hastily to pierce +the boar with his javelin; but the boar gets him himself down. +The hunters arrive at that instant, and kill the boar; but +Adonis is nevertheless mortally wounded, and expires. + +Here it is that the music and the dance are to display their +respective powers: the one by the most plaintive mournful +sounds; the other by gestures and steps in which grief and +despair are strongly characterised, ought to express the +profound affection into which Venus is plunged, and the share +the Graces, the nimphs, and the hunters take in it. + +Venus appears to implore the aid of all the gods, to restore her +lover to her. She bathes him with her tears, and those precious +tears have such a virtue, that Adonis appears all of a sudden +transformed into an anemony or wind-flower. + +The Graces and the nimphs express their surprise; but the +astonishment of the hunters should be yet more strongly marked. + +Venus herself is not the more comforted by this metamorphosis. +A flower cannot well supply the place of her lover. She turns +then her eyes towards the earth, and seems to invoke the power +of some deity inhabitant of its bowels. + +The flower disappears; the earth opens, and Proserpine rises out +of it, sitting on a chariot drawn by black horses, and having at +her side Adonis restored to life. + +It is natural to imagine the joy that is at this to be +expressed, by the simphony, by the gestures, and steps of Venus, +of the Graces, the nimphs, and hunters. + +Proserpine, getting out of her chariot, holding Adonis by the +hand, presents him to Venus. A _pas-de-trois_ or trio-dance +follows, in which the joy of the two lovers at seeing one +another again is to be characterised by all the expression, and +all the graces of the most pleasing dance, while Proserpine +testifies her satisfaction at having produced the re-union: +after which, she gets into her chariot, and re-descends into the +earth. + +The Graces, the nimphs, and hunters, express how highly they are +charmed at seeing Adonis again; Venus and Adonis form a +_pas-de-deux_, or duet-dance, in which the Goddess takes off her +girdle or _cestus_, and puts it upon Adonis, in the way of a +shoulder-belt, or as now the ribbons of most orders of +knight-hood are worn, which is to him a simbol of immortality. + +The Graces and nimphs testify to Adonis how pleased they are to +see him received into the number of the demi-gods: the hunters +pay their homage to him, and the whole concludes by a general +country-dance. + + + The other specimen has for title, + + The COQUETTE PUNISHED. + +The decoration represents a delicious garden, in which there +are several compartments, separated by canals and _jet-d'eaux_. +This scenery should exhibit the prospect of at once a +pleasure-garden, and a fruit-one. + +In the bottom of this perspective, there appear several +gardeners busied, some in pruning the hedges, others in sowing +and planting: more towards the front are seen, some women at +work, tying up the flowers, or cleaning them from pernicious +leaves; others setting roots in vases. All this forms the +scenical picture at the drawing up the curtain. + +A simphony mixed with the most rural instruments of music, +begins with soft and soothing airs. + +One of the female gardeners, more showishly dressed than the +others, and who is employed upon some necessary task about the +flower-vases, seems however more attentive to the admiring the +flowers, than to do her work: and as she is standing near a +canal, she is, when she imagines none are taking notice of her, +looking _at_ her figure in the watery mirror, admiring herself, +and adjusting her dress. Though she does all this by stealth, +her companions remark her coquettry, make signs to each other, +and point her out to the gardeners, who join the laugh at her, +without the coquet's perceiving it, who is too much taken up +with herself. + +The simphony should express by the sounds, as nearly as +possible, the mockery and bursts of laughter from the rest of +the gardeners. + +The coquet is sadly tempted to gather some of the flowers for +her own use, but dares not. In the moment that she is expressing +the greatest mind for it, enters a gardener, who is not one of +those employed at work, and who makes up to her, shows her a +fine nosegay, and signifies to her that he is come on purpose to +offer it her. The coquet immediately leaves off her work; and +this _pas-de-deux_ begins by all the little grimaces and false +coyness that the coquette opposes to her acceptance of the +nosegay, but which at the same time only the more betray the +mind she has for it. The gardener keeps pressing her to receive +it. Her companions, curious to see how this will end, advance +little by little towards them: the gardeners follow them; and +all surrounding the coquette and her swain, form a dance, in +which the men seem to excite the lover not to take a denial, and +the women want to engage the coquette to receive the nosegay; +but all this, with a bantering air: at length the coquette +accepts it, sticks some of the flowers in her hair, and the rest +in her bosom. Her companions and the gardeners, shew by their +signs, that they were very sure she would take the nosegay and +return to their, work. + +Another gardener now enters, on the side opposite to that on +which the first came, and advancing with an air of gaiety, +presents to the coquette, a small basket of fine fruit. In this +_pas-de-trois_, she a-fresh makes a great many faces, about +whether she will take the fruit or not. The swain of the nosegay +expresses his vexation at the intervention of this rival, but +the coquette manages so well that she pacifies his jealousy, and +accepts the other's basket of fruit, which she hangs upon her +arm. The gardeners do not quit their work, but they give to +understand by shrewd signs, what they think of the coquette's +game. + +It is easy to conceive, that the composer of this music will, in +the airs made for the _pas-de-deux_, and _pas-de-trois_, pay +attention to the different affections that are to be +characterised by the dance. + +While the gardener who brought the nosegay, and the other who +presented the fruit, and the coquette, are all seemingly in good +harmony, enters a third gardener, gallantly dressed, of a most +engaging figure, having in his hands some pink-and-silver +ribbons. + +The simphony should announce the arrival of this amiable +gardener, by an air all expressive of briskness and gay +gallantry. + +The gallant gardener approaches the coquette, and shews her +those glittering ribbons, which at once catch her eye, and give +her a violent longing for them. This new-comer takes notice of +the flowers in her hair and bosom, and of the fruit-basket hung +upon her arm. He gives her plainly to understand that she must +return all this to his rivals, if she has a mind to have the +ribbons. These begin to express their resentment; but the +coquette is so transported with the pleasure of bedizening +herself with those ribbons, that no regard can with-hold her: +she returns the flowers to the one, and the fruit to the other, +and takes the ribbons. The two gardeners, who see themselves +slighted in this manner, threaten him who has given the ribbons, +and throw themselves into attitudes of falling upon him; at +which he puts on a resolute look, and does not seem to fear +them. Her companions and the gardeners leave their work, and +advance some steps forwards, being curious to see how the scene +will end. + +The simphony should here express, by different airs, the +resentment of the two first swains, and the resentment of the +gallant gardener. + +The coquette uses her best arts to pacify the two angry +gardeners; but it is all in vain; they express their +indignation, and are determined to take their revenge upon their +rival. Just in the instant that they are preparing to attack +him, and that he is stoutly standing upon his defence, comes in +a female gardener, amiable, lively, but without any mark of +coquettry in her looks or dress; who, by the eager and +frightened air with which she interposes, and places herself +between the gallant gardener and the others, to prevent their +hurting him, discovers the tender regard she has for him. + +The two others, in respect to this charming girl, dare not +proceed; but they give her to understand that the coquette has +been so base as to return the flowers to the one, and the fruit +to the other, that she might get the ribbons from the gardener +whom she is protecting from their just resentment. + +At this the offended fair one expresses to her lover her +indignation, but does not the less for that make the others +sensible that she will not suffer them to hurt him. She snatches +next, from the coquette, the ribbons. The whole company round +testify their approbation of what she has done, even the two +gardeners, who were, the moment before, so angry, burst out +a-laughing for joy, to see the coquette so well punished, being +now left without flowers, fruit, or ribbons; at which she +withdraws, overwhelmed with confusion, and with the loud laugh +and rallying gestures of her companions and the other gardeners. + +The gay gardener, vexed at having been surprised by his +mistress, in an act of gallantry to another woman, wants to pass +it off to her as merely a scheme to amuse himself, and to laugh +at the coquette. At first she will not hear him; she treads the +ribbons under her feet, and is going away in a passion. He stops +her, and entreats her forgiveness with an air so moving and +penetrated, that, little by little, she is disarmed of her +anger, and pardons him, in sign of which she gives him her hand. + +There is no need of specifying here what the dance in action, +accompanied by the music, should express in this _pas-de-deux_; +it is too obvious. + +The gardeners, men and women, testify their rejoicing at this +reconciliation, and the dance becomes general. + + _FINIS._ + + + * * * * * + * * * * + * * * * * + + +SPELLING NOTES: + +The word "Salii" was consistently printed as Salü (u with umlaut); +it has been corrected for the e-text. The word "Præsul" was printed +in italics and may have read "Proesul" (oe for ae ligature); +it is here given the standard spelling. + +A number of words usually spelled with "y" are written with "i" in this +text: nimph, mith, simbol; and names such as Pilades, Hilas. + +The form "Hetruscans" is used consistently. + + +Some Variations and Anomalies: + + "character" is sometimes spelled "charracter" or "caracter" + "direct" and "dirrect" both occur + "withall" is more common than "withal" + "embarras" is consistently spelled with one "s" + "exagerate" is almost always spelled with one "g" + + "choregraphy" is always written without the second "o" + "gestual" is not an error for "gestural" but a different word + + +ERRORS, noted or corrected: + + _All duplications occur across a line break ("of / of ...")._ + + diverting the Romans from serious thoughts [thoughs] + twirling it, or with a pail to draw water [a a pail] + Voi gli correrete dietro [Voigli] + "Then handing you backwards + [_catchword has "There" for "Then"_] + specifying rules for its attainment [for for] + must be strictly forbidden [fobidden] + a vain silly hint of self-recomdation; + [_text unchanged: "recom/dation" at line break_] + nothing is more strongly inculcated [stongly] + Persons of every size or shape [of of] + inhabitants of the southren climates [_spelling unchanged_] + called by them _LasCheganças_, [_spacing unchanged_] + (not to mention Sadler's wells) [_capitalization unchanged_] + not being able to contradict the authorities + [_printed "be/ing" at line break without hyphen_] + adopted with a passionate fondness by the Romans [adoped] + the obstacles which arise out of the ground-work + [_printed "our of", corrected by hand to "out of"_] + and steps of Venus [of of] + + + + + +End of the Project Gutenberg EBook of A Treatise on the Art of Dancing, by +Giovanni-Andrea Gallini + +*** END OF THIS PROJECT GUTENBERG EBOOK A TREATISE ON THE ART OF DANCING *** + +***** This file should be named 24643-8.txt or 24643-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/4/6/4/24643/ + +Produced by Louise Hope, David Starner, Chuck Greif and +the Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by the Library of Congress) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: A Treatise on the Art of Dancing + +Author: Giovanni-Andrea Gallini + +Release Date: February 19, 2008 [EBook #24643] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK A TREATISE ON THE ART OF DANCING *** + + + + +Produced by Louise Hope, David Starner, Chuck Greif and +the Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by the Library of Congress) + + + + + + +</pre> + + +<div class = "mynote"> +<p>This text uses utf-8 (unicode) file encoding. If the apostrophes and +quotation marks in this paragraph appear as garbage, you may have an +incompatible browser or unavailable fonts. First, make sure that the +browserâs âcharacter setâ or âfile encodingâ is set to Unicode (UTF-8). +You may also need to change your browserâs default font.</p> + +<p>In addition to the ordinary page numbers, the printed text labeled +the recto (odd) pages of the first two leaves of each 8-page +signature. These will appear in the left margin as A, A2...</p> + +<p>Spelling and punctuation are generally unchanged. Some details are +noted <a href = "#spelling">at the end of the e-text</a>. A few +typographical errors have been corrected. They have been marked in the +text with <ins class = "correction" title = "like this">mouse-hover +popups</ins>.</p> +</div> + + +<!-- png 001 --> +<p class = "illustration"> +<a name = "frontispiece" id = "frontispiece"> +<img src = "images/pic01.png" width = "440" height = "273" +alt = "procession described in Asia chapter"></a> +</p> + + + +<div class = "titlepage"> + +<!-- png 002 --> +<h1 class = "four">A</h1> + +<h1 class = "two extended">TREATISE</h1> + +<h1 class = "six extended">ON THE</h1> + +<h1 class = "one extended">ART</h1> + +<h1 class = "six extended">OF</h1> + +<h1 class = "two"><span class = "extended">DANCIN</span>G.</h1> + +<hr> + +<h1 class = "four">By <i>Giovanni-Andrea Gallini</i>.</h1> + +<hr> + +<h1 class = "four"><i><span class = "extended">LONDO</span>N</i> :</h1> + +<h1 class = "four"> +Printed for the <span class = "extended">AUTHO</span>R ;</h1> + +<h1 class = "five"> +And Sold by <span class = "smallcaps">R. Dodsley</span>, in +<i>Pall-Mall</i>; <span class = "smallcaps">T. Becket</span><br> +and <span class = "smallcaps">P. A. De Hondt</span>, in the +<i>Strand</i>; <span class = "smallcaps">J. Dixwell</span>,<br> +in <i>St. Martinâs-Lane</i>, near <i>Charing-Cross</i>;</h1> + +<h1 class = "six extended">AND</h1> + +<h1 class = "five">At Mr. <span class = "smallcaps">Bremner</span>âs +Music Shop, opposite<br> +<i>Somerset-House</i>, in the <i>Strand</i>.</h1> + +<h1 class = "four">MDCCLXXII.</h1> + +</div> + +<p class = "lines"> </p> + +<!-- png 003 --> +<a name = "contents" id = "contents"> </a> + +<h1 class = "five extended">THE</h1> + +<h1 class = "two extended">TABLE</h1> + +<h1 class = "five extended">OF</h1> + +<h1 class = "three"><span class = "extended">CONTENT</span>S.</h1> + +<table class = "toc" summary = "table of contents"> +<tr> +<td> +<p><a href = "#antient"><i>Of the Antient Dance</i></a></p> +</td> +<td class = "number">p. 17</td> +</tr> +<tr> +<td> +<p><a href = "#general"><i>Of Dancing in General</i></a></p> +</td> +<td class = "number">49</td> +</tr> +<tr> +<td> +<p><a href = "#perfection"><i>Of sundry Requisites for the Perfection of +the Art of Dancing</i></a></p> +</td> +<td class = "number">89</td> +</tr> +<tr> +<td> +<p><a href = "#utility"><i>Some Thoughts on the Utility of Learning to +Dance, and especially upon the Minuet</i></a></p> +</td> +<td class = "number">139</td> +</tr> +<tr> +<td> +<p><a href = "#world"><i>Summary Account of various Kinds of Dances in +different Parts of the World</i></a></p> +</td> +<td class = "number">181</td> +</tr> +<tr> +<td> +<p><a href = "#pantomime"><i>Of Pantomimes</i></a></p> +</td> +<td class = "number">227</td> +</tr> +</table> + +<div class = "maintext"> + +<span class = "pagenum">ix</span> +<span class = "folionum">A</span> +<!-- png 004 --> +<h3><a name = "advert" id = "advert">ADVERTISEMENT.</a></h3> + + +<p><span class = "dropcap">W</span><span class = "firstword">hat</span> +I have here to say is rather in the nature of an apology than of a +preface or advertisement. The very title of a Treatise upon the art of +dancing by a dancing-master, implicitly threatens so much either of the +exageration of the profession, or of the recommendation of himself, and +most probably of both, that it cannot be improper for me to +<span class = "pagenum">x</span> +<!-- png 005 --> +bespeak the readerâs favorable precaution against so natural a +prejudice. My principal motive for hazarding this production is, +indisputably, gratitude. The approbation with which my endeavours to +please in the dances of my composition have been honored, inspired me +with no sentiment so strongly as that of desiring to prove to the +public, that sensibility of its favor; which, in an artist, is more than +a duty. It is even one of the means of obtaining its favor, by its +inspiring that aim at perfection, +<span class = "pagenum">xi</span> +<span class = "folionum">A2</span> +<!-- png 006 --> +in order to the deserving it, which is unknown to a merely mercenary +spirit. Under the influence of that sentiment, it occurred to me, that +it might not be unpleasing to the public to have a fair state of the +pretentions of this art to its encouragement, and even to its esteem, +laid before it, by a practitioner of this art. In stating these +pretentions, there is nothing I shall more avoid than the enthusiasm +arising from that vanity or self-conceit, which leads people into the +ridicule of over-rating the +<span class = "pagenum">xii</span> +<!-- png 007 --> +merit or importance of their profession. I shall not, for example, +presume to recommend dancing as a virtue; but I may, without +presumption, represent it as one of the principal graces, and, in the +just light, of being employed in adorning and making Virtue amiable, who +is far from rejecting such assistence. In the view of a genteel +exercise, it strengthens the body; in the view of a liberal +accomplishment, it visibly diffuses a graceful agility through it; in +the view of a private or public +<span class = "pagenum">xiii</span> +<!-- png 008 --> +entertainment, it is not only a general instinct of nature, expressing +health and joy by nothing so strongly as by dancing; but is susceptible +withall of the most elegant collateral embellishments of taste, from +poetry, music, painting, and machinery.</p> + +<p>One of the greatest and most admired institutors of youth, whose fine +taste has been allowed clear from the least tincture of pedantry, +Quintilian recommends especially the talent of dancing, as conducive +<span class = "pagenum">xiv</span> +<!-- png 009 --> +to the formation of orators; not, as he very justly observes, that an +orator should retain any thing of the air of a dancing-master, in his +motion or gesture; but that the impression from the graces of that art +should have insensibly stoln into his manner, and fashioned it to +please.</p> + +<p>Even that austere critic, Scaliger, made the principles of it so far +his concern, that he was able personally to satisfy an Emperorâs +curiosity, as to the nature and meaning +<span class = "pagenum">xv</span> +<!-- png 010 --> +of the Pirrhic dance, by executing it before him.</p> + +<p>All this I mention purely to obviate the prepossession of the art +being so frivolous, so unworthy of the attention of the manly and grave, +as it is vulgarly, or on a superficial view, imagined. It is not high +notions of it that I am so weak as to aim at impressing; all that I wish +is to give just ones: it being perhaps as little eligible, for want of +consideration, to see less in this art +<span class = "pagenum">xvi</span> +<!-- png 011 --> +than it really deserves, than, from a fond partiality for it, to see +more than there is in it.</p> + + +<p class = "lines"> </p> + +<span class = "pagenum">17</span> +<span class = "folionum">B</span> +<!-- png 012 --> + +<a name = "antient" id = "antient"> </a> + +<h1 class = "four">A</h1> +<h1 class = "two extended">TREATISE</h1> +<h1 class = "five extended">ON THE</h1> +<h1 class = "three"><span class = "extended">ART</span> of <span class = +"extended">DANCIN</span>G.</h1> + +<p class = "oneline"> </p> + +<h4><i>Of the <span class = "smallcaps">Antient</span> Dance.</i></h4> + + +<p><span class = "dropcap three">I</span><span class = +"firstword">n</span> +most of the nations among the antients, dancing was not only much +practised, but constituted not even an inconsiderable part of their +religious rites and ceremonies. The accounts we have of the sacred +dances, of the Jews especially, as well as of other nations, evidently +attest it.</p> + +<span class = "pagenum">18</span> +<!-- png 013 --> +<p>The Greeks, who probably took their first ideas of this art, as they +did of most others, from Egypt, where it was in great esteem and +practice, carried it up to a very high pitch. They were in general, in +their bodies, extremely well conformed, and disposed for this exercise. +Many of them piqued themselves on rivalling, in excellence of execution, +the most celebrated masters of the art. That majestic air, so natural to +them, while they preserved their liberty, the delicacy of their taste, +and the cultivated agility of their limbs, all qualified them for making +an agreeable figure in this kind of entertainment. Nothing could be more +graceful than the motion of their arms. They did not so much regard the +nimbleness and capering with the legs and feet, on which we lay so great +a stress. Attitude, +<span class = "pagenum">19</span> +<span class = "folionum">B2</span> +<!-- png 014 --> +grace, expression, were their principal object. They executed scarce any +thing in dancing, without special regard to that expression which may be +termed the life and soul of it.</p> + +<p>Their steps and motions were all distinct, clear, and neat; +proceeding from a strength so suppled, as to give their joints all the +requisite flexibility and obedience to command.</p> + +<p>They did not so much affect the moderately comic, or half serious, as +they did the great, the pompous, or heroic stile of dance. They spared +for no pains nor cost, towards the perfection of their dances. The +figures were exquisite. The least number of the figurers were forty or +fifty. Their dresses were magnificent and in taste. Their decorations +were sublime. A +<span class = "pagenum">20</span> +<!-- png 015 --> +competent skill in the theatrical, or actorâs art, and a great one in +that of dancing, was necessary for being admitted into the number of +figurers. In short, every thing was in the highest order, and very fit +to prove the mistake of those who imagine that the dances are, in operas +for example, no more than a kind of necessary expletive of the intervals +of the acts, for the repose of the singers.</p> + +<p>The Greeks considered dancing in another point of light; all their +festivals and games, which were in greater number than in other +countries, were intermixed and heightened with dances peculiarly +composed in honor of their deities. From before their altars, and from +their places of worship, they were soon introduced upon their theatres, +to which they were undoubtedly a prior invention. The strophe, +antistrophe, +<span class = "pagenum">21</span> +<!-- png 016 --> +and epode, were nothing but certain measures performed by a chorus of +dancers, in harmony with the voice; certain movements in dancing +correspondent to the subject, which were all along considered as a +constitutive part of the performance. The dancing even governed the +measure of the stanzas; as the signification of the words strophe and +antistrophe, plainly imports, they might be properly called danced +himns. The truth is, that tragedy and comedy, made also originally to be +sung, but which, in process of time, upon truer principles of nature, +came to be acted and declaimed, were but super-inductions to the +choruses, of which, in tragedy especially, the tragic-writers, could not +well get rid, as being part of the religious ceremony.</p> + +<span class = "pagenum">22</span> +<!-- png 017 --> +<p>This solves, in a great measure, the seeming absurdity of their +interference with the subject of the drama: being deemed so +indispensable a part of the performance, that the scene itself was +hardly more so: consequently, there was no secret supposed to be more +violated by speaking before them, than before the inanimate scene +itself. But what was at least excusable, on this footing, in the +antients, would be an unpardonable absurdity in the moderns.</p> + +<p>AthenÊus, who has left us an account of many of the antient dances, +as the <i>Mactrismus</i>, a dance entirely for the female sex, the +<i>Molossic</i>, the Persian <i>Sicinnis</i>, &c. observes, that in +the earliest ages of antiquity, dancing was esteemed an exercise, not +only not inconsistent with decency and gravity, +<span class = "pagenum">23</span> +<!-- png 018 --> +but practised by persons of the greatest worth and honor. Socrates +himself, learnt the art, when he was already advanced in years.</p> + +<p>Cautious as I am of using a false argument, I should say, that +the making dances a part of their religious ceremonies, was a mark of +their attributing even a degree of sanctity to them; but that I am aware +there were many things that found a place in their festivals and games, +which, among those heathens, were so far from having any thing of sacred +in them, that they did not even show a respect for common decency or +morality.</p> + +<p>But as to dancing, it may be presumed, that that exercise was +considered as having nothing intrinsically in it, contrary to purity of +manners or chastity, +<span class = "pagenum">24</span> +<!-- png 019 --> +since it made a considerable part of the worship paid to the presiding +goddess of that virtue, Diana, in the festivals consecrated to her. Her +altar was held in the highest veneration by the antients. Temples of the +greatest magnificence were erected in honor of this goddess. Who does +not know the great Diana of Ephesus? The assemblies in her temples were +solemn, and at stated periods. None were admitted but virgins of the +most spotless character. They executed dances before the altar, in honor +of the deity, with a most graceful decency; invoking her continual +inspiration of pure thoughts, and her protection of their chastity. +Those of them, who distinguished themselves above the rest, by superior +graces of performance, received rewards not only from the priestess of +Diana, but from their own parents. Nor were the young +<span class = "pagenum">25</span> +<span class = "folionum">C</span> +<!-- png 020 --> +men but curiously inquisitive, as to who particularly excelled on these +occasions. Distinction in these dances was a great incentive to love, +and produced many happy unions.</p> + +<p>Such of these virgins as married, retained, in quality of wives, such +a veneration for this sort of worship, that they formed an assembly of +matrons, who on set days, performed much the same devotion, imploring, +in concert, of the goddess, a continuance of her gifts, and of that +spirit of purity, the fittest to make them edifying examples of conjugal +love and maternal tenderness.</p> + +<p>Innocent amusements having been ever reputed allowable, and even +necessary expedients for relaxing both mind +<span class = "pagenum">26</span> +<!-- png 021 --> +and body from the fatigue of serious or robust occupations, Diana had +her temples, especially in countries proper for hunting, where the +parents used to resort with their children, and encouraged them to +partake of the diversions in which dancing had a principal share.</p> + +<p>The antients have left us an unaccountable description of the +Bacchanalians, whose deportment forms a striking contrast to the decent +regularity observed in the worship of Diana. The Bacchanalians strolled +the country, and, in the course of that vagabond scheme, erected +temporary huts, their residence being always short wherever they came. +In their intoxication they seemed to defy all decency and order; +affecting noise, and a kind of tumultuous, boisterous joy, in which +there could never be any true pleasure or harmony. +<span class = "pagenum">27</span> +<span class = "folionum">C2</span> +<!-- png 022 --> +They were, in the licentiousness of their manners, a nuisance to +society; which they scandalized and disturbed by their riots, their mad +frolics, and even by their quarrels. Their heads and waists were bound +with ivy, and in their hands they brandished a thirsus, or kind of +lance, garnished with vine-leaves. When by any foulness of weather they +were driven into their huts, they passed their time in a kind of noisy +merriment, of shoutings and dithirambic catches, accompanied by +timpanums, by cymbals, by sistrums, and other instruments, in which +noise was more consulted than music, and corresponded to the sort of +time they kept to them, in the frantic agitations of their Bacchic +enthusiasm. The Corybantes were called so from their disorderly dancing +as they went along.</p> + +<span class = "pagenum">28</span> +<!-- png 023 --> +<p>The Pirrhic dance differs not much from Platoâs military dance. The +invention of it is most generally attributed to Pirrhus, son of +Achilles; at least this opinion is countenanced by Lucian, in his +treatise upon dancing; though it is most probably derived from the +Memphitic dance of Egypt. The manner of it was to dance armed to the +sound of instruments. Xenophon takes notice of these dances in armour, +especially among the Thracians, who were so warlike a people. In their +dance to music, they exhibited the imitation of a battle. They executed +various evolutions; they seemed to wound each other mortally, some +falling down as if they had received their death-wound; while those who +had given the blow sung to the song of triumph, called +<span class = "pagenum">29</span> +<!-- png 024 --> +<i>Sitalia</i>, and then withdrew, leaving the rest to take up their +seeming dead comrade, and to make preparations for his mock-funeral, in +the pantomime stile of dance. He has also described the dance of the +Magnesians, in which they represented their tilling the ground, in an +attitude, and in readiness for defence, against expected moroders. They +put themselves in a posture of protecting their plough, with other +motions expressive of their resolution and courage, all adapted to the +sound of the flute. The moroders arrive, prevail, and bind the +husbandmen to their plough, and this terminates the dance. Sometimes the +dance varies, and the husbandmen prevailing, bind the moroders.</p> + +<p>The same author mentions also the Mysians who danced in armour, and +used a particular sort of <i>peltÊ</i> or targets, +<span class = "pagenum">30</span> +<!-- png 025 --> +on which they received the blows. In short, these armed dances had +different names bestowed upon them, according to the countries in which +they were used.</p> + +<p>The Egyptians and Greeks were extravagantly expensive in their public +festivals, of which, dancing always constituted a considerable part.</p> + +<p>The Romans, among whom the more coarse and licentious dances derived +from the Hetruscans, had at first prevailed, came at length to adopt the +improvements of taste, and consequently of decency and regularity; the +festivals, of which dancing was to compose the principal entertainment, +were adapted to the season of the year.</p> + +<p>Every autumn, for example, it was a constant custom, for those who +could +<span class = "pagenum">31</span> +<!-- png 026 --> +afford the expence, to build a magnificent saloon in the midst of a +delightful garden. This ball-room was decorated in the most brilliant +manner: At one end of the ball-room stood a statue of Pomona, surrounded +with a great number of baskets made in the neatest manner, and full of +all the finest fruits that the season produced. These, with the statue, +were placed under a canopy hung round with clusters of real grapes and +vine-leaves, so artfully disposed as to appear of the natural growth. +These served to refresh both the eye and mouth. The performers of the +ball went up to this part of the saloon, in couples, processionally, to +avoid confusion. Each youth took care to help his partner to what she +liked best, and then returned, in the same regular manner, to the other +end of the room, when they served what remained to the rest of +<span class = "pagenum">32</span> +<!-- png 027 --> +the spectators. After which the ball immediately began.</p> + +<p>I was shown, by an Italian painter, a curious picture in his +possession, of the antients celebrating one of this kind of festivals. +The attitudes into which the figures were put, and which appeared to +have been drawn for the conclusion of the ball, were beautiful beyond +imagination.</p> + +<p>In winter there were balls in the city of Rome; for which the +appropriated apartments were commodious; and where the illuminations +were so great, that notwithstanding the usual rigor of that season, the +room was sufficiently warm.</p> + +<p>Round the room there were tables and stands, on which was placed the +desert; and there were generally twelve persons +<span class = "pagenum">33</span> +<span class = "folionum">D</span> +<!-- png 028 --> +chosen to distribute the refreshments, and do the honors of the ball. +The whole was conducted with the utmost decency and regularity, while +Rome preserved her respect for virtue and innocence of manners.</p> + +<p>By the best accounts procurable, their serious dances were properly +interspersed and inlivened with comic movements. Their first steps were +solemn and majestic, and, by couples they turned under each otherâs +arms; and when the whole thus turned together, they could not but afford +a pleasing sight. After which they resumed the serious again, and so +proceeded alternately till they concluded the dance.</p> + +<p>In the spring, the country became naturally the scene of their +dances. The best companies resorted, especially to +<span class = "pagenum">34</span> +<!-- png 029 --> +such villages as were noted for the most pure and salubrious springs of +water. If the weather was mild, they danced upon an open green; if not, +they formed a large covered pavilion, in the middle of which they placed +the statue of Flora, ornamented with flowers, round which they performed +their dances. First the youth, then those of riper years; and lastly, +those of a more advanced age. After each of these divisions had danced +separately, they all joined and formed one great circle. The most +distinguished for excellence in the performing these dances, had for +reward the privilege of taking a flower, with great solemnity, from the +statue of the goddess. This was esteemed so high an honor, that it is +scarce imaginable how great an emulation this inspired; as this +privilege was to be obtained by the impartial determination of the best +judges.</p> + +<span class = "pagenum">35</span> +<span class = "folionum">D2</span> +<!-- png 030 --> +<p>Summer was however the season in which the pleasure of dancing was +carried to the highest pitch. For the scene of it, they chose a shady +and delightful part of a wood, where the sunshine could not incommode +them, and where care was taken to clear the ground underfoot, for their +performance. A young lady of the most eminence for rank and beauty +was chosen to personate the goddess Ceres. Her dress was of an exquisite +taste, ornamented with tufts of gold, in imitation of wheat-sheaves: +while her head was decked with a kind of crown composed of spangles, +representing the ears of ripe corn, and perhaps, for the greater +simplicity, of the natural grain itself. Those who danced round her, all +wore wreaths of the choicest flowers, and were dressed in white, with +their hair flowing loose, in the stile of wood-nimphs. On this +<span class = "pagenum">36</span> +<!-- png 031 --> +occasion, there was always a great croud of spectators; and the joy that +appeared in each parentâs eye, when their daughters were applauded, made +no small part of the entertainment. As garlands, and wreaths of flowers +composed the principal ornament of the persons who performed in this +dance, such a respect was had for it by the people in general, that they +abstained from gathering any flowers, till after this festival was +over.</p> + +<p>I have myself seen a drawing of this rural dance, in which I counted +no less than sixty performers.</p> + +<p>The celebrated Pilades is mentioned to have been the great improver +of this dance. He excluded from it all jumping or capering, for fear of +violating or of disfiguring the graceful regularity of +<span class = "pagenum">37</span> +<!-- png 032 --> +the whole, which he considered as the most essential towards preserving +a pleasing effect.</p> + +<p>Not less than two months were the usual time of preparation for this +dance, to which there was always a confluence of persons from all the +neighbouring parts. But none were allowed the liberty of dancing, except +persons of the first rank and distinction in the country; the whole +being regulated by some person acting in quality of <i>choragus</i>, or +director of the dance.</p> + +<p>The reign of Augustus CÊsar was undoubtedly the epoch, of the +establishment in Rome, of the art of dancing in its greatest splendor. +Cahusac, an ingenious French author, in his historical treatise of this +art, assigns to that emperor a deep political design in giving it +<span class = "pagenum">38</span> +<!-- png 033 --> +so great an encouragement as he undoubtedly did; that of diverting the +Romans from serious <ins class = "correction" title = "text reads âthoughsâ">thoughts</ins> on the loss of their liberty; especially in +fomenting a dissention among them, about so frivolous an object as the +competition between those two celebrated dancers, Pilades and Bathillus. +That something of this sort might be the design of that emperor, is not +to be doubted; but Cahusac, over-heated, perhaps, by his subject, +exagerates the importance of it beyond the bounds of cool reason. So +much however is true, that those two dancers were extremely eminent in +their art, and may be esteemed the founders of that theatrical dancing, +or pantomime execution, for which it is not sufficient to be only a good +dancer, but there is also required the being a good actor; in both which +lights, these two artists were allowed to excel, Pilades in the +<span class = "pagenum">39</span> +<!-- png 034 --> +serious or tragic dance, Bathillus in the comic.</p> + +<p>These also founded a kind of academies of dancing, which produced +several eminent artists, but none that ever equalled themselves in +performance or reputation. What history records of them, and of their +powers, as well as of that theatrical pantomime dance, of which they +were the introductors, in Rome, would exceed belief, if it was not +attested by such a number of authors as leave no room to think it an +imposition.</p> + +<p>But as to dancing itself, either considered in a religious, or in +only an amusive light, it may be pronounced to have been among the +Romans, as old as Rome itself, and like that rude in its beginnings, but +to have received gradual +<span class = "pagenum">40</span> +<!-- png 035 --> +improvement, as fast as the other arts and sciences gained ground.</p> + +<p>Processional dances were also much in vogue among that people. They +had especially an anniversary ceremony or procession, called, from its +pre-eminence, singly, <span class = "smallcaps">Pompa</span>, or the +Pomp.</p> + +<p>It was celebrated, in commemoration of a victory obtained over the +Latians, the news of which was said to have been brought by Castor and +Pollux, in person. This festival, was, at first, consecrated to Jupiter, +Juno, and Minerva. But it was afterwards made more general, and +celebrated in honor of all the Gods. This procession was in the month of +September. It began at the temple of <i>Jupiter Capitolinus</i>, +proceeded to the <i>Forum Romanum</i>, from thence to the +<i>Velabrum</i>, and +<span class = "pagenum">41</span> +<span class = "folionum">E</span> +<!-- png 036 --> +afterwards to the <i>Grand Circus</i>. You have in Onuphrius Panvinius, +the order of this procession at large, of which the directors were the +chief magistrates of the city: the sons of the nobility leading the van. +Those of the Equestrian order, whose fathers were worth a hundred and +fifty thousand sesterces, followed on horseback. It would be here +foreign from my purpose to give the whole description of this +procession, and of those who composed it. It is sufficient to observe, +that processional dancing constituted a considerable part of it. The +Pirrhic dance, executed to a martial air, called the +<i>Proceleumaticus</i>, employed the men of arms. These were followed by +persons who danced and leaped, in the manner of Satirs, some of them in +the dress ascribed to <i>Silenus</i>, attended by performers on +instruments adapted to +<span class = "pagenum">42</span> +<!-- png 037 --> +that character of dance. These made the comic part of the procession, +and the persons representing Satirs, took care to divert the people by +leaps, by a display of agility, and by odd uncouth attitudes, such as +were in the character they had assumed. There were also in another part +of the procession twelve <i>Salii</i>, or priests of Mars, so called +from their making sacred dances in honor of that God, the most +considerable part of their worship; these were headed by their master or +<i>PrÊsul</i>, the leader of the dance, a term afterwards assumed +by the Christian Prelates. There were also the <i>Salian</i> virgins, +besides another division of the <i>Salii</i> called <i>Agonenses</i> or +<i>Collini</i>.</p> + +<p>Nor is the processional dancing any thing surprizing; concerning that +among the heathens, and even among the +<span class = "pagenum">43</span> +<span class = "folionum">E2</span> +<!-- png 038 --> +Hebrews, they were greatly in use. Who does not know that Davidâs +dancing before the arch was but in consequence of its being one of the +religious ceremonies on that occasion?</p> + +<p>The heathens used especially to form dances before their altars, and +round the statues of their gods. The <i>Salii</i>, or priests of Mars, +whose dances were so framed as to give an idea of military exercise and +activity, threw into their performance steps so expressive and majestic, +as not only to defend their motions and gestures from any idea of levity +and burlesque, which it is so natural for the moderns to associate with +that of dancing, but even to inspire the beholders with respect and a +religious awe. The priests chosen for this function, were always persons +of the noblest aspect, suitable to the dignity +<span class = "pagenum">44</span> +<!-- png 039 --> +of the sacerdotal ministry. And so little needs that dignity of the +heathen ministry be thought to be wounded or violated by the act of +dancing, in religious worship, that dances were actually in use among +the primitive Christians, in their religious assemblies. There was a +place in their churches, especially allotted for these consecrated +dances, upon solemn festivals, which even gave the name of <i>choir</i> +to those parts of the church now only appropriated to the reading of the +divine service, and to singing. In Spain, it long remained an +established custom for Christians to assemble in the church-porches, +where, in honor of God, they sang sacred himns, and to the tunes of +them, performed dances, that were extremely pleasing, for the decent and +beautiful simplicity of the execution. All which I mention purely to +salve that inconsistence, +<span class = "pagenum">45</span> +<!-- png 040 --> +of the levity of dancing with the gravity of divine worship. An +inconsistence of which the antients had no idea; since, on that +occasion, they almost constantly joined dancing to singing.</p> + +<p>They are both natural expressions of joy and festivity; and as such +they thought neither of them improper in an address of gratulation to +the deity, whom they supposed rather pleased at such innocent oblations +of the heart, exulting in his manifold bounties and blessings.</p> + +<p>From before the altar, among the heathens, the admission of dances +upon the theatre, was rather an extension of their power to entertain, +than a total change of their destination; since the theatres themselves +were dedicated to +<span class = "pagenum">46</span> +<!-- png 041 --> +the worship <i>of the heathen deities</i>, of which their making a part +was one of the principal objections of the primitive Christians to the +theatres themselves. However, it was from the theatres that dancing +received its great and capital improvement.</p> + +<p>As an exercise, the virtue of dancing was well known to the antients, +for its keeping up the strength and agility of the human body. There is +a remark which I submit to the consideration of the reader, that it is +not impossible but that the antient Romans, who were, generally +speaking, low in stature, and yet were eminently strong, owed that +advantage to their cultivation of bodily exercise. This kept their limbs +supple, and rendered their constitution stout and hardy. Now, very +laborious exercises would rather wear out +<span class = "pagenum">47</span> +<!-- png 042 --> +the machine than they would invigorate it, if there was not a due +relaxation, which should not, however, be too abrupt a transition from +the most fatiguing exercises to a state of absolute rest. Whereas that +dancing, of which they were so fond, afforded them, not only a pleasing +employ of vacant hours, but, withall, in its keeping up the pliability +of their limbs, made them find more ease in the application of +themselves to more athletic, or to more violent exercises, either of war +or of the chace: while all together bred that firmness of their muscles, +that robust compactness and vigor of body, which enabled them to +atchieve that military valor, to which they owed all their conquests and +their glory.</p> + +<p>Certain it is then, that among the Romans, even in the most martial +days of +<span class = "pagenum">48</span> +<!-- png 043 --> +that republic, the art of dancing was taught, as one of the points of +accomplishment necessary to the education of youth; and was even +practised among the exercises of the Circus. I need not observe, +that there were also various abuses of dancing, which they very justly +accounted dishonorable to those who practised them, whether in public or +private. These, in the degenerate days of Rome, grew to an enormous +excess. But I presume no one will judge of an art by the abuse that may +be made of it.</p> + + +<p class = "lines"> </p> + +<span class = "pagenum">49</span> +<span class = "folionum">F</span> +<!-- png 044 --> + +<a name = "general" id = "general"> </a> +<h1 class = "five extended">OF</h1> +<h1 class = "two extended">DANCING</h1> +<h1 class = "two smallcaps">In General.</h1> + + +<p><span class = "dropcap">T</span><span class = "firstword">his</span> +is one of the arts, in which, as in all the rest, the study of nature is +especially to be recommended. She is an unerring guide. She gives that +harmony, that power of pleasing to the productions of those who consult +her, which such as neglect her must never expect. They will furnish +nothing but monsters and discordances; or, at the best, but sometimes +lucky hits, without meaning or connexion.</p> + +<span class = "pagenum">50</span> +<!-- png 045 --> +<p>All the imitative arts acknowledge this principle.</p> + +<p>In Poetry, a happy choice of the most proper words for expressing the +sentiments and images drawn from the observation of nature, constitutes +the principal object of the poet.</p> + +<p>In Painting, the disposition of the subject, the resemblance of the +coloring to that of the original, in short the greatest possible +adherence to nature, is the merit of that art.</p> + +<p>In Music, that expression of the passions which should raise the same +in the hearer, whether of joy, affliction, tenderness, or pity, can +never have its effect without marking and adopting the respective sounds +of each passion as they are furnished by nature.</p> + +<span class = "pagenum">51</span> +<span class = "folionum">F2</span> +<!-- png 046 --> +<p>In Dancing, the attitudes, gestures, and motions derive also their +principle from nature, whether they caracterise joy, rage, or affection, +in the bodily expression respectively appropriated to the different +affections of the soul. A consideration this, which clearly proves +the mistake of those, who imagine the art of dancing solely confined to +the legs, or even arms; whereas the expression of it should be +pantomimically diffused through the whole body, the face especially +included.</p> + +<p>Monsieur Cahusac, in his ingenious treatise on this art, has very +justly observed, that both singing and dancing must have existed from +the primeval times; that is to say, from the first of the existence of +human-kind itself.</p> + +<span class = "pagenum">52</span> +<!-- png 047 --> +<p> +<span class = "sidequote">â</span>Observe, says he, the tender children, +from their entry into the world, to the moment in which their reason +unfolds itself, and you will see that it is primitive nature herself, +<span class = "sidequote">â</span>that manifests herself in the sound of +their voice, in the features of their face, in their looks, in all their +motions. +<span class = "sidequote">â</span>Mark their sudden paleness, their +quick contortions, their piercing cries, when their soul is affected by +a sensation of pain. +<span class = "sidequote">â</span>Observe again, their engaging smile, +their sparkling eyes, their rapid motions, when it is moved by a +sentiment of pleasure. +<span class = "sidequote">â</span>You will then be clearly persuaded of +the principles of music and dancing +<span class = "sidequote">â</span>proceeding from the beginning of the +world down to us.â +</p> + +<span class = "pagenum">53</span> +<!-- png 048 --> +<p>Certain it is, that even in children, the motions and gesture, +strongly paint nature; and their infantine graces are not unworthy the +remarks of an artist, who will be sure to find excellence in no way more +obtainable than by a rational study of her, where she is the purest.</p> + +<p>The cultivation of the natural graces, and a particular care to shun +all affectation, all caricature, unless in comic or grotesque dances, +cannot be too much recommended to those who wish to make any figure in +this art. It is doing a great injustice to it, to place its excellence +in capers, in brilliant motions of the legs, or in the execution of +difficult steps, without meaning or significance, which require little +more than strength and agility.</p> + +<span class = "pagenum">54</span> +<!-- png 049 --> +<p>I have already observed, that the Greeks, who were so famous for this +art, as indeed for most others, which is no wonder, since all the arts +have so acknowledged an affinity with each other, studied especially +grace and dignity in the execution of their dances. That levity of +capering, that nimbleness of the legs, which we so much admire, held no +rank in their opinion. They were inconsistent with that clearness of +expression, and neatness of motion, of which they principally made a +point. The great beauty of movements, or steps, is, for every one of +them to be distinct; not huddled and running into one another, so as +that one should begin before the precedent one is finished. This so +necessary avoidance of puzzled or ambiguous motion, can only be +compassed by an attention to significance and justness of +<span class = "pagenum">55</span> +<!-- png 050 --> +action. This simplicity will arise from sensibility, from being actuated +by feelings. No one has more than one predominant actual feeling at a +time; when that is expressed clearly, the effect is as sure as it is +instantaneous. The movement it gives, neither interferes with the +immediately precedent, nor the immediately following one, though it is +prepared or introduced by the one, and prepares or introduces the +other.</p> + +<p>This the Greeks could the better effectuate, from their preference of +the sublime, or serious stile; which, having so much less of quickness +or rapidity of execution, than the comic dance, admits of more attention +to the neat expressiveness of every motion, gesture, attitude, or +step.</p> + +<span class = "pagenum">56</span> +<!-- png 051 --> +<p>As to the great nicety of the Greeks, in the ordering and disposing +their dances, I refer to what I have before said, for its being to +be observed, how much at present this art is fallen short of their +perfection in it, and how difficult it must be for a composer of dances +to produce them in that masterly manner they were used to be performed +among the antients. Let his talent for invention or composition be never +so rich or fertile, it will be impossible for him to do it justice in +the display, unless he is seconded by performers well versed in the art, +and especially expert in giving the expression of their part in the +dance; not to mention the collateral aids of music, machinery, and +decoration, which it is so requisite to adapt to the subject.</p> + +<span class = "pagenum">57</span> +<span class = "folionum">G</span> +<!-- png 052 --> +<p>But where all these points so necessary are duly supplied, and +dancing is executed in all its brilliancy, it would be no longer looked +upon, especially at the Opera, as merely an expletive between the acts, +just to afford the singers a little breathing time. The dances might +recover their former lustre, and give the public the same pleasure as to +the Greeks and Romans, who made of them one of their most favorite +entertainments, and carried them up to the highest pitch of taste and +excellence.</p> + +<p>The Romans seem to have followed the Greeks, in this passion for +dancing; and the theatrical dances, upon the pantomime plan, were in +Rome pushed to such a degree of perfection as is even hard to conceive. +Whole tragedies plaid, act by act, scene by scene, in pantomime +expression, give an idea of this +<span class = "pagenum">58</span> +<!-- png 053 --> +art, very different from that which is at present commonly received.</p> + +<p>Every step in dancing has its name and value. But not one should be +employed in a vague unmeaning manner. All the movements should be +conformable to the expression required, and in harmony with one another. +The steps regular, and properly varied, with a graceful suppleness in +the limbs, a certain strength, address, and agility; just positions +exhibited with ease, delicacy, and above all, with propriety, +caracterise the masterly dancer, and in their union, give to his +execution its due beauty. The least negligence, in any of these points, +is immediately felt, and detracts from the merit of the performance. +Every step or motion that is not natural, or has any thing of stiffness, +constraint, or affectation, is instinctively perceived +<span class = "pagenum">59</span> +<span class = "folionum">G2</span> +<!-- png 054 --> +by the spectator. The body must constantly preserve its proper position, +without the least contortion, well adjusted to the steps; while the +motion of the arms, must be agreeable to that of the legs, and the head +to be in concert with the whole.</p> + +<p>But in this observation I pretend to no more than just furnishing a +general idea of the requisites towards the execution: the particulars, +it is impossible, to give in verbal description, or even by choregraphy +or dances in score.</p> + +<p>Many who pretend to understand the art of dancing, confound motions +of strength, with those of agility, mistaking strength for slight, or +slight for strength; thoâ so different in their nature. It is the spring +of the body, in harmony with sense, that gives the great power +<span class = "pagenum">60</span> +<!-- png 055 --> +to please and surprize. The same it is with the management of the arms; +but all this requires both the theory of the art, and the practice of +it. One will hardly suffice without the other; which makes excellence in +it so rare.</p> + +<p>The motion of the arms is as essential, at least, as that of the +legs, for an expressive attitude: and both receive their justness from +the nature of the passions they are meant to express. The passions are +the springs which must actuate the machine, while a close observation of +nature furnishes the art of giving to those motions the grace of ease +and expertness. Any thing that, on the stage especially, has the air of +being forced, or improper, cannot fail of having a bad effect. +A frivolous, affected turn of the wrist, is surely no grace.</p> + +<span class = "pagenum">61</span> +<!-- png 056 --> +<p>One of the most nice and difficult points of the art of dancing is, +certainly, the management and display of the arms; the adapting their +motion to the character of the dance. In this many are too arbitrary in +forming rules to themselves, without consulting nature, which would not +fail of suggesting to them the justest movements. For want of this +appropriation of gesture and attitude, the movements fit for one +character are indistinctly employed in the representation of another. +And into this error those will be sure to fall, who deviate from the +unerring principles of nature; which has for every character an +appropriate strain of motion and gesture.</p> + +<p>Nothing then has a worse effect, than any impropriety in the +management of the arms: it gives to the eye, +<span class = "pagenum">62</span> +<!-- png 057 --> +the same pain that discordance in music does to the ear.</p> + +<p>There are some who move their arms with a tolerably natural grace, +without knowing the true rules rising out of nature into art: but where +the advantage of theory gives yet a greater security, consequently a +greater ease and a nobler freedom to the motions of the performer; the +performance cannot but meet with fuller approbation. And yet it may be +as bad to show too much art, as to have too little. The point is to +employ no more of art than just what serves to grace nature, but never +to hide or obscure her.</p> + +<p>Great is the difference between the antient and the modern dances. +The antient ones were full of sublime simplicity. But that simplicity +was far +<span class = "pagenum">63</span> +<!-- png 058 --> +from excluding the delicate, the graceful, and even the brilliant. The +moderns are so accustomed to those dances from which nature is banished, +and false refinements substituted in her room, that it is to be +questioned whether they would relish the returning in practice to the +purer principles of the art. Myself knowing better, and sensible that +the principles of nature are the only true ones, have been sometimes +forced to yield to the torrent of fashion, and to adopt in practice +those florishings of art, which in theory I despised; and justly, for +surely the plainest imitation of nature must be the grounds from which +alone the performance can be carried up to any degree of excellence. It +is with our art, as in architecture, if the foundation is not right, the +superstructure will be wrong.</p> + +<span class = "pagenum">64</span> +<!-- png 059 --> +<p>This primitive source then must be studied, known, and well attended +to; or we only follow the art blindly, and without certainty. Thence the +common indifference of so many performers, who mind nothing more than a +rote of the art, without tracing it to its origin, nature.</p> + +<p>To succeed, we must abandon the false taste, and embrace the true; +which is not only the best guide to perfection; but when rendered +familiar, by much the most easy and the most delightful. It has all the +advantages that truth has over falshood.</p> + +<p>The greater the simplicity of steps in a dance, the more beautiful it +is; and requires the more attention in the performer to exactness and +delicacy; for slowness and neatness being in the +<span class = "pagenum">65</span> +<span class = "folionum">H</span> +<!-- png 060 --> +character of simplicity, afford the spectator both leisure and +distinctness for his examination: whereas dances of intricate +evolutions, or quick motions, in their confusion and hurry, allow no +clearness, or time for particular observation.</p> + +<p>If the merit of a theatrical dancer were to consist, as many imagine, +in nothing but in the motions of the legs, in cutting lively or +brilliant capers, in surprizing steps, in the agility of the body, in +vigorous springs, in vaulting, in a tolerable management of the arms, +and especially in being well acquainted with those parts of the stage +where the perspective gives him the greatest advantage; the art of +dancing might be, as it is generally looked upon to be, an art easily +acquired. Whereas, for the attaining to a just perfection in it, there +<span class = "pagenum">66</span> +<!-- png 061 --> +are many other points required, but none so much as the close imitation +of beautiful nature; and that especially in its greatest simplicity.</p> + +<p>Nor should it be imagined that the simplicity I recommend, tends to +save the composer of dances any trouble of invention: on the contrary, +that sort of simplicity of execution intended to produce, by means of +its adherence to nature, the greatest effect, will cost him more pains, +more exertion of genius, than those dances of which the false brilliants +of extravagant decoration, and of mere agility without meaning or +expression, constitute the merit. It is with the composition of dances, +as with that of music, the plainest and the most striking, are ever the +most difficult to the composer.</p> + +<span class = "pagenum">67</span> +<span class = "folionum">H2</span> +<!-- png 062 --> +<p>The comic, or grottesque dancers, indeed are in possession of a +branch of this art, in which they are dispensed from exhibiting the +serious or pathetic; however, they may be otherwise as well acquainted +with the fundamental principles of the art, as the best masters. But as +their success depends chiefly on awakening the risible faculty, they +commonly chuse to throw their whole powers of execution into those +motions, gestures, grimaces, and contortions, which are fittest to give +pleasure by the raising a laugh. And certainly this has its merit; but +in no other proportion to the truth of the art, which consists in moving +the nobler passions, than as farce is to tragedy or to genteel comedy. +They are in this art of dancing, what Hemskirk and Teniers are in that +of painting.</p> + +<span class = "pagenum">68</span> +<!-- png 063 --> +<p>The painter, can only in his draught present one single unvaried +attitude in each personage that he paints: but it is the duty of the +dancer, to give, in his own person, a succession of attitudes, all +like those of the painter, taken from nature.</p> + +<p>Thus a painter who should paint Orestes agitated by the furies, can +only give him one single expression of his countenance and posture: but +a dancer, charged with the representation of that character, can, +seconded by a well-adapted music, execute a succession of motions and +attitudes, that will more strongly and surely with more liveliness, +convey the idea of that character, with all its transports of fury and +disorder.</p> + +<span class = "pagenum">69</span> +<!-- png 064 --> +<p>It was in this light, that the antients required the union of the +actor and of the dancer in the same person. They expected, on the +theatre especially, dances of character, that should express to the eye +the sensations of the soul: without which, they considered it as nothing +but an art that had left nature behind it; a mere corpse without +the animating spirit; or at the best, carrying with it a character of +falsity or tastelessness. A thorough master of dancing, should, in +every motion of every limb, convey some meaning; or rather be all +expression or pantomime, to his very fingers ends.</p> + +<p>How many requisites must concur to form an accomplished possession of +this talent! It is not enough that the head should play on the shoulders +with all the grace of a fine connection; nor +<span class = "pagenum">70</span> +<!-- png 065 --> +that his countenance should be enlivened with significance and +expression; that his eyes should give forth the just language of the +passions belonging to the character he represents; that his shoulders +have the easy fall they ought to have; let even the motions of his arms +be true; let his elbows and wrists have that delicate turn of which the +grace is so sensible; let the movement of the whole person be free, +genteel, and easy; let the attitudes of the bending turn be agreeable; +his chest be neither too full nor too narrow; his sides clean made, +strong, and well turned; his knees well articulated, and supple; his +legs neither too large, nor too small, but finely formed; his instep +furnished with the strength necessary to execute and maintain the +springs he makes; his feet in just proportion to the support of the +whole frame; all +<span class = "pagenum">71</span> +<!-- png 066 --> +these, accompanied with a regularity of motion; and yet all these, +however essential, constitute but a small part of the talent. Towards +the perfection of it, there is yet more, much more required, in that +sensibility of soul, which has in it so much more of the gift of nature, +than of the acquisition of art; and is perhaps in this, what it is in +most other arts and sciences, if not genius itself, an indispensable +foundation of genius. There is no executing well with the body, what is +not duly felt by the soul: sentiment gives life to the execution, and +propriety to the looks, motions and gestures.</p> + +<p>Those who would make any considerable progress in this art, should, +above all things, study justness of action. They cannot therefore too +closely attend to the representation of nature, +<span class = "pagenum">72</span> +<!-- png 067 --> +either upon the stage, or in life. I cannot too often repeat it; +those who keep most the great original, Nature, in view, will ever be +the greatest masters of this art.</p> + +<p>As to the different characters of dances, there are, properly +speaking, four divisions of the characters of dances: the serious, the +half serious, the comic, and the grottesque; but for executing any of +them with grace, the artist should be well grounded in the principles of +the serious dance, which will give him what may be called a delicacy of +manner in all the rest.</p> + +<p>But as one of these divisions may be more adapted to the humor, +genius, or powers of an artist, than another, he should, if he aims at +excellence, examine carefully for which it is that he is the most +fit.</p> + +<span class = "pagenum">73</span> +<span class = "folionum">I</span> +<!-- png 068 --> +<p>After determining which, whatever imperfections he may have from +nature, he must set about correcting, as well as he can, by art. Nothing +will hardly be found impossible for him to subdue, by an unshaken +resolution, and an intense application.</p> + +<p>Happy indeed is that artist, in whom both the requisites of nature +and art are united: but where the first is not grossly deficient, it may +be supplemented by the second. However well a beginner may be qualified +for this profession by nature, if he does not cultivate the talent duly, +he will be surpassed by another, inferior to him in natural endowments, +but who shall have taken pains to acquire what was wanting to him, or to +improve where +<span class = "pagenum">74</span> +<!-- png 069 --> +deficient. The experience of all ages attests this.</p> + +<p>The helps of a lively imagination, joined to great and assiduous +practice, carry the art to the highest perfection. But practice will +give no eminent distinction without study. Whoever shall flatter himself +with forming himself by practice alone, without the true principles and +sufficient grounds of the art, can only proceed upon a rote of +tradition, which may appear infallible to him. But this adoption of +unexamined rules, and this plodding on in a beaten track, will never +lead to any thing great or eminent. It carries with it always something +of the stiffness of a copy, without any thing of the graceful boldness +of originality, or of the strokes of genius.</p> + +<span class = "pagenum">75</span> +<span class = "folionum">I2</span> +<!-- png 070 --> +<p>Vanity should never mislead a man in the judgment he forms of his own +talents: much less should an artist resort to the meanness of depending +in the support of cabals: it must be the general approbation that must +seal his patent of merit.</p> + +<p>I have before observed that the grave or serious stile of dancing, is +the great ground-work of the art. It is also the most difficult. +Firmness of step, a graceful and regular motion of all the parts, +suppleness, easy bendings and risings, the whole accompanied with a good +air, and managed with the greatest ease of expertness and dexterity, +constitute the merit of this kind of dancing. The soul itself should be +seen in every motion of the body, and express something naturally noble, +and even +<span class = "pagenum">76</span> +<!-- png 071 --> +heroic. Every step should have its beauty.</p> + +<p>The painter draws, or ought to draw his copy, the actor his action, +and the statuary his model, all from the truth of nature. They are all +respectively professors of imitative arts; and the dancer may well +presume to take rank among them, since the imitation of nature is not +less his duty than theirs; with this difference, that they have some +advantages of which the dancer is destitute. The Painter has time to +settle and correct his attitudes, but the dancer must be exactly bound +to the time of the music. The actor has the assistance of speech, and +the statuary has all the time requisite to model his work. The dancerâs +effect is not only that of a moment, but he must every moment represent +a succession of motions and +<span class = "pagenum">77</span> +<!-- png 072 --> +attitudes, adapted to his character, whether his subject be heroic or +pastoral, or in whatever kind of dancing he exhibits himself. He is by +the expressiveness of his dumb show to supplement the want of speech, +and that with clearness; that whatever he aims at representing may be +instantaneously apprehended by the spectator, who must not be perplexed +with hammering out to himself the meaning of one step, while the dancer +shall have already begun another.</p> + +<p>In the half-serious stile we observe vigor, lightness, agility, +brilliant springs, with a steadiness and command of the body. It is the +best kind of dancing for expressing the more general theatrical +subjects. It also pleases more generally.</p> + +<span class = "pagenum">78</span> +<!-- png 073 --> +<p>The grand pathetic of the serious stile of dancing is not what every +one enters into. But all are pleased with a brilliant execution, in the +quick motion of the legs, and the high springs of the body. +A pastoral dance, represented in all the pantomime art, will be +commonly preferred to the more serious stile, though this last requires +doubtless the greatest excellence: but it is an excellence of which few +but the connoisseurs are judges; who are rarely numerous enough to +encourage the composer of dances to form them entirely in that stile. +All that he can do is to take a great part of his attitudes from the +serious stile, but to give them another turn and air in the composition; +that he may avoid confounding the two different stiles of serious and +half-serious. For this last, +<span class = "pagenum">79</span> +<!-- png 074 --> +it is impossible to have too much agility and briskness.</p> + +<p>The comic dancer is not tied up to the same rules or observations as +are necessary to the serious and half serious stiles. He is not so much +obliged to study what may be called nature in high life. The rural +sports, and exercises; the gestures of various mechanics or artificers +will supply him with ideas for the execution of charracters in this +branch. The more his motions, steps, and attitudes are taken from +nature, the more they will be sure to please.</p> + +<p>The comic dance has for object the exciting mirth; whereas, on the +contrary, the serious stile aims more at soothing and captivating by the +harmony and justness of its movements; +<span class = "pagenum">80</span> +<!-- png 075 --> +by the grace and dignity of its steps; by the pathos of the +execution.</p> + +<p>The comic stile, however its aim may be laughter, requires taste, +delicacy, and invention; and that the mirth it creates should not even +be without wit. This depends not only upon the execution, but on the +choice of the subject. It is not enough to value oneself upon a close +imitation of nature, if the subject chosen for imitation is not worth +imitating, or improper to represent; that is to say, either trivial, +indifferent, consequently uninteresting; or disgustful and unpleasing. +The one tires, the other shocks. Even in the lowest classes of life, the +composer must seize only what is the fittest to give satisfaction; and +omit whatever can excite disagreeable ideas. It is from the animal joy +of mechanics +<span class = "pagenum">81</span> +<span class = "folionum">K</span> +<!-- png 076 --> +or peasants in their cessations from labor, or from their celebration of +festivals, that the artist will select his matter of composition; not +from any circumstances of unjoyous poverty or loathsome distress. He +must cull the flowers of life, not present the roots with the soil and +dirt sticking to them.</p> + +<p>Even contrasting characters, which are so seldom attempted on the +stage, in theatrical dances, might not have a bad effect; whereas most +of the figures in them are simmetrically coupled. Of the first I once +saw in Germany a striking instance; an instance that served to confirm +that affinity between the arts which renders them so serviceable to one +another.</p> + +<span class = "pagenum">82</span> +<!-- png 077 --> +<p>Passing through the Electorate of Cologne, I observed a number +of persons of all ages, assembled on a convenient spot, and disposed, in +couples, in order for dancing; but so odly paired that the most ugly old +man, had for his partner the most beautiful and youngest girl in the +company, while, on the contrary, the most decrepid, deformed old woman, +was led by the most handsome and vigorous youth. Inquiring the reason of +so strange a groupe of figures, I was told that it was the humor of +an eminent painter, who was preparing a picture for the gallery at +Dusseldorp, the subject of which was to be this contrast; and that in +order to take his draught from nature, he had given a treat to this +rustic company, in the design of exhibiting at one view, the floridness +of youth contrasted to the weakness and infirmities of old age, in a +<span class = "pagenum">83</span> +<span class = "folionum">K2</span> +<!-- png 078 --> +moral light, of exposing the impropriety of those matches, in which the +objection of a disparity of years should not be duly respected.</p> + +<p>I have mentioned this purely to point out a new resource of +invention, that may throw a pleasing variety into the composition of +dances; and save them from too constant a simmetry, or uniformity, +either of dress or figure, in the pairing the dancers: by which I am as +far from meaning that that simmetry should be always neglected, as that +it should be always observed.</p> + +<p>The comic dance, having then the diversion of the spectator, in the +way of laughing, for its object, should preserve a moderately buffoon +simplicity, and the dancer, aided by a natural genius, but especially by +throwing as +<span class = "pagenum">84</span> +<!-- png 079 --> +much nature as possible into his execution, may promise himself to amuse +and please the spectator; even though he should not be very deep in the +grounds of his art; provided he has a good ear, and some pretty or +brilliant steps to vary the dance. The spectators require no more.</p> + +<p>As to the grotesque stile of dance, the effect of it chiefly depends +on the leaps and height of the springs. There is more of bodily strength +required in it than even of agility and flight. It is more calculated to +surprize the eye, then to entertain it. It has something of the +tumblerâs, or wire-dancerâs merit of difficulty and danger, rather than +of art. But the worst of it is, that this vigor and agility last no +longer than the season of youth, or rather decrease in proportion as age +advances, and, by this +<span class = "pagenum">85</span> +<!-- png 080 --> +means, leave those who have trusted solely to that vigor and agility +deprived of their essential merit. Whereas such as shall have joined to +that vigor and agility, a proper study of the principles of their +art; that talent will still remain as a resource for them. Commonly +those dancers who have from nature eminently those gifts which enable +them to shine in the grottesque branch, do not chuse to give themselves +the trouble of going to the bottom of their art, and acquiring its +perfection. Content with their bodily powers, and with the applause +their performances actually do receive from the public, they look no +further, and remain in ignorance of the rest of their duty. Against this +dissipation then, which keeps them always superficial, +<span class = "pagenum">86</span> +<!-- png 081 --> +they cannot be too much, for their own advantage, admonished.</p> + +<p>They will not otherwise get at the truth of their art, like him who +qualifies himself for making a figure in the serious, and half-serious +stiles, which also contribute to diffuse a grace over every other kind +of dancing, however different from them.</p> + +<p>But though the grotesque may be a caricature of nature, it is never +to lose sight of it. It must ever bear a due relation to the objects of +which it attempts to exhibit the imitation, however exagerated. But in +this it is for genius to direct the artist. And it is very certain that +this kind of dancing, well executed, affords to the public, great +entertainment in the way, if +<span class = "pagenum">87</span> +<!-- png 082 --> +what may be called broad mirth; especially where the figure of the +grotesque dancer, his gestures, dress, and the decorations, all +contribute to the creation of the laugh. He must also avoid any thing +studied or affected in his action. Every thing must appear as natural as +possible, even amidst the grimaces, contortions, and extravagancies of +the character.</p> + + +<!-- <span class = "pagenum">88</span> --> + + +<p class = "lines"> </p> + +<span class = "pagenum">89</span> +<span class = "folionum">L</span> +<!-- png 083 --> + +<a name = "perfection" id = "perfection"> </a> +<h1 class = "five extended">OF</h1> +<h1 class = "two">SUNDRY REQUISITES,</h1> +<h1 class = "four extended">FOR</h1> +<h1 class = "three">PERFECTION OF THE</h1> +<h1 class = "one extended">ART</h1> +<h1 class = "four extended">OF</h1> +<h1 class = "two"><span class = "extended">DANCIN</span>G.</h1> + + +<p><span class = "dropcap">I</span> +<span class = "firstword">have</span> already observed how necessary it +is that all the steps, in the theatrical dances, which have imitation +for their object, should be intelligible at the first glance of the eye. +<span class = "pagenum">90</span> +<!-- png 084 --> +This cannot be too much inculcated. The passions and manners of mankind, +have all a different expression, which cannot be presented too plain, +and too obvious. The adjustment of the motions to the character must be +observed through every stile of dancing, the serious, the half-serious, +the comic, and the grotesque. The various beauties of these different +kinds of dances, all center in the propriety or truth of nature. Looks, +movements, attitudes, gestures, should in the dancer, all have an +appropriate meaning; so plainly expressed as to be instantaneously +understood by the spectator, without giving him the trouble of +unriddling them: otherwise, it is like talking to them in a foreign +language for which an interpretor is needed.</p> + +<span class = "pagenum">91</span> +<span class = "folionum">L2</span> +<!-- png 085 --> +<p>But to give a sentiment, a man must have it first: where a +pathetic sentiment is well possessed of the mind, the expression of it +is diffused over the whole body.</p> + +<p>The theatre shows to advantage a well proportioned dancer. +A tall person appears the more majestic on it; but those of a +middling stature are more generally fit for every character; and may +make up in gracefulness what they want in size. The remarkably tall +commonly want the graces to be seen in those of the more general +standard.</p> + +<p>A young dancer who displays a dawn of genius, cannot be too much +exhorted to deliver himself up to the power of nature; so that acquiring +a particular manner of his own, he may himself proceed on original. If +he would hope +<span class = "pagenum">92</span> +<!-- png 086 --> +to arrive at any eminence in the art, he must break the shackles of a +servile imitation, and preserve nothing but the principles and grounds +of his art, which will be so far from fettering him, that they will +assist his soaring upon the wings of his own genius.</p> + +<p>Where a dancer undertakes to represent a subject on the theatre, he +must ground his plan of performance on the selecting all the most proper +situations for furnishing the most strikingly pictures, prospects, and +consequently, producing the greatest effect.</p> + +<p>This was doubtless the great secret of Pilades, the founder, at least +in Rome, of the pantomime art. It was on this choice of situations, that +the +<span class = "pagenum">93</span> +<!-- png 087 --> +understanding whole pieces, both tragic and comic, executed in dances, +entirely depends.</p> + +<p>And here, upon mentioning the pantomime art, be it allowed me to +defend it against the objections made to it, by those who consider it +only under a partial or vulgar point of view.</p> + +<p>If any one should pretend that the pantomime art is superior to the +actorâs power of representation in tragedy or comedy, or that such an +entertainment of dumb show ought to exclude that of speaking characters; +nothing could be more ridiculous or absurd than such a proposition.</p> + +<p>That indeed would be rejecting one of the most noble improvements of +nature, in favor of an art rather calculated +<span class = "pagenum">94</span> +<!-- png 088 --> +for the relaxation of the mind than for the instruction of it; in which +it can only claim a subordinate share.</p> + +<p>Those subjects, whether serious or comic, which are executed by +dances, or in the pantomime strain, are chiefly intended for the +throwing a variety into theatrical entertainments, without disputing any +honors of rank.</p> + +<p>The very same person who shall have at one time, taken pleasure in +seeing and hearing the noble and pathetic sentiments of tragedy, or the +ridicule of human follies in a good comedy, finely represented, may, +without any sort of inconsistence, not be displeased at seeing, at +another time, a subject executed in dances, while the music, the +decorations, all contribute to the happy diversification of his +entertainment. +<span class = "pagenum">95</span> +<!-- png 089 --> +Ought he therefore either to call his own taste to an account for his +being pleased, or to grudge to others a pleasure, which nature itself +justifies, in his having given to mankind a love of variety?</p> + +<p>Nor is there perhaps, in the world, an art more the genuine offspring +of Nature, more under her immediate command, than the art of dancing. +For to say nothing of that dancing, which has no relation to the +theatre, and which is her principal demonstrations of joy and festivity, +the theatrical branch acknowledges her for its great and capital guide. +All the motions, all the gestures, all the attitudes, all the looks, can +have no merit, but in their faithful imitation of Nature: while man +himself, man, the noblest of her productions, is ever the subject which +the +<span class = "pagenum">96</span> +<!-- png 090 --> +dancer paints through all his passions and manners.</p> + +<p>The painter presents man in one fixed attitude, with no more of life +than the draught and colors can give to his figure: the dancer exhibits +him in a succession of attitudes, and, instead of painting with the +brush, paints, surely more to the life, with his own person. +A dance in action, is not only a moving picture, but an animated +one: while to the eloquence of the tongue, it substitutes that of the +whole body.</p> + +<p>The art, viewed in this light, shows how comparatively little the +merely mechanical part of it, the agility of the legs and body, +contributes to the accomplishment of the dancer; however necessary that +also is. We might soon form a dancer, if the art consisted only in his +being taught +<span class = "pagenum">97</span> +<span class = "folionum">M</span> +<!-- png 091 --> +to shake his legs in cadence, to ballance his body, or to move his arms +unmeaningly. But if he has not a genius, susceptible of cultivation, and +which is itself far the most essential gift, he will make no progress +towards the desirable distinction: he is a body without a soul: his +performance will have more of the poppet moved by wires, than of the +actor giving that life to the character, which himself receives from the +sensibility of genius.</p> + +<p>There are many young beginners, who, looking on this art as a good +way of livelihood, enter on the rudiments of it, with great ardor. But +this ardor soon abates, in proportion, as they advance, and find there +is more study and pains required from them than they expected to find, +towards their arrival at any tolerable degree of +<span class = "pagenum">98</span> +<!-- png 092 --> +perfection. Having considered this art as purely a mechanical one, they +are surprised at the discovery of its exacting thought and reflection, +for which their ideas of it had not prepared them. A man who has +not sufficient share of genius to attempt the vanquishing these +difficulties, of which, in his false conception of things, he has formed +to himself no notion; either treats these great essentials of the art, +as innovations, and such as he is not bound to admit, or in the despair +of acquiring them, sits down contented with his mediocrity. It is well +if he does not rail at, or attempt to turn into ridicule, perfections +which are beyond his reach. And to say the truth, the art has not +greater enemies than those professors of it, who stick at the surface, +and want the spirit necessary to go to the bottom of it. In vain does +the public refuse its applause +<span class = "pagenum">99</span> +<span class = "folionum">M2</span> +<!-- png 093 --> +to their indifferent, ordinary, uninteresting performance: rather than +allow the fault to be in themselves, their vanity will lay it on the +public: they never refuse themselves that approbation which others can +see no reason for bestowing on them. They are perfectly satisfied with +having executed in their little manner, the little they know or are +capable of; they have no idea of any thing beyond their short reach.</p> + +<p>Certainly the best season of life, for the study of this art, is, as +for that of most others, for obvious reasons, the time of oneâs youth. +It is the best time of laying the foundation both of theory and +practice.</p> + +<p>But the theory should especially be attended to, without however +neglecting the practice. For though a dancer, by an assiduous practice, +may, at +<span class = "pagenum">100</span> +<!-- png 094 --> +the first unexamining glance, appear as well in the eyes of the public, +as he who possesses the rules; the illusion will not be lasting; it will +soon be dissipated, especially where there is present an object of +comparison. He whose motions are dirrected only by rote and custom, will +soon be discovered essentially inferior to him whose practice is +governed by a knowledge of the principles of his art.</p> + +<p>A master does not do his duty by his pupil, in this art, if he fails +of strongly inculcating to him the necessity of studying those +principles; and of kindling in him that ardor for attaining to +excellence, which if it is not itself genius, it is certain that no +genius will do much without it.</p> + +<span class = "pagenum">101</span> +<!-- png 095 --> +<p>Invention is also as much a requisite in our art as in any other. But +to save the pains of study, we often borrow and copy from one another. +Indolence is the bane of our art. The trouble of thinking necessary to +the invention and composition of dances, appears to many too great a +fatigue: this engages them to appropriate to themselves the fruits of +other peoples invention; and they appear to themselves well provided at +a small expence, when they have made free with the productions of +others. Some again, instead of cultivating their talent, chuse +indolently to follow the great torrent of the fashion, and stick to the +old tracks, without daring to strike out any thing new, so that their +prejudices are, in fact, the principles by which they are governed, and +which sometimes serves them for their excuse; since they know +<span class = "pagenum">102</span> +<!-- png 096 --> +better, but do not care to give themselves the trouble of acting up to +their knowledge. Thus they plod in the safe, and broad road of +mediocrity, but without any reputation or name. They are neither envied +nor applauded.</p> + +<p>As for those who borrow from others, content with being copies, when +they ought to strive to be originals; nothing can more obstruct their +progress in the discoveries of the depths of their art, than this scheme +of subsisting on the merit of others.</p> + +<p>Many, besides those who are incapable of invention, are tempted at +once by their indolence, and by the hope of not being discovered or +minded in their borrowing from others, to give stale or hackneyed +compositions, which having seen in one country, they +<span class = "pagenum">103</span> +<!-- png 097 --> +flatter themselves they may palm for new and original upon the public in +another. Thence it is that the audience is cloyed with repetitions of +pantomime dances; perhaps some of them very pretty at their first +appearance, but which cannot fail of tiring when too often repeated; or +when the same grounds or subject of action is only superficially or +slightly diversified.</p> + +<p>It is this barrenness of invention that the ingenious Goldoni has so +well exposed in one of his plays, in the following speech, addressed to +a young man.</p> + +<p> +<a name = "tag_1" id = "tag_1" href = "#note_1">*</a> +<span class = "sidequote">â</span>For example, you, as the female +<span class = "pagenum">104</span> +<!-- png 098 --> +dancer will come upon the stage, with a distaff, twirling it, or with +<ins class = "correction" title = "text reads âa / aâ at line break">a</ins> pail to draw water; or with a +<span class = "pagenum">105</span> +<span class = "folionum">N</span> +<!-- png 099 --> +spade for digging. +<span class = "sidequote">â</span>Your companion will come next perhaps +driving a wheel-barrow, or with a sickle to mow corn, or with a pipe +a-smoaking; +<span class = "sidequote">â</span>and though the scene should be a +saloon, no matter, it will come soon to be +<span class = "pagenum">106</span> +<!-- png 100 --> +filled with rustics or sailors. +<span class = "sidequote">â</span>Your companion to be sure will not +have seen you, at first; that is the rule; upon which you will make up +to him, and he will send you a packing. +<span class = "sidequote">â</span>You will tap him on the shoulder with +one hand, and he will give a spring from you to the other side of the +stage. +<span class = "sidequote">â</span>You will run after him; he, on his +part will scamper away from you, and you will take pet at it. +<span class = "sidequote">â</span>When he sees you angry, he will take +it into his head to make peace; he will sue to you, and you in your turn +will send him about his business. +<span class = "sidequote">â</span>You will run from him, and he after +you. +<span class = "sidequote">â</span>He will be down on his knees to you; +peace will be made; then, shaking your footsies, you will invite him to +dance. +<span class = "sidequote">â</span>He also will answer you with his feet, +as much as to say, +<span class = "sidequote">â</span>come, let us dance.</p> + +<span class = "pagenum">107</span> +<span class = "folionum">N2</span> +<!-- png 101 --> + +<p> +<span class = "sidequote">â</span><ins class = "correction" title = +"catchword on previous page is âThereâ">Then</ins> handing you backwards +to the top of the stage, you will begin gaily a <i>Pas-de-deux</i>, or +Duet dance. +<span class = "sidequote">â</span>The first part will be lively, the +second grave; the third a jig. +<span class = "sidequote">â</span>You will have taken care to procure +six or seven of the best airs for a dance, put together, that can be +imagined. You will execute all the steps that you are mistress of; +<span class = "sidequote">â</span>and let your character in the +Pas-de-deux, be that of a country wench, a gardenerâs servant, +a granadierâs trull, or a statue; +<span class = "sidequote">â</span>the steps will be always the same; and +the same actions for ever repeated; +<span class = "sidequote">â</span>such as running after one another, +dodging, crying, falling in a passion, making peace again, bringing the +arms over the head, +<span class = "sidequote">â</span>jumping in and out of time, shaking +legs and arms, the head, the body, the shoulders, and especially +smirking and ogling +<span class = "pagenum">108</span> +<!-- png 102 --> +round you; +<span class = "sidequote">â</span>not forgetting gentle inflexions of +the neck, as you pass close under the lights, nor to make pretty faces +to the audience, +<span class = "sidequote">â</span>and then, hey for a fine curtesy at +the end of the dance!â</p> + +<p>Nothing however would more obstruct the progress of this art, than +thus contenting one self with adopting the productions of others. It +even would, in the disgust which repetition occasions, bring on the +decline of this entertainment, in the opinion of a public which is +always fond of novelty.</p> + +<p>And of novelty, the beauties of nature furnish an inexhaustible fund, +in their infinite variety. Among these it is the business of the artist +to chuse such as can be brought upon +<span class = "pagenum">109</span> +<!-- png 103 --> +the scene, and theatrically adapted to the execution of his art. But for +this he must be possessed of taste, which is a qualification as +necessary to him, as a composer, as that of the graces are to him as a +performer. Both are gifts. But if a due exercise of the art can add to +the natural graces, taste does not stand less in need of cultivation: it +refines itself by a judicious observation of the beauties and delicacies +of nature. These he must incessantly study, in order to transplant into +his art such as are capable of producing the most pleasing effect. He +must particularly consult the fitness of time, place and manners; +otherwise what would please in one dance might displease in another. +Propriety is the great rule of this art, as of all others. +A discordance in music hurts a nice ear; a false attitude or +motion in dancing equally offends the judicious eye.</p> + +<span class = "pagenum">110</span> +<!-- png 104 --> +<p>The looks of the dancer are far from insignificant to the character +he is representing. Their expression should be strictly conformable to +his subject. The eye especially should speak. Thence it is that the +Italian custom of dancing with uncovered faces, cannot but be more +advantageous than that of dancing masked, as is commonly done in France; +when the passions can never be so well represented as by the changes of +expression, which the dancer should throw into his countenance.</p> + +<p>And it is by these changes of countenance, as well as of attitude and +gesture, that the dancer can express the gradations of the passions; +whereas the painter is confined intirely to one passion, that of the +particular moment in which he will have chosen +<span class = "pagenum">111</span> +<!-- png 105 --> +to draw a character. For example, a painter, who means to represent +a country-maid, under the influence of the passion of love, can only aim +at expressing some particular degree of that passion, suitable to the +circumstances of the rest of his picture, or to the situation in which +he shall have placed her. But a dancer may successively represent all +the gradations of love; such as surprize at first sight, admiration, +timidity, perplexity, agitation, languor, desire, ardor, eagerness, +impatience, tumultous transports, with all the external simptoms of that +passion. All these may be executed in the most lively manner, in time +and cadence, to a correspondent music or simphany. And so of all the +other passions, whether of fear, revenge, joy, hatred, which have all +their subdivisions expressible, by the quick shift and succession +<span class = "pagenum">112</span> +<!-- png 106 --> +of steps, gestures, attitudes, and looks, respectively adapted to each +gradation.</p> + +<p>A mask then cannot but hide a great part of the necessary expression, +or justness of action. It can only be favorable to those who have +contracted ill habits of grimacing or of contortions of the face while +they perform.</p> + +<p>There are however some characters in which a mask is even necessary: +but then great care should be taken to model and fit it as exactly as +possible to the face, as well as to have it perfectly natural to the +character represented. The French are particularly, and not without +reason, curious in this point.</p> + +<span class = "pagenum">113</span> +<span class = "folionum">O</span> +<!-- png 107 --> +<p>The female dancers have naturally a greater ease of expression than +the men. More pliable in their limbs, with more sensibility in the +delicacy of their frame; all their motions and actions are more tenderly +pathetic, more interesting than in our sex. We are besides prepossessed +in their favor, and less disposed to remark or cavil at their faults. +While on the other hand, that so natural desire they have of pleasing, +independently of their profession, makes them studiously avoid any +motion or gesture that might be disagreeable, and consequently any +contortion of the face. They, instinctively then, one may say, make a +point of the most graceful expression.</p> + +<p>A woman, who should only depend on the exertion of strength in her +legs or limbs, without attention to expression, +<span class = "pagenum">114</span> +<!-- png 108 --> +would possess but a very defective talent. Such an one might surprize +the public, by the masculine vigor of her springs; but should she +attempt to execute a dance, where tender expressions are requisite, she +would certainly fail of pleasing.</p> + +<p>The female dancers have also an advantage over the men, in that the +petticoat can conceal many defects in their execution; even, if the +indulgence due to that amiable sex, did not only make great allowances, +but give to the least agreeable steps in them, the power of obtaining +applause.</p> + +<p>At the Italian theatres at Rome, in the Carnaval, where the female +dancers are not suffered to perform the dances, and where the parts of +the women are performâd by men in the dresses of women, +<span class = "pagenum">115</span> +<span class = "folionum">O2</span> +<!-- png 109 --> +it appears plainly, how much the execution suffers by this expedient. +However well they may be disguised, there is an inherent clumsiness in +them, which it is impossible for them to shake off, so as to represent +with justness the sprightly graces and delicacy of the female sex. The +very idea of seeing men effeminated by such a dress, invincibly +disgusts. An effeminate man appears even worse than a masculine +woman.</p> + +<p>But however the consulting a looking-glass gives to men, in general, +the air of fops or coxcombs; it is to those who would make a figure in +dancing a point of necessity. A glass is to them, what reflexion is +to a thinking person; it serves to make them acquainted with their +defects, and to correct them. To practice then before it is even +recommendable, +<span class = "pagenum">116</span> +<!-- png 110 --> +that practice will give the advantage of expertness, and expertness will +give the grace of ease, which is invaluable; nothing being such an enemy +to the graces as stiffness or affectation. This is a general rule both +for composition and performance.</p> + +<p>Education has doubtless a great share in giving early to the body a +command of graceful positions, especially for the grand and serious +dances, which, as I have before observed, are the principal grounds of +the art. And once more, the great point is not to stick at mediocrity; +but to aim at an excellence in the art, that may give at least the best +chance for not being confounded with the croud. If it is true, that, +among the talents, those which are calculated for pleasing, are not +<span class = "pagenum">117</span> +<!-- png 111 --> +those that are the least sure of encouragement; it is also equally true, +that for any dependence to be had on them, it is something more than an +ordinary degree of merit in them that is required.</p> + +<p>In support of this admonition, I am here tempted to enliven this +essay with the narrative of an adventure in real life, that may serve to +break the too long a line of an attempt at instruction.</p> + +<p>A celebrated female dancer in Italy, designing to perform at a +certain capital, wrote to her correspondent there to provide her an +apartment suitable to the genteel figure which she had always made in +life. On her arrival, her acquaintance seeing she had brought nothing +with her, but her own person and two servants, +<span class = "pagenum">118</span> +<!-- png 112 --> +asked her when she expected her baggage. She answered, with a smile, +<span class = "sidequote">â</span>âIf you will come to-morrow morning +and breakfast with me, you, and whoever you will bring with you, shall +see it, +<span class = "sidequote">â</span>and I promise you it is worth your +while seeing, +<span class = "sidequote">â</span>being a sort of merchandize that is +very much in fashion.â</p> + +<p>Curiosity carried a number early to the rendezvous, where, after an +elegant breakfast, she got up, and danced before them in a most +surprizingly charming manner.</p> + +<p> +<span class = "sidequote">â</span>These, said she, (pointing at her +legs,) are all the baggage I have left; +<span class = "sidequote">â</span>the Alps have swallowed up all the +rest.â The truth was, she had been really robbed of her baggage in her +journey, and the merchandize on which +<span class = "pagenum">119</span> +<!-- png 113 --> +she now depended, was her talent at dancing. Nor was she deceived, for +her inimitable performance, joined to the vivacity with which she bore +her misfortunes, in the spirit of the old Philosopher, who valued +himself upon carrying his all about him, made her many friends, whose +generous compassion soon enabled her to appear in her former state.</p> + +<p>As to the composition of dances, it is impossible for a professor of +this art, to make any figure without a competent stock of original +ideas, reducible into practice. A dance should be a kind of regular +dramatic poem to be executed by dancing, in a manner so clear, as to +give to the understanding of the spectator no trouble in making out the +meaning of the whole, or of any part of it. All +<span class = "pagenum">120</span> +<!-- png 114 --> +ambiguity being as great a fault of stile in such compositions, as in +writing. It is even harder to be repaired; for a false expression in the +motions, gestures, or looks, may confuse and bewilder the spectator so +as that he will not easily recover the clue or thread of the fable +intended to be represented.</p> + +<p>Clearness then is one of the principal points of merit which the +composer should have in view; if the effect, resulting from the choice +and disposition of the ground-work of his drama, does honor to his +inventiveness or taste; the justness, with which every character is to +be performed, is not less essential to the success of his production, +when carried into execution.</p> + +<p>To be well assured of this, it cannot but be necessary that the +composer +<span class = "pagenum">121</span> +<span class = "folionum">P</span> +<!-- png 115 --> +of the dance or ballet-master, should be himself a good performer, or at +least understand the grounds of his art.</p> + +<p>He must also, in his composition, be pre-assured of all the +necessaries for their complete execution. Otherwise decorations either +deficient or not well adapted; an insufficient number of performers, or +their being bad ones; or, in short, the fault of a manager, who, through +a misplaced economy, would not allow the requisite expences; all these, +or any of these, might ruin the composition, and the composer might, +after taking all imaginable pains to please, find his labor abortive, +and himself condemned for what he could not help. There is no exhibiting +with success any entertainment of this sort without having +<span class = "pagenum">122</span> +<!-- png 116 --> +all the necessary performers and accompaniments. It will be in a great +measure perfect or imperfect in proportion as they are supplied or +withheld.</p> + +<p>A good ballet-master must especially have regard to both poetical and +picturesque invention; his aim being to unite both those arts under one +exhibition. The poetical part of the composition being necessary to +furnish a well-composed piece that shall begin with a clear exposition, +and proceed unfolding itself to the conclusion, in situations well +chosen, and well expressed. The picturesque part is also highly +essential for the formation of the steps, attitudes, gestures, looks, +grouping the performers, and planning their evolutions; all for the +greatest and justest effect.</p> + +<span class = "pagenum">123</span> +<span class = "folionum">P2</span> +<!-- png 117 --> +<p>He should himself be thoroughly struck with his initial idea, which +will lead him to the second, and so on methodically until the whole is +concluded, without having recourse to a method justly exploded by the +best masters, that of choregraphy or noting dances, which only serves to +obstruct and infrigidate the fire of composition. When he shall have +finished his composition, he may then coolly review it, and make what +disposition and arrangement of the parts shall appear the best to him. +Every interruption is to be avoided, in those moments, when the +imagination is at its highest pitch of inventing and projecting. There +are few artists who have not, at times, experienced in themselves a more +than ordinary disposition or aptitude, for this operation of the mind; +and it is these critical moments, +<span class = "pagenum">124</span> +<!-- png 118 --> +which may otherwise be irretrievable, they ought particularly to +improve, with as little diversion from them as possible. They should +pursue a thought, or a hint of a thought, from its first crudity to its +utmost maturity.</p> + +<p>A man of true genius in any of the imitative arts, and there is not +one that has a juster claim to that title than the art of dancing, +sensible that nature is the varied and abundant spring of all objects of +imitation, considers her and all her effects with a far different eye +from those who have no intention of availing themselves of the matter +she furnishes for observation. He will discover essential differences +between objects, where a superficial beholder sees nothing but sameness; +and in his imitation he +<span class = "pagenum">125</span> +<!-- png 119 --> +will so well know how to render those differences discernible, that in +the composition of his dance, the most trite subject will assume the air +of novelty with the grace of variety.</p> + +<p>There is nothing disgusts so much as repetitions of the same thing; +and a composer of dances will avoid them as studiously as painters do in +their pieces, or writers tautology.</p> + +<p>The public complains, with great reason, that dances are frequently +void of action, which is the fault of the performers not giving +themselves the trouble to study just ones: satisfied with the more +mechanical part of dancing, they never think of connecting the part of +the actor with it, which however is indispensably necessary +<span class = "pagenum">126</span> +<!-- png 120 --> +to give to their performance, spirit, and animation.</p> + +<p>A dance without meaning is a very insipid botch. The subject of the +composition should always be strictly connected to the dances, so as +that they should be in equal correspondence to one another. And, where a +dance is expletively introduced in the intervals of the acts, the +subject of it should have, at least, some affinity to the piece. +A long custom has made the want of this attention pass unnoticed. +It is surely an absurd and an unnatural patchwork, between the acts of a +deep tragedy, to bring on, abruptly by way of diversion, a comic +dance. By this contrast both entertainments are hurt; the abruptness of +the transition is intolerable to the audience; and the thread, +especially +<span class = "pagenum">127</span> +<!-- png 121 --> +of the tragic fable, is unpleasingly broken. The spectators cannot bear +to be so suddenly tossed from the serious to the mirthful, and from the +mirthful to the serious. In short, such an heterogeneous adulteration +has all the absurdity reproached to the motley mixture in tragi-comedy, +without any thing of that connection which is preserved in that kind of +justly exploded dramatic composition. How easy too to avoid this defect, +by adapting the subjects of the dances to the different exigences of the +different dramas, whether serious, comic, or farcical!</p> + +<p>One great source of this disorder, is probably the managers +considering dances in nothing better than in the light of merely a +mechanical execution for the amusement of the eye, +<span class = "pagenum">128</span> +<!-- png 122 --> +and incapable of speaking to the mind. And in this mistake they are +certainly justifiable by the great degeneracy of this art, from the +pitch of perfection to which it was antiently carried, and to which the +encouragement of the public could not fail to restore it. The managers +would then see their interest too clearly in consulting the greater +pleasure of the public, not to afford to this art, the requisite +cultivation and means of improvement.</p> + +<p>The composer, who must even have something of the poet in him; the +musician, the painter, the mechanic, are essentially necessary to the +contribution of their respective arts, towards the harmony and +perfection of composition, in a fine dramatic dance; even the dresses +are no inconsiderable part of +<span class = "pagenum">129</span> +<span class = "folionum">Q</span> +<!-- png 123 --> +the entertainment. The <i>costume</i>, or in a more general term, +propriety, should have the direction of them. It is not magnificence, +that is the great point, but their being well assorted to character and +circumstances. The French are notoriously faulty in over-dressing their +characters, and in making them fine and showy, where their simplicity +would be their greatest ornament. I do not mean a simplicity that +should have any thing mean, low or indifferent in it; but, for example, +in rural characters, the simplicity of nature, if I may use the +expression, in her holy-day-cloaths.</p> + +<p>As to the decorations and machines especially, I know of no +place where there is less excuse for their being deficient in them than +in London, where they are too manifestly, to bear +<span class = "pagenum">130</span> +<!-- png 124 --> +any suspicion of flattery in the attributing it to them, executed to a +perfection that is not known in any other part of Europe. The quickness +with which the shifts and deceptions in the pantomime entertainments are +performed here, have been attempted in many other parts; but the persons +there employed, not having the same skill and depth in mechanics as the +artists here, cannot come up to them in this point. And it is in this +point precisely that a composer of dances may be furnished with great +assistence in the effects from the theatrical illusion. And in an +entertainment, where by an established tacit agreement between the +audience and performers, there is such a latitude of introducing +superhuman personages, either of the heathen deities, or of fairy-hood, +inchanters, and the like, those transformations and deceptions +<span class = "pagenum">131</span> +<span class = "folionum">Q2</span> +<!-- png 125 --> +of the sight are even in the order of natural consequences, from the +pre-supposed and allowed power of such characters to operate them. At +the same time the rules of probability must even there be observed. Nor +is it amiss to be very sparing and reserved in the composition of those +dances, grounded on the introduction of purely imaginary beings, such as +the allegorical impersonation of the moral Beings, whether the Virtues +or the Vices. Unless the invention is very interesting indeed, the +characters distinctly marked, and the application very just and obvious; +their effect is rarely answerable to expectation, especially on the +audiences of this country. The taste here for those airy ideal +characters is not very high, and perhaps not the worse for not +being so.</p> + +<span class = "pagenum">132</span> +<!-- png 126 --> +<p>Among the many losses which this art has sustained, one surely, not +the least regrettable, even for our theatres, was that of the dances in +armour, practised by the Greeks, which they used by way of diversion and +of <i>exercise</i> for invigorating their bodies. Sometimes they had +only bucklers and javelins in their hands: but, on certain occasions +they performed in panoply, or complete suits of armour. Strengthened by +their daily and various manly exercises, they were enabled to execute +these dances, with a surprising exactness and dexterity. The martial +simphony that accompanied them, was performed by a numerous band of +music; for the clash of their arms being so loud, would else have +drowned the tune or airs of the musicians. It is impossible to imagine +<span class = "pagenum">133</span> +<!-- png 127 --> +a more sublime, splendid and picturesque sight than what these dances +afforded, in the brilliancy of their arms, and the variety of their +evolutions; while the delight they took in it, inspired them with as +much martial fire, as if they had been actually going to meet the enemy. +And indeed this diversion was so much of the nature of the military +exercise, that none could be admitted who were not thoroughly expert in +all martial training. In time of peace, this kind of dance was +considered as even necessary to keep up that suppleness and athletic +disposition of body, to bear action and fatigue, essential to the +military profession. If the practice had been neglected, but for a few +days, they observed a numbness insensibly diffuse itself over the whole +body. They were persuaded then that the best way of preserving their +health, and +<span class = "pagenum">134</span> +<!-- png 128 --> +fitness for action, and consequently to qualify them for the most heroic +enterprizes, was to keep up this kind of exercise, in the form of +diversion.</p> + +<p>These martial dances, have, in some operas of Italy, been attempted +to be imitated, with some degree of success: but as the performers had +not been trained up to such an exercise, like the Greeks, it was not to +be expected that the representation should have the same perfection, or +color of life.</p> + +<p>The composition of the music, and the suiting the airs to the +intended execution of a dance, is a point of which it is scarce needful +to insist on the importance, from its being so obvious and so well +known. Nothing can produce a more disagreeable discordance than a +performerâs dancing out +<span class = "pagenum">135</span> +<!-- png 129 --> +of time. And here it may be observed, how much lies upon a dancer, in +his being at once obliged to adapt his motions exactly to the music and +to the character: which forms a double incumbence, neither point of +which he can neglect, without falling into unpardonable errors.</p> + +<p>Where dances are well composed, they may give a picture, to the life, +of the manners and genius of each nation and each age, in conformity to +the subject respectively chosen. But then the truth of the +<i>costume</i>, and of natural and historical representation must be +strictly preserved. Objects must be neither exagerated beyond +probability, nor diminished so as not to please or affect. A real +genius will not be affraid of striking out of the common paths, and, +sensible +<span class = "pagenum">136</span> +<!-- png 130 --> +that inventiveness is a merit, he will create new theatrical subjects, +or produce varied combinations of old ones. And where the decorations, +or requisite accompaniments are not supplied as he could wish, he must +endeavour to make the most of what he can get, towards the exhibition of +his production; if not with all the advantage of which it is +susceptible, at least with all those he can procure for it. Where the +best cannot be obtained, he must be content with the least bad. But +especially a composer of dances should never lose sight of his duty in +preserving to his art its power of competition, as well as its affinity +with the other imitative arts, in the expression of nature; all the +passions and sentiments being manifestly to be marked by motion, +gestures, and attitudes, to the time of +<span class = "pagenum">137</span> +<span class = "folionum">R</span> +<!-- png 131 --> +a correspondent and well adapted music. While all this aided and set +off, by the accompaniments of proper decorations of painting, and, where +necessary, of machinery, makes that, a well composed dance, may +very justly be deemed a small poem, thrown into the most lively action +imaginable; into an action so expressive as not to need the aid of +words, for conveying its meaning; but to make the want of them rather a +pleasure than matter of regret; from its exercising, without fatiguing, +the mind of the spectator, to which it can never be but an agreeable +entertainment, to have something left for its own making out, always +provided that there be no perplexing difficulty or ambiguity. Nothing of +which is impossible to an artist who has the talent of making +<span class = "pagenum">138</span> +<!-- png 132 --> +a right choice among the most pleasing objects of nature; of +sufficiently feeling what he aims at expressing; of knowing how far it +is allowable for his art, to proceed towards the embellishing nature, +and where it should stop to avoid its becoming an impertinence; and +especially of agreeably disposing his subject, in the most neat and +intelligible manner that can be desired.</p> + +<p class = "footnote"> +<a name = "note_1" id = "note_1" href = "#tag_1">* </a>Per esempio +vendra fora la ballerina, colla rocca, filando, ò con un secchio à trar +lâacqua, ò con una zappa à zappar. El vostro compagno vendra fora ò +colla cariola à portar qualche cosa, ò colla falce à tagliar il grano, ò +colla pipa a fumar, e si ben, che la scena fosse una sala, tanto e +tanto, se vien a far da contadini ò da marinari. El vostro compagno non +vi vedra: voi andarete a cercarlo, e el vi scacciera via. Gli +batterete una man su la spalla, ed el con un salto anderà dallâaltra +banda. <ins class = "correction" title = "text reads âVoigliâ">Voi +gli</ins> correrete dietro, lui se scampera, e voi anderete in +collera. Quando voi sarete in collera, a lui le vendra la voglia di +far pace, e lui vi preghera, voi lo scacciarete. Scamparete via, +e lui vi correra dietro. El se inginocchiera, farete pace, voi, +menando I pedini, lâinvitarete a ballar: anche ello, menando I piedi, +a segni dira, âballiamo,â e tirandovi indietro allegramente +cominciarete el <i>Pas-de-deux</i>. La prima parte allegra, la segonda +grave, la terza una giga. Procurarete di cacciargli dentro sei o sette +delle migliori arie di ballo che sâabbiano sentito; farete tutti i passi +che sapete fare, e che sia il <i>Pas-de-deux</i> o da paesana, +o da giardinera, o da Granatiera, o da statue, +i passi saranno sempre gli istessi, correrse dietro, scampar, +pianger, andar in collera, far pace, tirar i bracci sopra la testa, +saltar in tempo e fora di tempo, menar gli bracci, e le gambe, +e la testa, e la vita, e le spalle, e sopra tutto +rider sempre col popolo, e storcer un pochetto il collo quando si +passa prossimo i lumi, e fare delle belle smorfie all udienza, +e una bella riverenza in ultima.</p> + + +<p class = "lines"> </p> + +<span class = "pagenum">139</span> +<span class = "folionum">R2</span> +<!-- png 133 --> + +<a name = "utility" id = "utility"> </a> +<h1 class = "five">SOME</h1> + +<h1 class = "three extended">THOUGHTS</h1> + +<h1 class = "three">On the <span class = "smallcaps">Utility</span> +of</h1> + +<h1 class = "two smallcaps">Learning to Dance,</h1> + +<h1 class = "five">And Especially upon the</h1> + +<h1 class = "one"><span class = "extended">MINUE</span>T.</h1> + + +<p><span class = "dropcap">W</span><span class = "firstword">as</span> +I, in quality of a dancing-master, to offer even the strongest reasons +of inducement to learn this art, they could not but justly lose much, if +not all, of their weight, from my supposed interest in the offering +<span class = "pagenum">140</span> +<!-- png 134 --> +them; besides the partiality every artist has for his art.</p> + +<p>It would however exceed the bounds prescribed to modesty itself, were +I to neglect availing myself of the authority of others, who were not +only far from being professors of this art, but who hold the highest +rank in the public opinion for solidity of understanding, and purity of +morals, and who yet did not disdain to give their opinion in favor of an +art only imagined frivolous, for want of considering it in a just and +inlarged view.</p> + +<p>After this introduction, I need not be ashamed of quoting Mr. Locke, +in his judicious treatise of education.</p> + +<p> +<span class = "sidequote">â</span>Nothing (says he) appears to me to +give children so much becoming confidence and behaviour, and so to raise +them to the conversation +<span class = "pagenum">141</span> +<!-- png 135 --> +of those above their age, as dancing. +<span class = "sidequote">â</span>I think they should be taught to +dance as soon as they are capable of learning it; +<span class = "sidequote">â</span>for though this consists only in +outward gracefulness of motion, yet, I know not how, +<span class = "sidequote">â</span>it gives children manly thoughts and +carriage more than any thing.â</p> + +<p>In another place, he says,</p> + +<p> +<span class = "sidequote">â</span>Dancing being that which gives +graceful motions to all our lives, and above all things, manliness, and +a becoming confidence to young children, +<span class = "sidequote">â</span>I think it cannot be learned too +early, after they are once capable of it. +<span class = "sidequote">â</span>But you must be sure to have a good +master, that knows and can teach what is graceful and becoming, and what +gives a freedom and easiness to all the motions of the +<span class = "pagenum">142</span> +<!-- png 136 --> +body. +<span class = "sidequote">â</span>One that teaches not this, is worse +than none at all; natural awkwardness being much better than apish +affected postures: +<span class = "sidequote">â</span>and I think it much more passable, to +put off the hat, and make a leg like an honest country-gentleman, than +like an ill-fashioned dancing-master. +<span class = "sidequote">â</span>For as for the jigging, and the +figures of dance, +<span class = "sidequote">â</span>I count that little or nothing +better than as it tends to perfect graceful carriage.â</p> + +<p>The Chevalier De Ramsay, author of Cyrusâs travels, in his plan of +education for a young Prince, has (page 14.) the following passage to +this purpose.</p> + +<p> +<span class = "sidequote">â</span>To the study of poetry, should be +joined that of the three arts of imitation. +<span class = "sidequote">â</span>The antients represented the +<span class = "pagenum">143</span> +<!-- png 137 --> +passions, by gests, colors and sounds. +<span class = "sidequote">â</span>Xenophon tells us of some wonderful +effects of the Grecian dances, and how they moved and expressed the +passions. +<span class = "sidequote">â</span>We have now lost the perfection of +that art; all that remains, is only what is necessary to give a handsome +action and airs to a young gentleman. +<span class = "sidequote">â</span>This ought not to be neglected, +because upon the external figure and appearance, depends often the +regard we have to the internal qualities of the mind. +<span class = "sidequote">â</span>A graceful behaviour, in the +house of Lords or Commons, +<span class = "sidequote">â</span>commands the attention of a whole +assembly.â</p> + +<p>And most certainly in this last allegation of advantage to be +obtained by a competent skill, or at least tincture of the art, the +Chevalier Ramsay, has not exagerated its utility. Quintilian +<span class = "pagenum">144</span> +<!-- png 138 --> +has recommended it, especially in early years, when the limbs are the +most pliable, for procuring that so necessary accomplishment, in the +formation of orators gesture: observing withall, that where that is not +becoming, nothing else hardly pleases.</p> + +<p>But even independent of that consideration, nothing is more generally +confessed, than that this branch of breeding qualifies persons for +presenting themselves with a good grace. To whom can it be unknown that +a favorable prepossession at the first sight is often of the highest +advantage; and that the power of first impressions is not easily +surmountable?</p> + +<p>In assemblies or places of public resort, when we see a person of a +genteel carriage or presence, he attracts our +<span class = "pagenum">145</span> +<span class = "folionum">S</span> +<!-- png 139 --> +regard and liking, whether he be a foreigner or one of this country. At +court, even a graceful address, and an air of ease, will more +distinguish a man from the croud, than the richest cloaths that money +may purchase; but can never give that air to be acquired only by +education.</p> + +<p>There are indeed who, from indolence or self-sufficiency, affect a +sort of carelessness in their gait, as disdaining to be obliged to any +part of their education, for their external appearance, which they +abandon to itself under the notion of its being natural, free, and +easy.</p> + +<p>But while they avoid, as they imagine, the affectation of +over-nicety, they run into that of a vicious extreme of negligence, +which proves nothing but +<span class = "pagenum">146</span> +<!-- png 140 --> +either a deficiency of breeding, or if not that, a high opinion of +themselves, with what is not at all unconsequential to that, +a contempt of others.</p> + +<p>Such are certainly much mistaken, if they imagine that an art, which +is principally designed to correct defects, should leave so capital an +one subsisting as that of want of ease, and freedom, in the gesture and +gait. On the contrary, it is as great an enemy to stiffness, as it is to +looseness of carriage, and air. It equally reprobates an ungainly +rusticity, and a mincing, tripping, over-soft manner. Its chief aim is +to bring forth the natural graces, and not to smother them with +appearances of study and art.</p> + +<p>But of all the people in the world, the British would certainly be +the most +<span class = "pagenum">147</span> +<span class = "folionum">S2</span> +<!-- png 141 --> +in the wrong for not laying a great enough stress on this part of +education; since none have more conspicuously the merit of figure and +person; and it would in them be a sort of ingratitude to Nature, who has +done so much for them, not to do a little more for themselves, in +acquiring an accomplishment, the utility of which has been acknowledged +in all ages, and in all countries, and especially by the greatest and +most sensible men in their own.</p> + +<p>As to the ladies, there is one light in which perhaps they would not +do amiss to view the practice of this art, besides that of mere +diversion or improvement of their deportment: it is that of its being +highly serviceable to their health, and to what it can never be expected +they should be indifferent about, their beauty, it being the best +<span class = "pagenum">148</span> +<!-- png 142 --> +and surest way of preserving, or even giving it to their whole +person.</p> + +<p>It is in history a settled point, that beauty was no where more +florishing, nor less rare, than among such people as encouraged and +cultivated exercise, especially in the fair sex. The various provinces +and governments in Greece, all agreed, some in a less, some in a greater +degree, in making exercise a point of female education. The Spartans +carried this to perhaps an excess, since the training of the children of +that sex, hardly yielded to that of the male in laboriousness and +fatigue. Be this confessed to be an extreme: but then it was in some +measure compensated by its being universally allowed, that the Spartan +women owed to it that beauty in which they excelled the rest of the +Grecian women, who were +<span class = "pagenum">149</span> +<!-- png 143 --> +themselves held, in that point, preferable to the rest of the world. +Hellen was a Spartan. Yet the legislator of that people, did not so much +as consider this advantage among the ends proposed in prescribing so +hardy an education to the weaker sex. His views were for giving them +that health and vigor of body, which might enable them to produce a race +of men the fittest to serve their country in war.</p> + +<p>But as the best habit of body is ever inseparable from the greatest +perfection of beauty, of which its possessor is susceptible, it very +naturally followed, that the good plight to which exercise brought and +preserved the females, gave also to their shape, that delicacy and +suppleness, and to their every motion, that graceful agility which +caracterized the Grecian beauties, and distinguished +<span class = "pagenum">150</span> +<!-- png 144 --> +them for that nymph-stile of figure, which we to this day admire in the +description of their historians, of their poets, or in the +representations that yet remain to us in their statues, or other +monuments of antiquity.</p> + +<p>But omitting to insist on the Spartan austerity, and especially on +their gimnastic training for both sexes, and to take the milder methods +of exercise in use among the Grecians, we find that the chace, that +foot-races, and especially dancing, principally composed the amusement +of the young ladies of that country; where, in the great days of Greece, +no maxim ever more practically prevailed, than that sloth or inactivity +was equally the parent of diseases of the body, as of vices of the mind. +Agreeable to which idea, one of the greatest physicians now in Europe, +the celebrated Tronchin, +<span class = "pagenum">151</span> +<!-- png 145 --> +while at Paris, vehemently declaimed against this false delicacy and +aversion against exercise; from which the ladies, especially of the +higher rank of life, derived their bad habits of body, their pale color, +with all the principles of weakness, and of a puny diseased +constitution, which they necessarily intail on their innocent children. +Thence it was that he condemned the using oneself too much to coaches or +chairs, which, he observed, lowers the spirits, thickens the humors, +numbs the nerves, and cramps the liberty of circulation.</p> + +<p>Considering the efficacy of exercise, and that fashion has abolished +or at least confined among a very few, the more robust methods of +amusement, it can hardly not be eligible to cultivate and encourage an +art, so +<span class = "pagenum">152</span> +<!-- png 146 --> +innocent and so agreeable as that of dancing, and which at once unites +in itself the three great ends, of bodily improvement, of diversion, and +of healthy exercise. As to this last especially, it has this advantage, +its being susceptible at pleasure, of every modification, of being +carried from the gentlest degree of motion, up to that of the most +violent activity. And where riding is prescribed purely for the sake of +the power of the concussion resulting from it, to prevent or to +dissipate obstructions, the springs and agitations of the bodily frame, +in the more active kind of dances, can hardly not answer the same +purpose, especially as the motion is more equitably diffused, and +suffers no checks or partiality from keeping the seat, as either in +riding, or any other method of conveyance. At least, such an +entertainment, +<span class = "pagenum">153</span> +<span class = "folionum">T</span> +<!-- png 147 --> +one would imagine, preferable, for many reasons, to an excess of such +sedentary amusements as those of cards, and the like.</p> + +<p>Certainly those of the fair sex who use exercise, will, in their +exemption from a depraved or deficient appetite, in the freshness or in +the glow of their color, in the firmness of their make, in the +advantages to their shape, in the goodness in general of their +constitution, find themselves not ill repaid for conquering any +ill-habit of false delicacy and sloth, to which so many, otherwise fine +young ladies, owe the disorders of their stomach, their pale sickly hue, +and that languid state of health which must poison all their pleasures, +and even endanger +<span class = "pagenum">154</span> +<!-- png 148 --> +their lives. These are not strained nor far-fetched consequences.</p> + +<p>But even as to those of either sex, the practice of dancing is +attended with obviously good effects. Such as are blessed by nature with +a graceful shape and are clean-limbed, receive still greater ease and +grace from it; while at the same time, it prevents the gathering of +those gross and foggy humors which in time form a disagreeable and +inconvenient corpulence. On the other hand, those whose make and +constitution occasion a kind of heavy proportion, whose muscular texture +is not distinct, whose necks are short, shoulders round, chest narrow, +and who, in short are, what may be called, rather clumsy figures; these +will greatly find their account in a competent exercise of the art of +dancing, not only as it will give +<span class = "pagenum">155</span> +<span class = "folionum">T2</span> +<!-- png 149 --> +them a freedom and ease one would not, at the first sight, imagine +compatible with their figure, but may contribute much to the cure, or at +least to the extenuation of such bodily defects, by giving a more free +circulation to the blood, a habit of sprightliness and agility to +the limbs, and preventing the accumulation of gross humors, and +especially of fat, which is itself not among the least diseases, where +it prevails to an excess. Not that I here mean any thing so foolishly +partial, as that nothing but dancing could operate all this; but only +place it among not the least efficacious means.</p> + +<p>Nothing is more certain than that exercises in general, diversions, +such as that of hunting, and the games of dexterity, keep up the natural +standard of strength and beauty, which luxury and sloth are sure to +debase.</p> + +<span class = "pagenum">156</span> +<!-- png 150 --> +<p>Dancing furnishes then to the fair-sex, whose sphere of exercise is +naturally more confined than that of the men, at once a salutary +amusement, and an opportunity of displaying their native graces. But as +to men, fencing, riding and many other improvements have also doubtless +their respective merit, and answer very valuable purposes.</p> + +<p>But where only the gentlest exercise is requisite, the minuet offers +its services, with the greatest effect; and when elegantly executed, +forms one of the most agreeable fights either in private or public +assemblies, or, occasionally, even on the theatre itself.</p> + +<p>Yet I speak not of this dance here with any purpose of specifying +rules <ins class = "correction" title = "text reads âfor / forâ at line break">for</ins> its attainment. Such an attempt +<span class = "pagenum">157</span> +<!-- png 151 --> +would be vain and impracticable. Who does not know that almost every +individual learner requires different instructions? The laying a stress +on some particular motion or air which may be proper to be recommended +to one, must be strictly <ins class = "correction" title = "text reads âfobiddenâ">forbidden</ins> to another. In some, their natural graces +need only to be called forth; in others the destroying them by +affectation is to be carefully checked. Where defects are uncurable, the +teacher must show how they may be palliated and sometimes even converted +into graces. It will easily then be granted that there is no such thing +as learning a minuet, or indeed any dance merely by book. The +dead-letter of it can only be conveyed by the noting or description of +the figure and of the mechanical part of it; but the spirit of it in the +graces of the air and gesture, and the carriage of the +<span class = "pagenum">158</span> +<!-- png 152 --> +dancer can only be practically taught by a good master.</p> + +<p>I have mentioned the distinction of a good master, most assuredly not +in the way of a vain silly hint of <ins class = "correction" title = +"text unchanged: âself-recom/dationâ at line break">self-recomdation</ins>; but purely for the sake of giving a +caution, too often neglected, against parents, or those charged with the +education of youth, placing children, at the age when their muscles are +most flexible, their limbs the most supple, and their minds the most +ductile, and who are consequently susceptible of the best impressions, +under such pretended masters of this art, who can only give them the +worst, and who, instead of teaching, stand themselves in need of being +taught. The consequence then of such a bad choice, is, that young people +of the finest disposition in the world, contract, under +<span class = "pagenum">159</span> +<!-- png 153 --> +such teachers, bad, awkward habits, that are not afterwards easily +curable.</p> + +<p>Those masters who possess the real grounds of their art, find in +their uniting their practice with their knowledge, resources even +against the usual depredations of age; which, though it may deprive them +of somewhat of their youthful vigor, has scarce a sensible influence on +their manner of performance. There will still long remain to them the +traces of their former excellence.</p> + +<p>I have myself seen the celebrated Dupré, at near the age of sixty, +dance at Paris, with all the agility and sprightliness of youth, and +with such powers of pleasing, as if the graces <i>in him</i> had braved +superannuation.</p> + +<span class = "pagenum">160</span> +<!-- png 154 --> +<p>Such is the advantage of not having been content with a superficial +tincture of this art; or with a mere rote of imitation, without an aim +at excellence or originality.</p> + +<p>But though there is no necessity for most learners to enter so deep +into the grounds and principles of the art, as those who are to make it +their profession, it is at least but doing justice to oneâs scholars to +give them those essential instructions as to the graces of air, +position, and gesture; without which they can never be but indifferent +performers.</p> + +<p>For example, instead of being so often told to turn their toes out, +they should be admonished to turn their knees out, which will +consequently give the true direction to the feet. +<span class = "pagenum">161</span> +<span class = "folionum">U</span> +<!-- png 155 --> +A due attention should also be given to the motion of the instep, to the +air of sinking and rising; to the position of the hips, shoulders, and +body; to the graceful management of the arms, and particularly to the +giving the hand with a genteel manner, to the inflections of the neck +and head, and especially to the so captivating modesty of the eye; in +short, to the diffusing over the whole execution, an air of noble ease, +and of natural gracefulness.</p> + +<p>It might be too trite to mention here what is so indispensable and so +much in course, the strict regard to be paid to the keeping time with +the music.</p> + +<p>Nothing has a better effect, nor more prepossessing in favor of the +<span class = "pagenum">162</span> +<!-- png 156 --> +performance to follow, than the bow or curtsy at the opening the dance, +made with an air of dignity and freedom. On the contrary, nothing is +more disgustful than that initial step of the minuet, when auckwardly +executed. It gives such an ill impression as is not easily removed by +even a good performance in the remaining part of the dance.</p> + +<p>There is another point of great importance to all, but to the ladies +especially, which is ever strictly recommended in the teaching of the +minuet; but which in fact, like most of the other graces of that dance, +extends to other occasions of appearance in life. This point is the easy +and noble port of the head. Many very pretty ladies lose much of the +effect of their beauty, and of the signal +<span class = "pagenum">163</span> +<span class = "folionum">U2</span> +<!-- png 157 --> +power of the first impressions, as they enter a room, or a public +assembly, by a vulgar or improper carriage of the head, either poking +the neck, or stooping the head, or in the other extreme, of holding it +up too stiff, on the Mamaâs perpetually teizing remonstrance, of âhold +up your head, Miss,â without considering that merely bridling, without +the easy grace of a free play, is a worse fault than that of which she +will have been corrected.</p> + +<p>Certainly nothing can give a more noble air to the whole person than +the head finely set, and turning gracefully, with every natural occasion +for turning it, and especially without affectation, or stifly pointing +the chin, as if to show which way the wind sits.</p> + +<span class = "pagenum">164</span> +<!-- png 158 --> +<p>But it must be impossible for those who stoop their heads down, to +give their figure any air of dignity, or grace of politeness. They must +always retain something of ignoble in their manner. Nothing then is more +recommendable than for those who are naturally inclined to this defect, +to endeavor the avoiding it by a particular attention to this capital +instruction in learning the minuet. It is also not enough to take the +minuet-steps true to time, to turn out their knees, and to slide their +step neatly, if that flexibility, or rise and fall from the graceful +bending of the instep, is not attended to, which gives so elegant an air +to the execution either of the minuet, or of the serious theatrical +dances. Nothing can more than that, set off or show the beauty of the +steps.</p> + +<span class = "pagenum">165</span> +<!-- png 159 --> +<p>It should also be recommended to the dancers of the minuet, ever to +have an expression of that sort of gaity and chearfulness in the +countenance, which will give it an amiable and even a noble frankness. +Nothing can be more out of character, or even displeasing, than a +froward or too pensive a look. There may be a sprightly vacancy, an +openness in the face, without the least tincture of any indecent air of +levity: as there may be a captivating modesty, without any of that +bashfulness which arises either from low breeding, wrong breeding, or no +breeding at all.</p> + +<p>But to execute a minuet in a very superior manner, it is +recommendable to enter into some acquaintance, at least, with the +principles of the serious or grave dances, with a naturally genteel +<span class = "pagenum">166</span> +<!-- png 160 --> +person, a superficial knowledge of the steps, and a smattering of +the rules, any one almost may soon be made to acquit himself tolerably +of a minuet; but to make a distinguished figure, some notion of the +depths and refinements of the art, illustrated by proper practice, are +required.</p> + +<p>It is especially incumbent on an artist, not to rest satisfied with +having pleased: he should, from his knowledge of the grounds of his art, +be able to tell himself why he has pleased; and thus by building upon +solid principles, preferably to mere lucky hits, or to transient and +accidental advantages of form or manner, insure the permanency of his +power to please.</p> + +<p>There is a vice in dancing, against which pupils cannot be too +carefully +<span class = "pagenum">167</span> +<!-- png 161 --> +guarded; it is that of affectation. It is essentially different from +that desire of pleasing, which is so natural and so consistent even with +the greatest modesty, in that it always builds on some falsity, mistaken +for a means of pleasing, though nothing can more surely defeat that +intention; there is not an axiom more true than that the graces are +incompatible with affectation. They vanish at the first appearance of +it: and the curse of affectation is, that it never but lets itself be +seen, and wherever it is seen, it is sure to offend, and to frustrate +its own design.</p> + +<p>The simplicity of nature is the great fountain of all the graces; +from which they flow spontaneous, when unchecked by affectation, which +at once poisons and dries them up.</p> + +<span class = "pagenum">168</span> +<!-- png 162 --> +<p>Nature does not refuse cultivation, but she will not bear being +forced. The great art of the dancing-master is not to give graces, for +that is impossible, but to call forth into a nobly modest display those +latent ones in his scholars, which may have been buried for want of +opportunities or of education to break forth in their native lustre, or +which have been spoiled or perverted, by wrong instruction, or by bad +models of imitations. In this last case, the masterâs business is rather +to extirpate than to plant; to clear the ground of poisonous exotics, +and to make way for the pleasing productions of nature.</p> + +<p>This admirable prerogative of pleasing, inseparable from the natural +graces, unpoisoned by affectation, is in nothing more strongly +exemplified, +<span class = "pagenum">169</span> +<span class = "folionum">X</span> +<!-- png 163 --> +than in the rural dances, where simplicity of manners, a sprightly +ease, and an exemption from all design but that of innocent mirth, give +to the young and handsome villagers, or country-maids, those inimitable +graces for ever unknown to artifice and affectation. Not but, even in +those rural assemblies, there may be found some characters tainted with +affectation; but then in the country they are exceptions, whereas in +town they constitute the generality, who are so apt to mistake airs for +graces, though nothing can be more essentially different.</p> + +<p>But how shall those masters guard a scholar sufficiently against +affectation, who are themselves notoriously infected with it? Nay, this +is so common to them, that it is even the foundation of a proverbial +remark, that no gentleman +<span class = "pagenum">170</span> +<!-- png 164 --> +can be said to dance well, who dances like a dancing-master. Those false +refinements, that finical, affected air so justly reproached to the +generality of teachers, a master should correct in himself before +he can well give lessons for avoiding them to his pupils. And, in truth, +they are but wretched substitutes to the true grounds and principles of +the art, in which nothing is more <ins class = "correction" title = +"text reads âstonglyâ">strongly</ins> inculcated than the total neglect +of them, and the reliance on the engaging and noble simplicity of +nature.</p> + +<p>It is then no paradox to say that the more deep you are in the art, +the less will it stifle nature. On the contrary, it will, in the noble +assurance which a competent skill is sure to bring with it, give to the +natural graces a greater freedom and ease of display. Imperfection +<span class = "pagenum">171</span> +<span class = "folionum">X2</span> +<!-- png 165 --> +of theory and practice cramps the faculties; and gives either an +unpleasing faulteringness to the air, steps, and gestures, or wrong +execution. And as the minuet derives its merit from an observation of +the most agreeable steps, well chosen in nature and well combined by +art, there is no inconsistence in avering that art may, in this, as in +many other objects of imitative skill, essentially assist nature, and +place her in the most advantageous point of light.</p> + +<p>The truth of this will be easily granted, by numbers who have felt +the pleasure of seeing a minuet gracefully executed by a couple who +understood this dance perfectly. Nay, excellence in the performance of +it, has given to an indifferent figure, at least a temporary advantage +over a much superior one +<span class = "pagenum">172</span> +<!-- png 166 --> +in point of person only; and sometimes an advantage of which the +impression has been more permanent.</p> + +<p>But besides the effect of the moment in pleasing the spectators; the +being well versed in this dance especially contributes greatly to form +the gait, and address, as well as the manner in which we should present +ourselves. It has a sensible influence in the polishing and fashioning +the air and deportment in all occasions of appearance in life. It helps +to wear off any thing of clownishness in the carriage of the person, and +breathes itself into otherwise the most indifferent actions, in a +genteel and agreeable manner of performing them.</p> + +<p>This secret and relative influence of the minuet, <i>Marcel</i>, my +ever respected +<span class = "pagenum">173</span> +<!-- png 167 --> +master, whom his own merit in his profession, and the humorous mention +of him by <i>Helvetius</i>, in his famous book <span class = +"smallcaps">De LâEsprit</span>, have made so well known, constantly kept +in view, in his method of teaching it. His scholars were generally known +and distinguished from those of other masters, not only by their +excellence in actual dancing, but by a certain superior air of +easy-genteelness at other times. He himself danced the minuet to its +utmost perfection. Not that he confined his practice to that dance +alone; on the contrary, he confessed himself obliged for his greatest +skill in that, to his having a general knowledge of all the other +dances, which he had practised, but especially those of the serious +stile.</p> + +<span class = "pagenum">174</span> +<!-- png 168 --> +<p>But certainly it is not only to the professed dancer, that dancing in +the serious stile, or the minuet, with grace and ease, is essential. The +possessing this branch of dancing is of great service on the theatre, +even to an actor. The effect of it steals into his manner, and gait, and +gives him an air of presenting himself, that is sure to prepossess in +his favor. Persons <ins class = "correction" title = "text reads âof / ofâ at line break">of</ins> every size or shape are susceptible of grace +and improvement from it. The shoulders so drawn back as not to +protuberate before, but as it were, to retreat from sight, or as the +French express it <i>bien effacées</i>, the knees well turning outwards, +with a free play; the air of the shape noble and disengaged; the turns +and movements easy; in short, all the graces that characterise a good +execution of the minuet, will, insensibly on all other occasions, +distribute through +<span class = "pagenum">175</span> +<!-- png 169 --> +every limb and part of the body, a certain liberty and +agreeableness of motion easier to be conceived than defined. To the +actor, in all characters, it gives, as I have just before observed, +a graceful mien and presence; but, in serious characters, it +especially suggests that striking portliness, that majestic tread of the +stage, for which some actors from the very first of their appearance so +happily dispose the public to a favorable reception of their merit in +the rest of their part. An influence of the first impression, which a +good actor will hardly despise, especially with due precaution against +his contracting any thing forced or affected in his air or steps, from +his attention to his improvement by dancing, as the very best things may +be even pernicious by a misuse. Whatever is not natural, free, and easy, +will undoubtedly, +<span class = "pagenum">176</span> +<!-- png 170 --> +on the stage, as every where else, have a bad effect. A very little +matter of excess will, from his aim at a grace, produce a ridiculous +caricature. Too stiff a regulation of his motions or gestures, by +measure and cadence, would even be worse than abandoning every thing to +chance; which might, like the Eolian harp, sometimes suffer lucky hits +to escape him; whereas affectation is as sure forever to displease, as +it is not to escape the being seen where it exists.</p> + +<p>Among the many reasons for this dance of the minuet having become +general, is the possibility of dancing it to so many different airs, +though the steps are invariable. If one tune does not please a +performer, he may call for another; the minuet still remaining +unalterable.</p> + +<span class = "pagenum">177</span> +<span class = "folionum">Y</span> +<!-- png 171 --> +<p>There is no occasion however for a learner to be confined to this +dance. He should rather be encouraged, or have a curiosity be excited in +him, to learn especially those dances, which are of the more tender or +serious character, contributing, as they greatly do, to perfect one in +the minuet; independently of the pleasure they besides give both in the +performance and to the sight. The dances the most in request are, the +<i>Saraband</i>, the <i>Bretagne</i> the <i>Furlana</i>, the +<i>Passepied</i>, the <i>Folie dâEspagne</i>, the <i>Rigaudon</i>, the +<i>Minuet du Dauphin</i> the <i>Louvre</i>, <i>La Mariée</i>, which is +always danced at the Opera of Roland at Paris. Some of these are +performed solo, others are duet-dances. The <i>Louvre</i> is held by +many the most pleasing of them all, especially when well executed by +both performers, in a just concert of motions; no dance affording +<span class = "pagenum">178</span> +<!-- png 172 --> +the arms more occasion for a graceful display of them, or a more +delicate regularity of the steps; being composed of the most select ones +from theatrical dances, and formed upon the truest principles of the +art. This dance is executed in most countries of Europe without any +variation. It is generally followed or terminated by a minuet; and these +two dances, the Louvre and the minuet, are at present the most +universally in fashion, and will, in all probability, continue so, from +their being both pleasing beyond all others, to the performers, as well +as to the spectators, and from their not being difficult to learn, if +the scholar has but common docility.</p> + +<p>Youth being for learning this art undoubtedly the best season, for +reasons as I have before observed, too +<span class = "pagenum">179</span> +<span class = "folionum">Y2</span> +<!-- png 173 --> +obvious to need insisting on, the master cannot pay too much attention +to the availing himself of the pliancy of that age, to give his scholars +the necessary instructions for preparing and well-disposing their limbs. +This holds good, particularly with regard to that propensity innate to +most persons of turning in their toes. I have already mentioned the +expediency of curing this defect, by the directing them to acquire a +habit of turning the knees outward, to which I have to add, that on the +proper turn of the knee, chiefly depend the graces of the under part of +the figure, that is to say, from the foot to the hip.</p> + +<p>Frequent practice also of dancing, or of any salutary exercise, is +also highly recommendable for obtaining a firmness +<span class = "pagenum">180</span> +<!-- png 174 --> +of body; for a tottering dancer can never plant his steps so as to +afford a pleasing execution. It may sound a little odd, but, the truth +is, that in dancing, sprightliness and agility are principally produced +by bodily strength; while on the contrary, weakness, or infirmity, must +give every step and spring, not only a tottering, but a heavy air. The +legs that bear with the most ease the weight of the body, will naturally +make it seem the lightest.</p> + + +<p class = "lines"> </p> + +<span class = "pagenum">181</span> +<!-- png 175 --> +<a name = "world" id = "world"> </a> + +<h1 class = "five">A</h1> + +<h1 class = "two smallcaps">Summary Account</h1> + +<h1 class = "two">Of various kinds of</h1> + +<h1 class = "two"><span class = "extended">DANCES</span></h1> + +<h1 class = "five">In different Parts of the WORLD.</h1> + +<p> </p> + +<p class = "citation"> +<i>Cantatur et saltatur apud omnes gentes, aliquo saltem modo</i>, +<span class = "rightfloat smallcaps">Quint.</span></p> + +<p class = "oneline"> </p> + +<a name = "europe" id = "europe"> </a> + +<h1 class = "six extended">IN</h1> + +<h1 class = "three"><span class = "extended">EUROP</span>E.</h1> + +<p><span class = "dropcap">A</span><span class = "firstword">s</span> +almost every country has dances particular to it, or, at least, so +naturalized by adoption from others, +<span class = "pagenum">182</span> +<!-- png 176 --> +that in length of time they pass for originals; a slight sketch of +the most remarkable of them may serve to throw a light upon this +subject, entertaining to some, and both entertaining and useful to +others.</p> + +<p>In <span class = "smallcaps">Britain</span>, you have the hornpipe, +a dance which is held an original of this country. Some of the +steps of it are used in the country-dances here, which are themselves a +kind of dance executed with more variety and agreeableness than in any +part of Europe, where they are also imitatively performed, as in Italy, +Germany and in several other countries. Nor is it without reason they +obtain, here the preference over the like in other places. They are no +where so well executed. The music is extremely well adapted, and the +steps in general +<span class = "pagenum">183</span> +<!-- png 177 --> +are very pleasing. Some foreign comic dancers, on their coming here, +apply themselves with great attention to the true study of the hornpipe, +and by constant practice acquire the ability of performing it with +success in foreign countries, where it always meets with the highest +applause, when masterly executed. There was an instance of this, +sometime ago at Venice, at an opera there, when the theatre was as well +provided with good singers and dancers, as any other. But they had not +the good fortune to please the public. A dancer luckily for the +manager, presented himself, who danced the hornpipe in its due +perfection. This novelty took so, and made such full houses, that the +manager, who had begun with great loss, soon saw himself repaired, and +was +<span class = "pagenum">184</span> +<!-- png 178 --> +a gainer when he little expected it.</p> + +<p>It is to the <span class = "smallcaps">Highlanders</span> in +North-Britain, that I am told we are indebted for a dance in the comic +vein, called the <i>Scotch Reel</i>, executed generally, and I believe +always in <i>trio</i>, or by three. When well danced, it has a very +pleasing effect: and indeed nothing can be imagined more agreeable, or +more lively and brilliant, than the steps in many of the Scotch dances. +There is a great variety of very natural and very pleasing ones. And a +composer of comic dances, might, with great advantage to himself, upon a +judicious assemblage of such steps as he might pick out of their dances, +form a dance that, with well adapted dresses, correspondent music, and +figures capable of a just performance, +<span class = "pagenum">185</span> +<span class = "folionum">Z</span> +<!-- png 179 --> +could hardly fail of a great success upon the theatre.</p> + +<p>I do not know whether I shall not stand in need of an apology for +mentioning here a dance once popular in England, but to which the idea +of low is now currently annexed. It was originally adapted from the +Moors, and is still known by the name of Morris-dancing, or +Moresc-dance. It is danced with swords, by persons odly disguised, with +a great deal of antic rural merriment: it is true that this diversion is +now almost exploded, being entirely confined to the lower classes of +life, and only kept up in some counties. What the reason may be of its +going out of use, I cannot say; but am very sure, there was not +only a great deal of natural mirth in it, but that it is susceptible +enough of +<span class = "pagenum">186</span> +<!-- png 180 --> +improvement, to rescue it from the contempt it may have incurred, +through its being chiefly in use among the vulgar; though most probably +it may have descended among them from the higher ranks. For certainly of +them it was not quite unworthy, for the Pirrhic or military air it +carries with it, and which probably was the cause of its introduction +among so martial a people. Rude, as it was, it might require refinement, +but it did not, perhaps, deserve to become quite obsolete.</p> + +<p>In <span class = "smallcaps">Spain</span>, they have a dance, called, +<i>Les Folies dâEspagne</i>, which is performed either by one or by two, +with castanets. There is a dress peculiarly adapted to it, which has a +very pleasing effect, as well as the dance itself.</p> + +<span class = "pagenum">187</span> +<span class = "folionum">Z2</span> +<!-- png 181 --> +<p>In <span class = "smallcaps">France</span>, their +<i>Contre-dances</i>, are drawn from the true principles of the art, and +the figures and steps are generally very agreeable. No nation cultivates +this art with more taste and delicacy. Their <i>Provençale</i> dance, is +most delightfully sprightly, and well imagined. The steps seem to +correspond with the natural vivacity and gaiety of the Provençals. This +dance is commonly performed to the pipe and tabor.</p> + +<p>The <span class = "smallcaps">Flemish</span> dances run in the most +droll vein of true rural humor. The performers seem to be made for the +dances, and the dances for the performers; so well assorted are the +figures to the representation. Several eminent painters in the grotesque +stile, Teniers especially, have formed many diverting +<span class = "pagenum">188</span> +<!-- png 182 --> +pictures taken from life, upon this subject.</p> + +<p>At <span class = "smallcaps">Naples</span>, they have various +grotesque dances, which are originals in their kind, being extremely +difficult to execute, not only for the variety of the steps, but for the +intricacy and uncommonness, or rather singularity of them.</p> + +<p>But while I am mentioning Naples, I ought not to omit that effect of +dancing, which is attributed to it, upon those who are bitten with the +<i>Tarantula</i>. The original of this opinion, was probably owing to +some sensible physician, prescribing such a violent motion, more likely +to be kept up in the patient, by the power of music, than by any thing +else, as might enable him to expel the poison, by being thereby thrown +into a copious sweat, and by other benefits +<span class = "pagenum">189</span> +<!-- png 183 --> +from such a vehement agitation. This, it is supposed, was afterwards +abused and turned into a mere trick, to assemble a croud and get money, +either by sham bites, or by making a kind of show of this method of +practice in real ones. However, that may be, the various grimaces or +contortions, leaps and irregular steps, commonly used on this occasion, +to be executed to that sort of music, or airs adapted to it, might +afford a good subject for a grotesque dance, to be formed upon the plan +of a burlesque or mock-imitation: and I am not quite sure that the idea +of such a dance, has not been already carried into execution.</p> + +<p>The castanets the <span class = "smallcaps">Neapolitans</span> most +frequently use, are of the largest size. It is also from Naples that we +have taken the Punchinello dance.</p> + +<span class = "pagenum">190</span> +<!-- png 184 --> +<p>At <span class = "smallcaps">Florence</span>, they have a dance, +called, <i>il Treschone</i>. The country-women, in the villages, are +very fond of it. They are generally speaking, very robust, and capable +of holding out the fatigue of this dance, for a long time. To make +themselves more light for it, they often pull off their shoes. The dance +is opened by a couple, one of each sex. The woman holds in her hand a +handkerchief, which she flings to him whom she chuses for her next +partner, who, in his turn has an equal right to dispose of it in the +same manner, to any woman of the company he chuses. Thus is the dance +carried on without any interruption till the assembly +breaks up.</p> + +<p>The favorite dance of the <span class = "smallcaps">Venetians</span>, +is what they call the <i>Furlana</i>, which is performed by two persons +dancing +<span class = "pagenum">191</span> +<!-- png 185 --> +a-round with the greatest rapidity. Those who have a good ear, keep time +with the crossing their feet behind; and some add a motion of their +hands, as if they were rowing or tugging at an oar. This dance is +practiced in several other parts of Italy.</p> + +<p>The Peasants of <span class = "smallcaps">Tirol</span>, have one of +the most pleasant and grotesque dances that can be imagined. They +perform it in a sort of holy-day dress, made of skins, and adorned with +ribbons. They wear wooden shoes, not uncuriously painted; and the women +especially express a kind of rural simplicity and frolic mirth, which +has a very agreeable effect.</p> + +<p>The <span class = "smallcaps">Grisons</span> are in possession of an +old dance, which is not without its merit, and which they would not +exchange +<span class = "pagenum">192</span> +<!-- png 186 --> +for the politest in Europe; they being as invariably attached to it, as +to their dress.</p> + +<p>The <span class = "smallcaps">Hungarians</span> are very noisy in +their dances, with their iron heels, but when they are of an equal size, +and dressed in their uniforms, the agility of their steps, and the +regularity of dress in the performers, render them not a disagreeable +sight.</p> + +<p>The <span class = "smallcaps">Germans</span> have a dance called the +<i>Allemande</i>, in which the men and women form a ring. Each man +holding his partner round the waist, makes her whirl round with almost +inconceivable rapidity: they dance in a grand circle, seeming to pursue +one another: in the course of which they execute several leaps, and some +particularly pleasing steps, when they turn, but so +<span class = "pagenum">193</span> +<span class = "folionum">Aa</span> +<!-- png 187 --> +very difficult as to appear such even to professed dancers themselves. +When this dance is performed by a numerous company, it furnishes one of +the most pleasing sights that can be imagined.</p> + +<p>The <span class = "smallcaps">Polish</span> nobility have a dance, to +which the magnificence of their dress, and the elegance of the steps, +the gracefulness of the attitudes, the fitness of the music, all +contribute to produce a great effect. Were it performed here on the +theatre, it would hardly fail of a general applause.</p> + +<p>The <span class = "smallcaps">Cossacs</span>, have, amidst all their +uncouth barbarism, a sort of dancing, which they execute to the +sound of an instrument, somewhat resembling a Mandoline, but +considerably larger, and which is highly diverting, from the extreme +vivacity of the steps, and the +<span class = "pagenum">194</span> +<!-- png 188 --> +oddity of the contortions and grimaces, with which they exhibit it. For +a grotesque dance there can hardly be imagined any thing more +entertaining.</p> + +<p>The <span class = "smallcaps">Russians</span>, afford nothing +remarkable in their dances, which they now chiefly take from other +countries. The dance of dwarfs with which the Czar Peter the Great, +solemnized the nuptials of his niece to the Duke of Courland, was, +probably rather a particular whim of his own, than a national usage.</p> + +<p class = "lines"> </p> + +<span class = "pagenum">195</span> +<span class = "folionum">Aa2</span> +<!-- png 189 --> + +<a name = "asia" id = "asia"> </a> + +<h1 class = "five extended">IN</h1> + +<h1 class = "two"><span class = "extended">ASI</span>A.</h1> + +<p class = "oneline"> </p> + +<p><span class = "dropcap">I</span><span class = "firstword">n</span> +<span class = "smallcaps">Turky</span>, dances have been, as of old in +Greece, and elsewhere instituted in form of a religious ceremony. The +<i>Dervishes</i> who are a kind of devotionists execute a dance, called +the <i>Semaat</i> in a circle, to a strange wild-simphony, when holding +one another by the hand, they turn round with such rapidity, that, with +pure giddiness, they often fall down in heaps upon one another.</p> + +<span class = "pagenum">196</span> +<!-- png 190 --> +<p>They have also in Turky, as well as India and Persia, professed +dancers, especially of the female sex, under the name of dancing-girls, +who are bred up, from their childhood, to the profession; and are always +sent for to any great entertainment, public or private, as at feasts, +weddings, ceremonies of circumcision, and, in short, on all occasions of +festivity and joy. They execute their dances to a simphony of various +instruments, extremely resembling the antient ones, the <i>tympanum</i>, +the <i>crotala</i>, the <i>cimbals</i>, and the like, as well as to +songs, being a kind of small dramatic compositions, or what may properly +be called <i>ballads</i>, which is a true word for a song at once sung +and danced: <i>ballare</i> signifying to dance; and <i>ballata</i>, +a song, composed to be danced. It is probable that from these +eastern kind of dances, which are undoubtedly +<span class = "pagenum">197</span> +<!-- png 191 --> +very antient, came the name, among the Romans, of <i>balatrones</i>. +Nothing can be imagined more graceful, nor more expressive, than the +gestures and attitudes of those dancing-girls, which may properly be +called the eloquence of the body, in which indeed most of the Asiatics +and inhabitants of the <ins class = "correction" title = "text unchanged">southren</ins> climates constitutionally excel, from a +sensibility more exquisite than is the attribute of the more northern +people; but a sensibility ballanced by too many disadvantages to be +envied them. The Siamese, we are told, have three dances, called the +<i>Cone</i>, the <i>Lacone</i>, and the <i>Raban</i>. The <i>Cone</i> is +a figure-dance, in which they use particularly a string-instrument in +the nature of a violin, with some others of the Asiatic make. Those who +dance are armed and masked, and seem to be a fighting rather +<span class = "pagenum">198</span> +<!-- png 192 --> +than dancing. It is a kind of Indian Pirrhic. Their masks represent the +most frightful hideous countenances of wild-beasts, or demons, that +fancy can invent. In the <i>Lacone</i> the performers sing commutually +stanzes of verses containing the history of their country. The Raban is +a mixed dance, of men and women, not martial, nor historical, but purely +gallant; in which the dancers have all long false nails of copper. They +sing in this dance, which is only a slow march without any high motions, +but with a great many contortions of body and arms. Those who dance in +the Raban and Cone have high gilt caps like sugar-loaves. The dance of +the <i>Lacone</i> is appropriated to the dedication of their temples, +when a new statue of their <i>Sommona-codom</i> is set up.</p> + +<span class = "pagenum">199</span> +<!-- png 193 --> +<p>In many parts of the East, at their weddings, in conducting the bride +from her house to the bridegroomâs, as in Persia especially, they make +use of processional music and dancing. But, in the religious ceremonies +of the Gentoos, when, at stated times, they draw the triumphal car, in +which the image of the deity of the festival is carried, the procession +is intermixed with troops of dancers of both sexes, who, proceed, in +chorus, leaping, dancing, and falling into strange antics, as the +procession moves along, of which they compose a part; these adapt their +gestures and steps to the sounds of various instruments of music.</p> + +<p>Considering withal that the Romans, in their most solemn processions, +as in that called the <i>Pompa</i>, which I have before mentioned, in +which not only the +<span class = "pagenum">200</span> +<!-- png 194 --> +Pirrhic dance was processionally executed, but other dances, in +masquerade, by men who, in their habits, by leaping and by feats of +agility, represented satirs, the <i>Sileni</i>, and <i>Fauni</i>, and +were attended by minstrels playing on the flute and guitar; besides +which, there were <i>Salian</i> priests, and <i>Salian</i> virgins, who +followed, in their order, and executed their respective religious +dances; it may bear a question whether not an unpleasing use might not +be made, on the theatres, of processional dances properly introduced, +and connected, especially in the burlesque way. In every country, and +particularly in this, processions are esteemed an agreeable amusement to +the eye; and certainly they must receive more life and animation from a +proper intermixture of dances, than what a mere solemn march can +represent, where there is nothing to amuse but a long train of +<span class = "pagenum">201</span> +<span class = "folionum">Bb</span> +<!-- png 195 --> +personages in various habits, walking in parade. I only mention +this however as a hint not impossible to be improved, and reduced into +practice.</p> + +<p>But even, where it might be improper or ridiculous to think of mixing +dances with a procession, though it were but in burlesque, which must, +if at all, be the preferable way of mixing them, the pleasure of those +who delight in seeing processions and pageantry exhibited on the +theatre, might be gratified, without any violence to propriety, by +making them introductory to the dances of the grandest kind. For +example; where a dance in Chinese characters is intended, +a procession might be previously brought in, of personages, of whom +the habits, charactures, and manners might be faithfully copied from +nature, and from the truth of +<span class = "pagenum">202</span> +<!-- png 196 --> +things, and convey to the spectator a juster notion, of the people from +which the representation was taken, of their dress and public +processions, than any verbal description, or even prints or pictures. +After which, the dance might naturally take place, in celebration of the +festival, of which, the procession might be supposed the occasion.</p> + +<p>In order to give a more distinct idea of this hint, I have +hereto annexed the <a href = "images/pic01large.png" target = +"_blank">print of a Chinese procession</a> taken from the description of +a traveller into that country; by which a good composer would well know +how to make a proper choice of what might be exhibited, and what was fit +to be left out; especially according as the dance should be, serious or +burlesque. In the last case; +<span class = "pagenum">203</span> +<span class = "folionum">Bb2</span> +<!-- png 197 --> +even the horses might be represented by a theatrical imitation. And +certainly, bringing the personages on in such a regular procession at +first, would give a better opportunity of observing their dresses, than +in the huddled, confused manner of grouping them, that has been +sometimes practised: to say nothing of the pleasure afforded to the eye +by the procession itself.</p> + +<p>The print annexed represents the procession of a Chinese Mandarin of +the first order. First appear two men who strike each upon a copper +instrument called a gongh, resembling a hollow dish without a border, +which has pretty much the effect of a kettle-drum.</p> + +<p>Follow the ensign-bearers, on whose flags are written in large +characters +<span class = "pagenum">204</span> +<!-- png 198 --> +the Mandarinâs titles of honour. Next fourteen standards, upon which +appear the proper simbols of his office, such as the dragon, tiger, +phÅnix, flying tortoise, and other winged creatures of fancy, +emblematically exhibited.</p> + +<p>Six officers, bearing a staff headed by an oblong square board, +raised high, whereon are written in large golden characters the +particular qualities of this Mandarin.</p> + +<p>Two others bear, the one a large umbrella of yellow silk (the +imperial color) of three folds, one above the other; the other officer +carries the case in which the umbrella is kept.</p> + +<p>Two archers on horseback, at the head of the chief guard: then the +<span class = "pagenum">205</span> +<!-- png 199 --> +guards, armed with large hooks, adorned with silk fringe, in four rows +one above another; two other files of men in armor, some bearing maces +with long handles; others, maces in the form of a hand, or of a serpent: +others, equipped with large hammers and long hatchets like a crescent. +Other guards bearing sharp axes: some, weapons like scythes, only +strait. Soldiers carrying three-edged halberds.</p> + +<p>Two porters, carrying a splendid coffer, containing the seal of his +office.</p> + +<p>Two other men, beating each a <i>gongh</i>, which gives notice of the +Mandarinâs approach.</p> + +<p>Two officers, armed with staves, to keep off the croud.</p> + +<span class = "pagenum">206</span> +<!-- png 200 --> +<p>Two mace-bearers with gilt maces in the shape of dragons, and a +number of officers of justice, some equiped with bamboes, a kind of +flat cudgels, to give the bastinado: others with chains, whips, +cutlasses, and hangers.</p> + +<p>Two standard-bearers, and the captain of the guard.</p> + +<p>All this equipage precedes the Mandarin or Viceroy, who is carried in +his chair, surrounded with pages and footmen, having near his person an +officer who carries a large fan in the shape of a hand-fire-screen.</p> + +<p>He is followed by guards, some armed with maces, and others with +long-handled sabres; after whom come several ensigns and cornets, with a +<span class = "pagenum">207</span> +<!-- png 201 --> +great number of domestics on horseback, every one bearing some necessary +belonging to the Mandarin: as for example, a particular Tartarian +cap, if the weather should oblige him to change the one he +has on.</p> + +<p>From the above, it may appear, what scope or range a composer may +have for the exhibition of processions and pageantry of other nations, +as well as of the Chinese; in all which, nothing is more recommendable +than adhering, in the representation, as much as the limitations of the +theatre will admit, to the truth of things, as they actually pass in the +countries where the scene is laid: which is but, in saying other words, +in this, as in every other imitative branch, strike to nature as close +as possible.</p> + + +<!-- <span class = "pagenum">208</span> --> + +<p class = "lines"> </p> + +<span class = "pagenum">209</span> +<span class = "folionum">Cc</span> +<!-- png 202 --> + +<a name = "africa" id = "africa"> </a> + +<h1 class = "five extended">IN</h1> + +<h1 class = "two"><span class = "extended">AFRIC</span>A.</h1> + +<p class = "oneline"> </p> + +<p><span class = "dropcap">T</span><span class = "firstword">he</span> +spirit of dancing prevails, almost beyond imagination, among both men +and women, in most parts of Africa. It is even more than instinct, it is +a rage, in some countries of that part of the globe.</p> + +<p>Upon the Gold-coast especially, the inhabitants are so passionately +fond of it, that in the midst of their hardest labor, if they hear a +person +<span class = "pagenum">210</span> +<!-- png 203 --> +sing, or any musical instrument plaid, they cannot refrain from +dancing.</p> + +<p>There are even well attested stories of some Negroes flinging +themselves at the feet of an European playing on a fiddle, entreating +him to desist, unless he had a mind to tire them to death; it being +impossible for them to cease dancing, while he continued playing. Such +is the irresistible passion for dancing among them.</p> + +<p>With such an innate fondness for this art, one would imagine that +children taken from this country, so strong-made and so well-limbed as +they generally are, and so finely disposed by nature, might, if duly +instructed, go great lengths towards perfection in the art. But I do not +remember to have heard that the experiment +<span class = "pagenum">211</span> +<span class = "folionum">Cc2</span> +<!-- png 204 --> +was ever made upon any of them, by some master capable of giving them +such an improvement, as one would suppose them susceptible of.</p> + +<p>Upon the Gold-coast, there long existed and probably still exists a +custom, for the greater part of the inhabitants of a town or village to +assemble together, most evenings of the year, at the market-place to +dance, sing, and make merry for an hour or two, before bed-time. On this +occasion, they appear in their best attire. The women, who come before +the men, have a number of little bells tinkling at their feet. The men +carry little fans or rather whisks in their hand made of the tails of +elephants and horses, much like the brushes used to brush pictures; only +that theirs are gilt at both +<span class = "pagenum">212</span> +<!-- png 205 --> +ends. They meet usually about sunset. Their music consists of +horn-blowers or trumpeters, drummers, players on the flute, and the +like; being placed a-part by themselves. The men and women, who compose +the dance, divide into couples, facing each other, as in our +country-dances, and forming a general dance, fall into many wild +ridiculous postures, advancing and retreating, leaping, stamping on the +ground, bowing their heads, as they pass, to each other, and muttering +certain words; then snapping their fingers, sometimes speaking loud, at +other times whispering, moving now slow, now quick, and shaking their +fans.</p> + +<p>Artus and Villault add, that they strike each anotherâs shoulders +alternately with those fans; also that the women, laying straw-ropes in +circles on +<span class = "pagenum">213</span> +<!-- png 206 --> +the ground, jump into or dance round them; and clicking them up with +their toes, cast them in the air, catching them as they fall with their +hands.</p> + +<p>They are strangely delighted with these gambols; but do not care to +be seen at them by strangers, who can scarce refrain laughing, and +consequently putting them out of countenance.</p> + +<p>After an hour or two spent in this kind of exercise, they retire to +their respective homes.</p> + +<p>Their dances vary according to times, occurrences, and places. Those +which are in honor of their religious festivals, are more grave and +serious. There have been sometimes public dances instituted by order of +their Kings, as at Abrambo, +<span class = "pagenum">214</span> +<!-- png 207 --> +a large town in Widaw, where annually, for eight days together, there +resorted a multitude of both sexes from all parts of the country. This +was called the dancing-season. To this solemnity all came dressed in the +best manner, according to their respective ability. The dance was +ridiculous enough; but it served to keep up their agility of body. And +amidst all the uncouth barbarism of their gestures and attitudes, nature +breaks out into some expressions of joy, or of the passions, that would +not be unworthy of an Europeanâs observation.</p> + +<p>They have also their kind of Pirrhic dances, which they execute by +mock-skirmishing in cadence, and striking on their targets with their +cutlasses.</p> + +<span class = "pagenum">215</span> +<!-- png 208 --> +<p>I have already mentioned that it is from Africa, the Moresc-dances +originally came. But what is somewhat surprising, the Portugueze +themselves, among whom I will not however include the higher ranks of +life in that nation, but, at least, the number of the people who +adopted, from the Caffrees, or Negroes of their African possessions, +a dance called by them <i><ins class = "correction" title = +"spacing unchanged">LasCheganças</ins></i>, (Approaches) was so great +that the late King of Portugal was obliged to prohibit it by a formal +edict. The reason of which was, that some of the motions and gestures +had so lascivious an air, and were so contrary to modesty, that the +celebrated <i>Frey Gaspar</i>, a natural son, if I mistake not, of +the late King of Portugal, represented so efficaciously to his +Portugueze Majesty, the shame and scandal of this dance being any longer +suffered, +<span class = "pagenum">216</span> +<!-- png 209 --> +that it was put down by royal authority. Nor was this done without +occasioning heavy complaints against <i>Frey Gaspar</i>, against whom +there were lampoons and ballads publickly sung, upon his having used his +influence to procure that prohibition.</p> + +<p class = "lines"> </p> + +<span class = "pagenum">217</span> +<span class = "folionum">Dd</span> +<!-- png 210 --> + +<a name = "america" id = "america"> </a> + +<h1 class = "five extended">IN</h1> + +<h1 class = "two"><span class = "extended">AMERIC</span>A.</h1> + +<p class = "oneline"> </p> + +<p><span class = "dropcap">I</span><span class = "firstword">n</span> +this part of the world, so lately discovered, nothing is a stronger +proof of the universality of dancing, of its being, in short, rather an +human instinct, than an art, than the fondness for dancing every where +diffused over this vast continent.</p> + +<span class = "pagenum">218</span> +<!-- png 211 --> +<p>In <span class = "smallcaps">Brazil</span>, the dancers, whether men +or women, make a point of dancing bare-headed. The reason of this is not +mentioned: it cannot however be thought a very serious one, since +nothing can be more comical than their gestures, their contortions of +body, and the signs they make with the head to each other.</p> + +<p>In <span class = "smallcaps">Mexico</span>, they have also their +dances and music, but in the most uncouth and barbarian stile. For their +simphony they have wooden drums, something in form of a kettle-drum, +with a kind of pipe or flageolet, made of a hollow cane or reed, but +very grating to an European ear. It is observed they love every thing +that makes a noise how disagreeable soever the sound is. They will also +hum over something like a tune, when they dance +<span class = "pagenum">219</span> +<span class = "folionum">Dd2</span> +<!-- png 212 --> +thirty or forty in a circle, stretching out their hands, and laying them +on each others shoulders. They stamp and jump, and use the most antic +gestures for several hours, till they are heartily weary. And one or two +of the company sometimes step out of the ring, to make sport for the +rest, by showing feats of activity, throwing up their lances into the +air, catching them again, bending backwards, and springing forwards with +great agility. Then when they are in a violent sweat, from this +exercise, they will frequently jump into the water, without the least +bad consequences to their health. Their women have their dancing and +music too by themselves; but never mingle in those of the men.</p> + +<p>In <span class = "smallcaps">Virginia</span>, according to the author +of the history of that country, +<span class = "pagenum">220</span> +<!-- png 213 --> +they have two different kinds of dancing; the first, either single, or +at the most in small companies; or, secondly, in great numbers together, +but without having any regard either to time or figure.</p> + +<p>In the first kind one person only dances, or two, or three at most. +While during their performance, the rest, who are seated round them in a +ring, sing as loud as they can scream, and ring their little bells. +Sometimes the dancers themselves sing, dart terribly threatening looks, +stamp their feet upon the ground, and exhibit a thousand antic postures +and grimaces.</p> + +<p>In the other dance, consisting of a more numerous company of +performers, the dance is executed round stakes set in the form of a +circle, adorned +<span class = "pagenum">221</span> +<!-- png 214 --> +with some sculpture, or round about a fire, which they light in a +convenient place. Every one has his little bell, his bow and arrow in +his hand. They also cover themselves with leaves, and thus equipped, +begin their dance. Sometimes they set three young women in the midst of +the circle.</p> + +<p>In <span class = "smallcaps">Peru</span>, the manner of dancing has +something very particular. Instead of laying any stress on the motion of +the arms, in most of their dances, their arms hang down, or are wrapped +up in a kind of mantle, so that nothing is seen but the bending of the +body, and the activity of the feet; they have however many +figure-dances, in which they lay aside their cloaks or mantles, but the +graces they add, are rather actions than gestures.</p> + +<span class = "pagenum">222</span> +<!-- png 215 --> +<p>The <span class = "smallcaps">Peruvian</span> Creolians dance after +the same manner, without laying aside their long swords, the point of +which they contrive to keep up before them so that it may not hinder +them from rising, or in coupeeing, which is sometimes to such a degree +that it looks like kneeling.</p> + +<p>They have a dance there, adopted from the natives, which they call +<i>Zapatas</i>, (shoes) because in dancing they alternately strike with +the heels and toes, taking some steps, and coupeeing, as they traverse +their ground.</p> + +<p>Among the savages of North-America, we are told there are various +dances practised, such as that of the calumet, the leaders dance, the +war-dance, the marriage-dance, the sacrifice-dance, all which, +respectively differ in the movements, +<span class = "pagenum">223</span> +<!-- png 216 --> +and some, amidst all the wildness of their performance, are not without +their graces. But the dance of the calumet is esteemed the finest; this +is used at the reception of strangers whom they mean to honor, or of +ambassadors to them on public occasions. This dance is commonly executed +in an oval figure.</p> + +<p>The <span class = "smallcaps">Americans</span>, in some parts, +prescribe this exercise by way of phisic, in their distempers: +a method of treatment, not, it seems unknown to the antients: but, +in general, their motive for dancing, is the same as with the rest of +the world, to give demonstrations of joy and welcome to their guests, or +to divert themselves. On some occasions indeed, they make them part of +the ceremony at their assemblies upon affairs, when even +<span class = "pagenum">224</span> +<!-- png 217 --> +their public debates are preceded by dancing, as if they expected that +that exercise would rouse their mental faculties, and clear their heads. +The war-dance is also used by them, by way of proclamation of war +against their enemies.</p> + +<p>The foregoing summary sketch of some of the various dances, which are +practised in different parts of the globe, and which, to describe +universally and minutely, would fill whole volumes, may serve to show +that nature has, in all parts of the inhabited world, given to man the +instinct of dancing, as well as of speaking, or of singing. But it +certainly depends on the nations who encourage the polite arts, once +more to carry it up to that pitch of excellence, of which the history of +the +<span class = "pagenum">225</span> +<span class = "folionum">Ee</span> +<!-- png 218 --> +Greeks and Romans shows it to have been susceptible, among the antients, +however the moderns may have long fallen short of it. There has indeed +lately appeared a dawning hope of its recovery; which, that it may not +be frustrated, is the interest of all who wish well to an innocent and +even useful pleasure.</p> + + +<!-- <span class = "pagenum">226</span> --> + +<p class = "lines"> </p> + +<span class = "pagenum">227</span> +<span class = "folionum">Ee2</span> +<!-- png 219 --> + +<a name = "pantomime" id = "pantomime"> </a> + +<h1 class = "five extended">OF</h1> + +<h1 class = "two"><span class = "extended">PANTOMIME</span>S.</h1> + +<p class = "oneline"> </p> + +<p><span class = "dropcap">A</span><span class = "firstword">s</span> +this branch of the art of dancing is often mentioned, especially in this +country, without a just idea being affixed to it, or any other idea than +what is vulgarly taken from a species of compositions which are +sometimes exhibited after the play, on the theatre here, (not to mention +Sadlerâs <ins class = "correction" title = "capitalization unchanged">wells</ins>) and go by the name of pantomime entertainments; +it may not be unacceptable to the reader, my laying +<span class = "pagenum">228</span> +<!-- png 220 --> +down before him the true grounds and nature of this diversion, which +once made so great a figure in the theatrical sphere of action.</p> + +<p>And as, on this point, Monsieur Cahusac, an ingenious French writer, +has treated the historical part of it with so much accuracy, that it was +hardly possible to offer any thing new upon it, beyond what he has +furnished; and that not to make use of his researches would only betray +me into a fruitless affectation of originality, I am very ready to +confess, that for the best and greatest part of what I am now going to +offer upon this subject I am indebted to his production.</p> + +<p>That prodigious perfection to which the antients carried the +pantomime art, appeared so extraordinary to the celebrated +<span class = "pagenum">229</span> +<!-- png 221 --> +abbot Du Bos, that, not <ins class = "correction" title = "âbe/ingâ at line break without hyphen">being</ins> able to contradict the +authorities which establish the truth of it, he was tempted to consider +the art of dancing in those times as something wholly different from +what is at present understood by dancing.</p> + +<p>The chevalier Ramsay places it also among the lost arts. Both, no +doubt, grounding their opinion on that deficiency of execution on the +modern theatres, compared to what is incontestably transmitted to us, by +history, of the excellence of the antient pantomimes.</p> + +<p>But none have more contributed to establish the opinion of the +pantomime art being an art totally different from that of dancing, and +not merely an improvement of it, as was certainly the case, than some of +the professors of +<span class = "pagenum">230</span> +<!-- png 222 --> +the art themselves, who even exclaimed against M. Cahusac, for his +attempts to give juster notions, and to recommend the revival +of it.</p> + +<p>We are too apt to pronounce upon possibilities from our own measure +of knowledge, or of capacity. Nothing is more common than to hear men of +a profession declare loudly against any practice attempted to be +established for the improvement of their art, and peremptorily to aver +such a practice being impossible, for no other reason than that their +own study and efforts had not been able to procure them the attainment +of it. In this too they are seconded by that croud of superficial people +who frequent the theatres, and who can believe nothing beyond what +themselves have seen: any thing above the reach of what they are +accustomed +<span class = "pagenum">231</span> +<!-- png 223 --> +or habituated to admire, always seems to them a chimera.</p> + +<p>The reproach of incredulity is commonly made to men of the greatest +knowledge, because they are not over-apt to admit any proposition +without proof: but this reproach may, with more justice, be oftenest +made to the ignorant, who generally reject, without discussion, every +thing beyond their own narrow conception.</p> + +<p>To these it may sound more than strange; it may appear incredible, +that on the theatre of Athens, the dance of the Eumenides, or Furies, +had so expressive a character, as to strike the spectators with +irresistible terror. The Areopagus itself shuddered with horror and +affright; men grown old in the profession of arms, trembled; the +<span class = "pagenum">232</span> +<!-- png 224 --> +multitude ran out; women with child miscarried; people imagined they saw +in earnest those barbarous deities commissioned with the vengeance of +heaven, pursue and punish the crimes of the earth.</p> + +<p>This passage of history is furnished by the same authors, who tell +us, that Sophocles was a genius; that nothing could withstand the +eloquence of Demosthenes; that Themistocles was a hero; that Socrates +was the wisest of men; and it was in the time of the most famous of the +<i>Greeks</i> that even upon those highly privileged souls, in sight of +irreproachable witnesses, the art of dancing produced such great +effects.</p> + +<p>At Rome, in the best days of this art, all the sentiments which the +dancers expressed, had each a character of truth, +<span class = "pagenum">233</span> +<span class = "folionum">Ff</span> +<!-- png 225 --> +so great a power, such pathetic energy, that the multitude was more than +once seen hurried away by the illusion, and mechanically to take part in +the different emotions presented to them by the animated picture with +which they were struck. In the representation of <i>Ajax in a +frenzy</i>, the spectators took such violent impressions from the +acting-dancer who represented him, that they perfectly broke out, into +outcries; stripped, as it were, to fight, and actually came to blows +among each other, as if they had caught their rage from what was passing +on the theatre.</p> + +<p>At another time they melted into tears at the tender affliction of +Hecuba.</p> + +<p>And upon whom were these lively impressions produced? Upon the +cotemporaries +<span class = "pagenum">234</span> +<!-- png 226 --> +of Mecenas, of Lucullus, Augustus, Virgil, Pollio; upon men of the most +refined taste, whose criticism was as severe as their approbation +honorable; who never spared their censure nor their applause, where +either was due. How, especially under the eyes of Horace, could any +thing pass the approbation of the public, unless under the seal of +excellence in point of art and good taste? Would Augustus have declared +himself the special patron of a kind of entertainment that had been +deficient as to probability and genius? Would Mecenas, the protector of +Virgil, and of all the fine arts, have been pleased with a sight that +was not a striking imitation of beautiful nature?</p> + +<p>The proofs shown of the perfection of dancing at Athens, and under +the reign of Augustus, being incontestable, +<span class = "pagenum">235</span> +<span class = "folionum">Ff2</span> +<!-- png 227 --> +it is plain that what now passes for the art of dancing, is as yet only +in its infancy. To display the arms gracefully, to preserve the +equilibrium in the positions, to form steps with a lightness of air; to +unfold all the springs of the body in harmony to the music, all these +points, sufficient to what may be called private, or to +assembly-dancing, are little more than the alphabet of the theatrical +dances, or of pantomime execution. The steps and figures are but the +letters and words of this art. A writing-master is one who teaches +the mechanical part of forming letters. A mere dancing-master is an +artist who teaches to form steps. But the first is not more different +from what we call a man of letters, or a <i>writer</i>, than the second +is from what may deserve on the theatre, the name of principal +dancer.</p> + +<span class = "pagenum">236</span> +<!-- png 228 --> +<p>Besides the necessity of learning his art elementally, a dancer, +like a writer, should have a stile of his own, an original stile: more +or less valuable, according as he can exhibit, express, and paint with +elegance a greater or lesser quantity of things admirable, agreeable, +and useful.</p> + +<p>Speech is scarce more expressive, than the gestual language. The art +of painting, which places before our eyes the most pathetic, or the most +gay images of human life, composes them of nothing but of attitudes, of +positions of the arms, expressions of the countenance, and of all these +parts dancing is composed, as well as painting.</p> + +<p>But, as I have before observed, painting can express no more than an +instant of action. Theatrical dancing can exhibit +<span class = "pagenum">237</span> +<!-- png 229 --> +all the successive instants it chuses to paint. Its march proceeds from +picture to picture, to which, motion gives life. In painting, life is +only imitated; in dancing, it is always the reality itself.</p> + +<p>Dancing is, evidently, in its nature, an action upon the theatres; +nothing is wanting to it but meaning: it moves to the right, to the +left; it retrogrades, it advances, it forms steps, it delineates +figures. There is only wanting to all this an arrangement of the +motions, to furnish to the eye a theatrical action upon any subject +whatever.</p> + +<p>The history of the art proves that the dancers of genius, had no +other means or assistance in the world but this to express all the human +passions, and the +<span class = "pagenum">238</span> +<!-- png 230 --> +possibilities of it are in all times, the very same.</p> + +<p>Both here, and in France, there have been some of these dramatic +pieces in action, by dance, attempted, which have been well received by +the public.</p> + +<p>Some years ago, the Dutchess of Maine ordered simphonies to be +composed for the scene of the fourth act of the <i>Horatii</i>; in which +the young Horatius kills Camilla. Two dancers, one of each sex, +represented this action at <i>Sceaux</i>; and their dance painted it +with all the energy and pathos of which it was susceptible.</p> + +<p>In Italy especially many subjects of a what may be called low comedy, +are very naturally expressed by dancing. In short, there is hardly any +comic action but +<span class = "pagenum">239</span> +<!-- png 231 --> +what they represent upon their theatres, if not with perfection, at +least satisfactorily. And certainly the dance in action has the same +superiority over sheer unmeaning dancing, that a fine history-piece has +over cutting flowers in paper. In the last there is little more required +than mechanical nicety, and, at the best, it affords no great pretention +to merit. But it is only for genius to order, distribute and compose, in +the other. A Raphael is allowed to take place in the Temple of +Fame, by a Virgil; and the art of dancing is capable of having its +Raphaels too. Pilades, and Bathillus were painters, and great ones, in +their way. Picturesque composition is not less the duty of a composer of +dances, than of a painter.</p> + +<span class = "pagenum">240</span> +<!-- png 232 --> +<p>Among the antients, that <i>Protheus</i>, of whom fabulous history +records such wonders, was only one of their dancers, who, by the +rapidity of his steps, by the strength of his expression, and by the +employment of the theatrical deceptions, seemed at every instant, to +change his form. The celebrated <i>Empusa</i> was a female dancer, whose +agility was so prodigious that she appeared and vanished like a +spirit.</p> + +<p>But it was at Rome that the Pantomime art received its highest +improvement. Pilades born in Cilicia, and Bathillus of Alexandria, where +the two most surprising geniuses, who, under the reigns of Augustus +CÊsar, displayed their talents in their utmost lustre. The first +invented the solemn, grave and pathetic dances. The compositions of +Bathillus +<span class = "pagenum">241</span> +<span class = "folionum">Gg</span> +<!-- png 233 --> +were in the lively, gay, and sprightly stile.</p> + +<p>Bathillus had been the slave of Mecenas, who had given him his +freedom in favor of his talents. Having seen Pilades in Cilicia, he +engaged him to come to Rome, where he had disposed Mecenas in his favor, +who, becoming the declared protector of both, procured to them the +encouragement of the Emperor.</p> + +<p>A theatre was built for them: the Romans flocked to it, and saw, with +surprise, a complete tragedy; all the passions painted with the +most vigorous strokes of representation: the exposition, plot, +catastrophe expressed in the clearest and most pathetic manner, without +any other means or assistence but that of dancing, executed to the +simphonies +<span class = "pagenum">242</span> +<!-- png 234 --> +the best adapted, and far superior to any that had been before heard in +Rome.</p> + +<p>Their surprise was not to end here. To this a second entertainment +succeeded; in which an ingenious action, without needing the voice or +speech, presented all the characters, all the pleasant strokes, and +humorous pictures of a good comedy.</p> + +<p>And in both these kinds, the executive talents of Pilades and +Bathillus corresponded to the boldness and beauty of the kind of +compositions they had ventured to bring on the stage.</p> + +<p>Pilades especially, who was at the head of this project, was the most +singular man that had till then appeared on the theatre. His fertile +imagination +<span class = "pagenum">243</span> +<span class = "folionum">Gg2</span> +<!-- png 235 --> +constantly supplied him with new means of perfecting his art and +embellishing his entertainments. AthenÊus mentions his having written a +book much esteemed on the depths and principles of his art.</p> + +<p>Before him, some flutes composed the orchestra of the Romans. He +reinforced it with all the known instruments. He added choruses of +dances to his representations, and took care that their steps and +figures, should always have some relation or affinity to the principal +action. He provided them with dresses in the highest taste of propriety, +and omitted nothing towards producing, keeping up, and pushing to the +highest pitch, the charm of the theatrical illusion.</p> + +<span class = "pagenum">244</span> +<!-- png 236 --> +<p>The actions on the Roman theatres were tragic, comic, or satirical; +these last pretty nearly answering to what we understand by grotesque or +farcical.</p> + +<p>Esopus and Roscius had been, from their excellence in declamation, +the delight and admiration of Rome. But on their leaving no successors +to their degree of merit; the taste for dramatic poetry which was no +longer supported by actors equal to them, began to decline; and the +theatrical dances under such great masters as Pilades and Bathillus, +either by their novelty, or by their merit, or by both, made the Romans +the less feel their loss of those incomparable actors. The gestual +language took place of that which was declaimed; and produced regular +pieces acted in the three kinds of tragedy, comedy, and farce or +grotesque. The +<span class = "pagenum">245</span> +<!-- png 237 --> +spectators grew pleased with such an exercise of their understanding. +Steps, motions, attitudes, figures, positions, now were substituted to +speech; and there resulted from them an expression so natural, images so +resembling, a pathos so moving, or a pleasantry so agreeable, that +people imagined they heard the actions they saw. The gestures alone +supplied the place of the sweetness of the voice, of the energy of +speech, and of the charms of poetry.<a name = "tag_2" id = "tag_2" +href = "#note_2">* </a></p> + +<span class = "pagenum">246</span> +<!-- png 238 --> +<p>This kind of entertainment, so new, though formed upon a ground-work +already known, planned and executed by genius, and <ins class = +"correction" title = "text reads âadopedâ">adopted</ins> with a +passionate fondness by the Romans, was called the <i>Italic dance</i>; +and in the transports of pleasures it caused them, they gave to the +actors of it, the title of <i>Pantomimes</i>. This was no more than a +lively, and not at all exagerated expression, of the truth of their +action, which was one continual picture to the eyes of the spectators. +Their motion, their feet, their hands, their arms, were but so many +different parts of the picture; none of them were to remain idle; but +all, with propriety, were to concur to the formation of that assemblage, +from which result the harmony, and, with pardon for the expression, the +happy <i>all-together</i> of the composition and performance. +A dancer learned from his +<span class = "pagenum">247</span> +<!-- png 239 --> +very name of <i>pantomime</i>, that he could be in no esteem in Rome, +but so far as he should be <i>all the actor</i>.</p> + +<p>And, in fact, this art was carried to a point of perfection hard to +believe; but for such a number of concurrent and authentic +testimonies.</p> + +<p>It appears also clearly from history, that this art, in its origin, +(so favored by an arbitrary prince, and who also made some use of it, +towards establishing his despotism, nay even primordially introduced by +Bathillus, a slave) could no longer preserve its great excellence, +than the spirit of liberty was not wholly worn out in the Roman breasts; +and, like its other sister arts, gradually decayed and sunk under the +subsequent emperors.</p> + +<span class = "pagenum">248</span> +<!-- png 240 --> +<p>Pilades gave a memorable instance of the (as yet) unextinguished +spirit of liberty, when, upon his being banished Rome, for some time, by +Augustus Cesar, upon account of the disturbances the pantomime parties +occasioned, he told him plainly to his face, that he was ungrateful for +the good his power received, by the diversion to the Romans from more +serious thoughts on the loss of their liberty. +<span class = "sidequote">â</span>âWhy do not you,â says he, +<span class = "sidequote">â</span>âlet the people amuse themselves with +our quarrels?â</p> + +<p>This dancer had such great powers in all his tragedies, that he could +draw tears from even those of the spectators the least used to the +melting mood.</p> + +<p>But in truth, the effect of these pantomimes, in general, was +prodigious. +<span class = "pagenum">249</span> +<span class = "folionum">Hh</span> +<!-- png 241 --> +Tears and sobs interrupted often the representation of the tragedy of +<i>Glaucus</i>, in which the pantomime Plancus played the principal +character.</p> + +<p>Bathillus, in painting the amours of Leda, never failed of exciting +the utmost sensibility in the Roman ladies.</p> + +<p>But what is more surprising yet, <i>Memphir</i>, a Pithagorean +philosopher, as AthenÊus tells us, expressed, by dancing, all the +excellence of the philosophy of Pithagoras, with more elegance, more +clearness and energy, than the most eloquent professor of philosophy +could have done.</p> + +<p>Upon considering all this, one is almost tempted to say, with M. +Cahusac, âWe have, +<span class = "sidequote">â</span>upon the stage, excellent +<span class = "pagenum">250</span> +<!-- png 242 --> +feet, lively legs, admirable arms: +<span class = "sidequote">â</span>what a pity it is, that with all this +we have so little of the art of dancing!â</p> + +<p>Our tragedy and our comedy have an extent and duration which are +supported by the charms of speech, by the interestingness of narration, +by the variety of the sallies of wit. The action is divided into acts, +each act into scenes, these scenes successively present new situations, +and these situations keep up the warmth of interest and attention, form +the plot, lead to the conclusion or unravelment, and +prepare it.</p> + +<p>Such must have been, or such must be, (but with more precision and +markingness) tragedies or comedies represented by dancing; as gesture is +something more marking and succinct than +<span class = "pagenum">251</span> +<span class = "folionum">Hh2</span> +<!-- png 243 --> +speech. There are required many words to express a thought, but one +single motion may paint several thoughts, and situations.</p> + +<p>In such compositions, then, made to be danced, the theatrical action +must go forward with the utmost rapidity: there must not be one +unmeaning entry, figure, or step in them. Such a piece ought to be a +close crouded abstract of some excellent written dramatic piece.</p> + +<p>Dancing, like painting, can only present situations to the eye; and +every truly theatrical situation is nothing but a living picture.</p> + +<p>If a composer of dances should undertake to represent upon the stage +any great action or theatrical subject, he +<span class = "pagenum">252</span> +<!-- png 244 --> +must begin by making an extract from it, of all the most picturesque +situations. No other parts beside these can enter into his plan; all the +others are defective or useless, they can only embarras, perplex, +confound, and render it cold and insipid.</p> + +<p>Whereas, if the situations succeed one another naturally, and in +great number; if their being well linked together conducts them with +rapidity, from the first situation to the last, which must clearly and +strikingly unravel the whole; the choice is complete, and the theatrical +effect will be sure.</p> + +<p>It is that final effect, of which, in the execution, the composer and +performer must never lose sight. Successive pictures must be exhibited, +and animated with all the expression that can +<span class = "pagenum">253</span> +<!-- png 245 --> +result from the impassioned motions of the dance.</p> + +<p>This was doubtless the great secret of the art of Pilades, who so +highly excelled in his ideas of theatrical expression: this is, perhaps, +too for all kinds of theatrical composition, whether to be declaimed, or +to be executed by dancing, a general rule that is not to be +slighted.</p> + +<p>One instance of the regard shewn by Pilades to theatrical propriety +is preserved to us, and not unworthy of attention. He had been publickly +challenged by Hilas, once a pupil of his, to represent the greatness of +Agamemnon: Hilas came upon the stage with buskins, which, in the nature +of stilts, made him of an artificial height; in consequence of which he +greatly over-topped +<span class = "pagenum">254</span> +<!-- png 246 --> +the croud of actors who surrounded him. This passed well enough, âtill +Pilades appeared with an air, stern and majestic. His serious steps, his +arms a-cross, his motion sometimes slow, sometimes animated, with pauses +full of meaning, his looks now fixed on the ground, now lifted to +heaven, with all the attitudes of profound pensiveness, painted strongly +a man taken up with great things, which he was meditating, weighing, and +comparing, with all the dignity of kingly importance. The spectators, +struck with the justness, with the energy and real elevation of so +expressive a portraiture, unanimously adjudged the preference to +Pilades, who, coolly turning to Hilas, said to him, +<span class = "sidequote">â</span>â<i>Young man, we had to represent a +king who commanded over twenty kings: +<span class = "sidequote">â</span>you made him tall: I showed him +great.</i>â</p> + +<span class = "pagenum">255</span> +<!-- png 247 --> +<p>It was in the reign of Nero, that a cinical mock-philosopher, called +Demetrius, saw, for the first time, one of these pantomime compositions. +Struck with the truth of the representation, he could not help +expressing the greatest marks of astonishment: but whether his pride +made him feel a sort of shame for the admiration he had involuntarily +shewn, or whether naturally envious and selfish, he could not bear the +cruel pain of being forced to approve any thing but his own +singularities; he attributed to the music the strong impression that has +been made upon him: as, in that reign, a false philosophy very +naturally had a greater influence than the real, this man was, it seems, +of consequence enough for the managers of the dances to take notice of +this partiality, or at least to be piqued enough, for their own honor, +to +<span class = "pagenum">256</span> +<!-- png 248 --> +lay a scheme for undeceiving him. He was once more brought to their +theatre, and seated in a conspicuous part of the house, without his +having been acquainted with their intention.</p> + +<p>The orchestra began: an actor opens the scene: on the moment of his +entrance, the simphony ceases, and the representation continues. Without +any aid but that of the steps, the positions of the body, the movements +of the arms, the piece is performed, in which are successively +represented the amours of Mars and Venus, the Sun discovering them to +the jealous husband of the goddess, the snares which he sets for his +faithless spouse and her formidable gallant, the quick effect of the +treacherous net, which, while it compleats the revenge of Vulcan, only +publishes his shame, the confusion of Venus, +<span class = "pagenum">257</span> +<span class = "folionum">Ii</span> +<!-- png 249 --> +the rage of Mars, the arch mirth of the gods, who came to enjoy the +sight.</p> + +<p>The whole audience gave to the excellence of the performance its due +applause, but the Cinic, out of himself, could not help crying out, in a +transport of delight; +<span class = "sidequote">â</span>â<i>No! this is not a representation; +<span class = "sidequote">â</span>it is the very thing itself.</i>â</p> + +<p>Much about the same time a dancer represented the <i>labors of</i> +Hercules. He retraced in so true a manner all the different situations +of that hero, that a king of Pontus, then at Rome, and who had never +seen such a sight before, easily followed the thread of the action, and +charmed with it, asked with great earnestness of the emperor, that he +would let him have with him that extraordinary dancer, who had made +<span class = "pagenum">258</span> +<!-- png 250 --> +such an impression upon him. âDo not, says he to Nero, +<span class = "sidequote">â</span>be surprised at my request. +<span class = "sidequote">â</span>I have for borderers upon my +kingdom, some Barbarian nations whose language none of my people could +understand, nor they learn ours. +<span class = "sidequote">â</span>Such a man as this dancer would be an +admirable interpreter between us.â</p> + +<p>It would then surely be a great error to imagine, that an habitual +dexterity, a daily practice, with their arms, their legs and feet, +were the only talents of these pantomime dancers. Their execution, +without doubt, required all these advantages of the body in the most +eminent degree; but their compositions supposed, and indispensably +implied an infinite number of combinations which belong intirely to the +mind, or intellectual faculties; as for example, +<span class = "pagenum">259</span> +<span class = "folionum">Ii2</span> +<!-- png 251 --> +especially an attentive and judicious discernment of the most +interesting truths of human nature. How extensive a study this exacts, +it is more easy to conceive than to attain.</p> + +<p>And surely there is an evident necessity for studying men, before one +can undertake to paint or represent them. It is not till after a +profound examination of the passions, that one ought to flatter oneâs +self with characterising them purely by the powers of external signs of +actions. All the passions have affinities to each other, which it is +only for a great justness of understanding to seize; they have shades +that distinguish them, which nothing but a nice eye can perceive, and +which easily escape a superficial observer.</p> + +<span class = "pagenum">260</span> +<!-- png 252 --> +<p>In serious dancing, where the character of a hero is to be given, +there are in his actions, in the course of his life, certain marking +strokes, certain incidents or extraordinary passages, which are subjects +proper for the stage, and which must be separated from others perhaps +more brilliant in history, but which would infrigidate a theatrical +composition.</p> + +<p>In the state of dancing of our days, the dancers, and even the +composers of dances, aspire to little more than the mechanical part of +their art; and, indeed, they hardly know any thing beyond that, and +cannot in course, cultivate what they have no conception of.</p> + +<p>When M. Cahusac wrote, he observed that this was sufficient for the +<span class = "pagenum">261</span> +<!-- png 253 --> +spectators, who required nothing more than a brilliant execution from +the dancers in the old track of steps and capers; and this is, in fact, +true of the greater number now. But lately, the taste for dances of +action, animated with meaning and conveying the idea of some fable or +subject, has begun to gain ground. People are less tired with a dance, +in which the understanding is exercised, without the fatigue of +perplexity, than by merely seeing a succession of lively steps, and +cabriols, however well executed; which, in point of merit, bear no more +proportion to that of a well-composed dance, than a tiresome repetition +of vignettes, of head-pieces and tail-pieces, would do to the gravings +of historical pieces after a Raphael, a Michael Angelo, or a +Correggio.</p> + +<span class = "pagenum">262</span> +<!-- png 254 --> +<p>As hitherto the composer of the dances of action, have not been able +to recover that height of perfection to which the antient pantomimes +carried their art; the most that any composers could do, I mean +with success, (for there have been some attempts made, that, for want of +a proper plan and execution, failed,) was to furnish certain dances, in +the nature of <i>poemetti</i> or small dramatic poems, which, where the +subject of action has been clearly and intelligibly executed, have ever +been received with the most encouraging applause by the public.</p> + +<p>And here the ingenious author to whom I am so much obliged in this +chapter, furnishes me with rules of composition for the dances of +action, which can hardly be too much recommended.</p> + +<span class = "pagenum">263</span> +<!-- png 255 --> +<p>All theatrical compositions ought to have three essential parts.</p> + +<p>By a lively dialogue, in a piece made to be spoken, or by an incident +dextrously introduced in one made for a dance in action, the spectator +is to be prepared for the subject that is to be represented, and to have +some acquaintance of the character, quality, and manners of the persons +of the drama: this is what is called <i>the exposition</i>.</p> + +<p>The circumstances, the obstacles which arise <ins class = +"correction" title = "corrected by hand to âoutâ">our</ins> of the +ground-work of the subject, embroil it, and retard its march without +stopping it. A sort of embarrasment forms itself out of the actions +of the characters, which perplexes the curiosity of the spectators, from +whose even guess-work, the manner how all is to be ultimately unravelled +is +<span class = "pagenum">264</span> +<!-- png 256 --> +to be kept as great a secret as possible: and this embarrasment is what +is called <i>the plot</i>.</p> + +<p>From this embarrasment, one sees successively break forth lights, the +more unexpected, the better. They unfold the action, and conduct it by +insensible degrees to an ingenious conclusion: this is what is called +<i>the unravelment</i>.</p> + +<p>If any of these three parts is defective, the theatrical merit is +imperfect. If they are all three in due proportion, the action is +complete, and the charm of the representation is infallible.</p> + +<p>As the theatrical dance then is a representation, it must be formed +of these three essentially constitutive parts. Thus it will be more or +less perfect, according +<span class = "pagenum">265</span> +<span class = "folionum">Kk</span> +<!-- png 257 --> +as its exposition shall be more or less clear, its plot more or less +ingenious, its unravelment more or less striking.</p> + +<p>But this division is not the only one that should be known and +practised. A dramatic work is commonly composed of five or fewer +acts; and an act is composed of scenes in dialogue or soliloquy. Now +every act, every scene, should have, subordinately, its exposition, its +plot, and its unravelment, just as the total of the piece has, of which +they are the parts.</p> + +<p>So ought, also every representation in dancing to have those three +parts, which constitute every thing that is action. Without their union, +there is no action that is perfect: a fault in one of those parts +will have a bad effect on the +<span class = "pagenum">266</span> +<!-- png 258 --> +others; the chain is broke; the picture, whatever beauty it may have in +other respects, is without any theatrical merit.</p> + +<p>Besides these general laws of the theatre, which are in common to +those compositions of dances, that are to be executed on it, they are +subjected to other particular rules, which are derived from the +primitive principles of the art.</p> + +<p>As the art of dancing essentially consists in painting by gestures +and attitudes, there is nothing of what would be rejected by a painter +of good taste, that the dancer can admit; and, consequentially, every +thing that such a painter would chuse, ought to be laid hold of, +distributed, and properly placed in a dance of action.</p> + +<span class = "pagenum">267</span> +<span class = "folionum">Kk2</span> +<!-- png 259 --> +<p>Here, on this point, recurs that never too often repeated rule, as +infallible as it is plain: <i>let nature, in every thing, be the guide +of art; and let art, in every thing, aim at imitating nature</i>: +a rule this, than which there is not one more trite, more hackneyed +in the theory, nor less regarded in the practice.</p> + +<p>Nature then being always Nature, always invariable in her operations +and productions; there is no false conclusion, nor straining inferences, +in avering, that the art of dancing could not but be a great gainer by a +revival of the taste of the antients for the pantomime branch; which, +upon the theatre, converted a transient flashy amusement of the eye, +into a rational or sensible entertainment, and made of dancers, who are +otherwise, a mere mechanical +<span class = "pagenum">268</span> +<!-- png 260 --> +composition of feet, legs, and arms, without spirit or meaning, artists +formed to paint with the most pathetic expression, the most striking +situations of human nature: I am not afraid of using here the term +of the most pathetic expression, injuriously to the great power of +theatrical declamation; because the great effect and charm of the moment +is, evidently, the more likely to be produced by attitudes or gestures +alone, unseconded by the voice; for that the pleasure of the spectator +will have been the greater for the quickness of his apprehension not +having needed that help to understand the meaning of them. And this is +so true of the force of impression depending on that part of bodily +eloquence, that even in oratory, action was, by one of the greatest +judges of that art, pronounced to be the most essential part +of it.</p> + +<span class = "pagenum">269</span> +<!-- png 261 --> +<p>This may be, perhaps, an exaggeration: but when people resort to a +theatre to unbend, or relax, they will hardly think their pleasure +tastelesly diversified by a fine pantomime execution of a dramatic +composition, to the perfection of which, poetry, music, painting, +decoration, and machinery will have all contributed their respective +contingents.</p> + +<p>For the subjects of these poetical dances, the composer will +undoubtedly find those which are the most likely to please, in fabulous +history, especially for the serious, or pathetic stile. This we find was +the great resource of the antients, who had, in that point, +a considerable advantage, from which the moderns are excluded, by +the antient mithology having lost that effect, and warmth of interest, +which accompanied +<span class = "pagenum">270</span> +<!-- png 262 --> +all transactions taken from it by their poets, and brought upon the +theatre. The heroes of antiquity, the marvellous of their deities, and +the histories of their amours, or of their exploits, can never make the +same impression on the moderns so thoroughly differing in manners and +ways of thinking, from those, to whom such exhibitions were a kind of +domestic, and even religious remembrancers. The spectators of those +times were more at home to what they saw represented upon their +theatres; the ground-work of the fable represented to the audience being +generally foreknown, contributed greatly to the quickness of their +apprehension; and its being part of their received theology, and often +of the history of their own country, procured it the more favorable +attention.</p> + +<span class = "pagenum">271</span> +<!-- png 263 --> +<p>The greatest part of these advantages are wanting in the employment +of these fictions among the moderns; and to which however they are, in +some measure, compelled to have recourse, for want of theatrical +subjects striking enough to be agreeably thrown into a dance; by which I +do not mean to exclude all subjects that have not those poetical +fictions of Greek and Roman antiquity for a basis; on the contrary, it +might justly pass for a barrenness of invention, the being reduced +constantly to borrow from them, but purely to point out a treasure, ever +open to the artist who shall know how to make a selection with judgment +and taste: always remembering, that the more universally the fable is +foreknown, the more easy will the task be of rendering it intelligible +in the execution.</p> + +<span class = "pagenum">272</span> +<!-- png 264 --> +<p>There are, doubtless, some parts of the antient mithology so obscure, +and so little known, that any plan taken from them, would, to the +generality of the spectators, be as great a novelty, as if the composer +had himself invented the subject. There are others again of which all +the interest is entirely antiquated and exploded.</p> + +<p>As to the pieces of composition in the comic vein, there is nothing +like taking the subject of them from the most agreeable and the most +marking occurrences in real, current life; and the stronger they are of +the manners and practice of the times, the nearer they will seem to the +truth of nature, and the surer at once to be understood, and to have a +pleasing effect.</p> + +<span class = "pagenum">273</span> +<span class = "folionum">Ll</span> +<!-- png 265 --> +<p>And here I shall take the liberty of concluding with offering two +instances of poetic dances; the one in the serious, the other in the +comic vein, which are furnished rather as hints of the improvable nature +of such compositions, than in the least meant for models of them.</p> + +<p class = "center"><a name = "venus_adonis" id = "venus_adonis"> +The first has for title,</a></p> + +<h1 class = "three"><span class = "smallcaps">Venus</span> and <span +class = "smallcaps">Adonis</span>.</h1> + +<p>The decoration represents a wood intersected by several walks, which +form an agreeable perspective of distances. At the bottom of the +theatre, and in the middle, there is a grand walk, terminated by a small +mount, on the summit of which is seen a colonnade, that forms the +peristile of a temple.</p> + +<span class = "pagenum">274</span> +<!-- png 266 --> +<p>Venus, preceded by the Graces and several nimphs, comes out of the +temple, descends the mount, and advances to the front of the wood; the +simphony to be the most agreeable and melodious imaginable, to announce +the arrival of the goddess of love.</p> + +<p>The Graces and the nimphs open the action, and, by their gestures and +steps, express their endeavour to sooth the impatience of Venus on the +absence of Adonis. The agitation in which she is, ought to be painted on +her countenance, and expressed by the discomposure of her steps, marking +her anxiety and desire of seeing her lover.</p> + +<p>The sound of the chace is heard, which betokens the approach of +Adonis. Joy breaks forth in the eyes, the gestures, and steps of Venus +and her train.</p> + +<span class = "pagenum">275</span> +<span class = "folionum">Ll2</span> +<!-- png 267 --> +<p>Adonis, followed by several hunters, enters through one of the +side-walks of the wood. Venus runs to meet him, and seems to chide him +for having been so long away. He shows her the head of a stag, which he +has killed, and which is carried, as in triumph, upon a hunting-pole, by +one of the hunters; and offers it, as the fruit of his chace, in homage +to the goddess, who is presently appeased, and graciously receives his +offering. These two lovers then express in a <i>pas-de-deux</i>, their +mutual satisfaction.</p> + +<p>The hunters mix with the Graces and nimphs, and form a dance which +characterises their harmony.</p> + +<p>Soon a noisy simphony, of military instrumental music, gives warning +of the arrival of Mars. Venus, Adonis, +<span class = "pagenum">276</span> +<!-- png 268 --> +the Graces, the nimphs, and hunters, show signs of uneasiness and +terror.</p> + +<p>Mars, followed by several warriors, enters precipitately through a +walk opposite to that by which Adonis and the hunters came. Venus +separates from Adonis, having insisted on his getting out of the way of +the formidable god of war. He withdraws with his train by the same way +as he came. Mars, inraged with jealousy, makes a shew of going to pursue +Adonis. Venus stops him, and employs, in her soothing and caresses, all +the usual arts of appeasing and blinding a jealous lover. She prevails +at length, not only to dissipate his passion, but to make him believe +himself in the wrong for having been jealous.</p> + +<span class = "pagenum">277</span> +<!-- png 269 --> +<p>The warriors address themselves to the Graces and nimphs, and form +together a dance expressive of a sort of reconciliation; after which +Mars and his train return by the same way as they came.</p> + +<p>Venus, the Graces, and the nimphs, see them go, and when they are got +a little distance from them, testify their satisfaction at having got so +well over this interruption.</p> + +<p>Adonis returns alone: Venus springs to meet him, and gives him to +understand that he has now nothing to fear; that Mars will not return in +haste.</p> + +<p>In the same walk from which Adonis came, the hunters of his train are +seen pursuing a wild boar, that tries to escape just by where the Graces +and the nimphs +<span class = "pagenum">278</span> +<!-- png 270 --> +are, who, in their fright, attempt to fly from him: but he is already so +near them, that they do not know how to avoid him. Adonis runs hastily +to pierce the boar with his javelin; but the boar gets him himself down. +The hunters arrive at that instant, and kill the boar; but Adonis is +nevertheless mortally wounded, and expires.</p> + +<p>Here it is that the music and the dance are to display their +respective powers: the one by the most plaintive mournful sounds; the +other by gestures and steps in which grief and despair are strongly +characterised, ought to express the profound affection into which Venus +is plunged, and the share the Graces, the nimphs, and the hunters take +in it.</p> + +<span class = "pagenum">279</span> +<!-- png 271 --> +<p>Venus appears to implore the aid of all the gods, to restore her +lover to her. She bathes him with her tears, and those precious tears +have such a virtue, that Adonis appears all of a sudden transformed into +an anemony or wind-flower.</p> + +<p>The Graces and the nimphs express their surprise; but the +astonishment of the hunters should be yet more strongly marked.</p> + +<p>Venus herself is not the more comforted by this metamorphosis. +A flower cannot well supply the place of her lover. She turns then +her eyes towards the earth, and seems to invoke the power of some deity +inhabitant of its bowels.</p> + +<span class = "pagenum">280</span> +<!-- png 272 --> +<p>The flower disappears; the earth opens, and Proserpine rises out of +it, sitting on a chariot drawn by black horses, and having at her side +Adonis restored to life.</p> + +<p>It is natural to imagine the joy that is at this to be expressed, by +the simphony, by the gestures, and steps <ins class = "correction" title += "text reads âof / ofâ at line break">of</ins> Venus, of the Graces, +the nimphs, and hunters.</p> + +<p>Proserpine, getting out of her chariot, holding Adonis by the hand, +presents him to Venus. A <i>pas-de-trois</i> or trio-dance follows, +in which the joy of the two lovers at seeing one another again is to be +characterised by all the expression, and all the graces of the most +pleasing dance, while Proserpine testifies her satisfaction at having +produced the re-union: after which, she +<span class = "pagenum">281</span> +<span class = "folionum">Mm</span> +<!-- png 273 --> +gets into her chariot, and re-descends into the earth.</p> + +<p>The Graces, the nimphs, and hunters, express how highly they are +charmed at seeing Adonis again; Venus and Adonis form a +<i>pas-de-deux</i>, or duet-dance, in which the Goddess takes off her +girdle or <i>cestus</i>, and puts it upon Adonis, in the way of a +shoulder-belt, or as now the ribbons of most orders of knight-hood are +worn, which is to him a simbol of immortality.</p> + +<p>The Graces and nimphs testify to Adonis how pleased they are to see +him received into the number of the demi-gods: the hunters pay their +homage to him, and the whole concludes by a general country-dance.</p> + +<span class = "pagenum">282</span> +<!-- png 274 --> +<p class = "center"><a name = "coquette" id = "coquette"> +The other specimen has for title,</a></p> + +<h1 class = "three">The <span class = "smallcaps">Coquette +Punished</span>.</h1> + +<p>The decoration represents a delicious garden, in which there are +several compartments, separated by canals and <i>jet-dâeaux</i>. This +scenery should exhibit the prospect of at once a pleasure-garden, and a +fruit-one.</p> + +<p>In the bottom of this perspective, there appear several gardeners +busied, some in pruning the hedges, others in sowing and planting: more +towards the front are seen, some women at work, tying up the flowers, or +cleaning them from pernicious leaves; others setting roots in vases. All +this forms the scenical picture at the drawing up the curtain.</p> + +<span class = "pagenum">283</span> +<span class = "folionum">Mm2</span> +<!-- png 275 --> +<p>A simphony mixed with the most rural instruments of music, begins +with soft and soothing airs.</p> + +<p>One of the female gardeners, more showishly dressed than the others, +and who is employed upon some necessary task about the flower-vases, +seems however more attentive to the admiring the flowers, than to do her +work: and as she is standing near a canal, she is, when she imagines +none are taking notice of her, looking <i>at</i> her figure in the +watery mirror, admiring herself, and adjusting her dress. Though she +does all this by stealth, her companions remark her coquettry, make +signs to each other, and point her out to the gardeners, who join the +laugh at her, without the coquetâs perceiving it, who is too much taken +up with herself.</p> + +<span class = "pagenum">284</span> +<!-- png 276 --> +<p>The simphony should express by the sounds, as nearly as possible, the +mockery and bursts of laughter from the rest of the gardeners.</p> + +<p>The coquet is sadly tempted to gather some of the flowers for her own +use, but dares not. In the moment that she is expressing the greatest +mind for it, enters a gardener, who is not one of those employed at +work, and who makes up to her, shows her a fine nosegay, and signifies +to her that he is come on purpose to offer it her. The coquet +immediately leaves off her work; and this <i>pas-de-deux</i> begins by +all the little grimaces and false coyness that the coquette opposes to +her acceptance of the nosegay, but which at the same time only the more +betray the mind she has for it. The gardener keeps pressing her to +receive it. Her companions, +<span class = "pagenum">285</span> +<!-- png 277 --> +curious to see how this will end, advance little by little towards them: +the gardeners follow them; and all surrounding the coquette and her +swain, form a dance, in which the men seem to excite the lover not to +take a denial, and the women want to engage the coquette to receive the +nosegay; but all this, with a bantering air: at length the coquette +accepts it, sticks some of the flowers in her hair, and the rest in her +bosom. Her companions and the gardeners, shew by their signs, that they +were very sure she would take the nosegay and return to their, work.</p> + +<p>Another gardener now enters, on the side opposite to that on which +the first came, and advancing with an air of gaiety, presents to the +coquette, a small basket of fine fruit. In this +<span class = "pagenum">286</span> +<!-- png 278 --> +<i>pas-de-trois</i>, she a-fresh makes a great many faces, about whether +she will take the fruit or not. The swain of the nosegay expresses his +vexation at the intervention of this rival, but the coquette manages so +well that she pacifies his jealousy, and accepts the otherâs basket of +fruit, which she hangs upon her arm. The gardeners do not quit their +work, but they give to understand by shrewd signs, what they think of +the coquetteâs game.</p> + +<p>It is easy to conceive, that the composer of this music will, in the +airs made for the <i>pas-de-deux</i>, and <i>pas-de-trois</i>, pay +attention to the different affections that are to be characterised by +the dance.</p> + +<p>While the gardener who brought the nosegay, and the other who +presented +<span class = "pagenum">287</span> +<!-- png 279 --> +the fruit, and the coquette, are all seemingly in good harmony, enters a +third gardener, gallantly dressed, of a most engaging figure, having in +his hands some pink-and-silver ribbons.</p> + +<p>The simphony should announce the arrival of this amiable gardener, by +an air all expressive of briskness and gay gallantry.</p> + +<p>The gallant gardener approaches the coquette, and shews her those +glittering ribbons, which at once catch her eye, and give her a violent +longing for them. This new-comer takes notice of the flowers in her hair +and bosom, and of the fruit-basket hung upon her arm. He gives her +plainly to understand that she must return all this to his rivals, if +she has a mind to have the ribbons. These +<span class = "pagenum">288</span> +<!-- png 280 --> +begin to express their resentment; but the coquette is so transported +with the pleasure of bedizening herself with those ribbons, that no +regard can with-hold her: she returns the flowers to the one, and the +fruit to the other, and takes the ribbons. The two gardeners, who see +themselves slighted in this manner, threaten him who has given the +ribbons, and throw themselves into attitudes of falling upon him; at +which he puts on a resolute look, and does not seem to fear them. Her +companions and the gardeners leave their work, and advance some steps +forwards, being curious to see how the scene will end.</p> + +<p>The simphony should here express, by different airs, the resentment +of the +<span class = "pagenum">289</span> +<span class = "folionum">Nn</span> +<!-- png 281 --> +two first swains, and the resentment of the gallant gardener.</p> + +<p>The coquette uses her best arts to pacify the two angry gardeners; +but it is all in vain; they express their indignation, and are +determined to take their revenge upon their rival. Just in the instant +that they are preparing to attack him, and that he is stoutly standing +upon his defence, comes in a female gardener, amiable, lively, but +without any mark of coquettry in her looks or dress; who, by the eager +and frightened air with which she interposes, and places herself between +the gallant gardener and the others, to prevent their hurting him, +discovers the tender regard she has for him.</p> + +<span class = "pagenum">290</span> +<!-- png 282 --> +<p>The two others, in respect to this charming girl, dare not proceed; +but they give her to understand that the coquette has been so base as to +return the flowers to the one, and the fruit to the other, that she +might get the ribbons from the gardener whom she is protecting from +their just resentment.</p> + +<p>At this the offended fair one expresses to her lover her indignation, +but does not the less for that make the others sensible that she will +not suffer them to hurt him. She snatches next, from the coquette, the +ribbons. The whole company round testify their approbation of what she +has done, even the two gardeners, who were, the moment before, so angry, +burst out a-laughing for joy, to see the coquette so well punished, +being now left without flowers, fruit, or ribbons; at +<span class = "pagenum">291</span> +<!-- png 283 --> +which she withdraws, overwhelmed with confusion, and with the loud laugh +and rallying gestures of her companions and the other gardeners.</p> + +<p>The gay gardener, vexed at having been surprised by his mistress, in +an act of gallantry to another woman, wants to pass it off to her as +merely a scheme to amuse himself, and to laugh at the coquette. At first +she will not hear him; she treads the ribbons under her feet, and is +going away in a passion. He stops her, and entreats her forgiveness with +an air so moving and penetrated, that, little by little, she is disarmed +of her anger, and pardons him, in sign of which she gives him her +hand.</p> + +<p>There is no need of specifying here what the dance in action, +accompanied +<span class = "pagenum">292</span> +<!-- png 284 --> +by the music, should express in this <i>pas-de-deux</i>; it is too +obvious.</p> + +<p>The gardeners, men and women, testify their rejoicing at this +reconciliation, and the dance becomes general.</p> + +<h4 class = "extended">FINIS.</h4> + + +<div class = "footnote"> +<p><a name = "note_2" id = "note_2" href = "#tag_2">*</a> +Hanc partem MusicÊ disciplinÊ Majores mutam nominârunt, quÊ ore clauso +loquitur, et quibusdam gesticulationibus facit intelligi, quod vix +narrante lingua, aut scripturÊ textu possit agnosci.</p> + +<p class = "right"><i>Cassiod</i>, var. 1. 20.</p> + +<p>Loquacissimas manus, linguosos digitos, silentium clamosum, +expositionem tacitam.</p> + +<p class = "right"><i>Idem.</i></p> +</div> + +</div> <!-- end div maintext --> + +<div class = "mynote"> + +<h4><a name = "spelling" id = "spelling">Spelling Notes</a></h4> + +<p>The word âSaliiâ was consistently printed as SalÃŒ; it has been +corrected for the e-text. The word âPrÊsulâ was printed in italics and +may have read âPrÅsulâ; it is here given the standard spelling.</p> + +<p>A number of words usually spelled with âyâ were written with âiâ in +this text: <i>nimph, mith, simbol</i>; and names such as <i>Pilades, +Hilas</i>.</p> + +<p>The form âHetruscansâ is used consistently.</p> + +<p class = "hanging"> +<b>Some Variations and Anomalies:</b><br> +âcharacterâ is sometimes spelled âcharracterâ or âcaracterâ<br> +âdirectâ and âdirrectâ both occur<br> +âwithallâ is more common than âwithalâ<br> +âembarrasâ is consistently spelled with one âsâ<br> +âexagerateâ is almost always spelled with one <b>g</b><br> +âchoregraphyâ is always written without the second <b>o</b><br> +âgestualâ is not an error for "gestural" but a different word +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of A Treatise on the Art of Dancing, by +Giovanni-Andrea Gallini + +*** END OF THIS PROJECT GUTENBERG EBOOK A TREATISE ON THE ART OF DANCING *** + +***** This file should be named 24643-h.htm or 24643-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/4/6/4/24643/ + +Produced by Louise Hope, David Starner, Chuck Greif and +the Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by the Library of Congress) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: A Treatise on the Art of Dancing + +Author: Giovanni-Andrea Gallini + +Release Date: February 19, 2008 [EBook #24643] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK A TREATISE ON THE ART OF DANCING *** + + + + +Produced by Louise Hope, David Starner, Chuck Greif and +the Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by the Library of Congress) + + + + + + + [Transcriber's Note: + Spelling and punctuation are unchanged. Exceptions are noted + at the end of the text.] + + + [Illustration] + + + + A + + TREATISE + + on the + + ART + + of + + DANCING. + + + By _Giovanni-Andrea Gallini_. + + + _LONDON_: + + Printed for the AUTHOR; + And Sold by R. DODSLEY, in _Pall-Mall_; + T. BECKET and P. A. DE HONDT, in the _Strand_; + J. DIXWELL, in _St. Martin's-Lane_, + near _Charing-Cross_; + and + At Mr. BREMNER's Music Shop, opposite + _Somerset-House_, in the _Strand_. + + MDCCLXXII. + + + + + The TABLE + + of CONTENTS. + + + _Of the Antient Dance_ p. 17 + + _Of Dancing in General_ 49 + + _Of sundry Requisites for the Perfection + of the Art of Dancing_ 89 + + _Some Thoughts on the Utility of Learning to Dance, + and especially upon the Minuet_ 139 + + _Summary Account of various Kinds of Dances + in different Parts of the World_ 181 + + _Of Pantomimes_ 227 + + + + +ADVERTISEMENT. + + +What I have here to say is rather in the nature of an apology +than of a preface or advertisement. The very title of a Treatise +upon the art of dancing by a dancing-master, implicitly +threatens so much either of the exageration of the profession, +or of the recommendation of himself, and most probably of both, +that it cannot be improper for me to bespeak the reader's +favorable precaution against so natural a prejudice. My +principal motive for hazarding this production is, indisputably, +gratitude. The approbation with which my endeavours to please in +the dances of my composition have been honored, inspired me with +no sentiment so strongly as that of desiring to prove to the +public, that sensibility of its favor; which, in an artist, is +more than a duty. It is even one of the means of obtaining its +favor, by its inspiring that aim at perfection, in order to the +deserving it, which is unknown to a merely mercenary spirit. +Under the influence of that sentiment, it occurred to me, that +it might not be unpleasing to the public to have a fair state of +the pretentions of this art to its encouragement, and even to +its esteem, laid before it, by a practitioner of this art. In +stating these pretentions, there is nothing I shall more avoid +than the enthusiasm arising from that vanity or self-conceit, +which leads people into the ridicule of over-rating the merit +or importance of their profession. I shall not, for example, +presume to recommend dancing as a virtue; but I may, without +presumption, represent it as one of the principal graces, and, +in the just light, of being employed in adorning and making +Virtue amiable, who is far from rejecting such assistence. In +the view of a genteel exercise, it strengthens the body; in the +view of a liberal accomplishment, it visibly diffuses a graceful +agility through it; in the view of a private or public +entertainment, it is not only a general instinct of nature, +expressing health and joy by nothing so strongly as by dancing; +but is susceptible withall of the most elegant collateral +embellishments of taste, from poetry, music, painting, and +machinery. + +One of the greatest and most admired institutors of youth, whose +fine taste has been allowed clear from the least tincture of +pedantry, Quintilian recommends especially the talent of +dancing, as conducive to the formation of orators; not, as he +very justly observes, that an orator should retain any thing +of the air of a dancing-master, in his motion or gesture; but +that the impression from the graces of that art should have +insensibly stoln into his manner, and fashioned it to please. + +Even that austere critic, Scaliger, made the principles of it +so far his concern, that he was able personally to satisfy an +Emperor's curiosity, as to the nature and meaning of the Pirrhic +dance, by executing it before him. + +All this I mention purely to obviate the prepossession of the +art being so frivolous, so unworthy of the attention of the +manly and grave, as it is vulgarly, or on a superficial view, +imagined. It is not high notions of it that I am so weak as to +aim at impressing; all that I wish is to give just ones: it +being perhaps as little eligible, for want of consideration, to +see less in this art than it really deserves, than, from a fond +partiality for it, to see more than there is in it. + + + + + A + + TREATISE + + on the + + ART of DANCING. + + + + + _Of the ANTIENT Dance._ + + +In most of the nations among the antients, dancing was not only +much practised, but constituted not even an inconsiderable part +of their religious rites and ceremonies. The accounts we have of +the sacred dances, of the Jews especially, as well as of other +nations, evidently attest it. + +The Greeks, who probably took their first ideas of this art, +as they did of most others, from Egypt, where it was in great +esteem and practice, carried it up to a very high pitch. They +were in general, in their bodies, extremely well conformed, and +disposed for this exercise. Many of them piqued themselves on +rivalling, in excellence of execution, the most celebrated +masters of the art. That majestic air, so natural to them, while +they preserved their liberty, the delicacy of their taste, and +the cultivated agility of their limbs, all qualified them for +making an agreeable figure in this kind of entertainment. +Nothing could be more graceful than the motion of their arms. +They did not so much regard the nimbleness and capering with +the legs and feet, on which we lay so great a stress. Attitude, +grace, expression, were their principal object. They executed +scarce any thing in dancing, without special regard to that +expression which may be termed the life and soul of it. + +Their steps and motions were all distinct, clear, and neat; +proceeding from a strength so suppled, as to give their joints +all the requisite flexibility and obedience to command. + +They did not so much affect the moderately comic, or half +serious, as they did the great, the pompous, or heroic stile of +dance. They spared for no pains nor cost, towards the perfection +of their dances. The figures were exquisite. The least number of +the figurers were forty or fifty. Their dresses were magnificent +and in taste. Their decorations were sublime. A competent skill +in the theatrical, or actor's art, and a great one in that of +dancing, was necessary for being admitted into the number of +figurers. In short, every thing was in the highest order, and +very fit to prove the mistake of those who imagine that the +dances are, in operas for example, no more than a kind of +necessary expletive of the intervals of the acts, for the repose +of the singers. + +The Greeks considered dancing in another point of light; all +their festivals and games, which were in greater number than +in other countries, were intermixed and heightened with dances +peculiarly composed in honor of their deities. From before +their altars, and from their places of worship, they were soon +introduced upon their theatres, to which they were undoubtedly +a prior invention. The strophe, antistrophe, and epode, were +nothing but certain measures performed by a chorus of dancers, +in harmony with the voice; certain movements in dancing +correspondent to the subject, which were all along considered +as a constitutive part of the performance. The dancing even +governed the measure of the stanzas; as the signification of the +words strophe and antistrophe, plainly imports, they might be +properly called danced himns. The truth is, that tragedy and +comedy, made also originally to be sung, but which, in process +of time, upon truer principles of nature, came to be acted and +declaimed, were but super-inductions to the choruses, of which, +in tragedy especially, the tragic-writers, could not well get +rid, as being part of the religious ceremony. + +This solves, in a great measure, the seeming absurdity of their +interference with the subject of the drama: being deemed so +indispensable a part of the performance, that the scene itself +was hardly more so: consequently, there was no secret supposed +to be more violated by speaking before them, than before the +inanimate scene itself. But what was at least excusable, on this +footing, in the antients, would be an unpardonable absurdity in +the moderns. + +Athenaeus, who has left us an account of many of the antient +dances, as the _Mactrismus_, a dance entirely for the female +sex, the _Molossic_, the Persian _Sicinnis_, &c. observes, that +in the earliest ages of antiquity, dancing was esteemed an +exercise, not only not inconsistent with decency and gravity, +but practised by persons of the greatest worth and honor. +Socrates himself, learnt the art, when he was already advanced +in years. + +Cautious as I am of using a false argument, I should say, that +the making dances a part of their religious ceremonies, was a +mark of their attributing even a degree of sanctity to them; but +that I am aware there were many things that found a place in +their festivals and games, which, among those heathens, were so +far from having any thing of sacred in them, that they did not +even show a respect for common decency or morality. + +But as to dancing, it may be presumed, that that exercise was +considered as having nothing intrinsically in it, contrary to +purity of manners or chastity, since it made a considerable part +of the worship paid to the presiding goddess of that virtue, +Diana, in the festivals consecrated to her. Her altar was held +in the highest veneration by the antients. Temples of the +greatest magnificence were erected in honor of this goddess. Who +does not know the great Diana of Ephesus? The assemblies in her +temples were solemn, and at stated periods. None were admitted +but virgins of the most spotless character. They executed dances +before the altar, in honor of the deity, with a most graceful +decency; invoking her continual inspiration of pure thoughts, +and her protection of their chastity. Those of them, who +distinguished themselves above the rest, by superior graces of +performance, received rewards not only from the priestess of +Diana, but from their own parents. Nor were the young men but +curiously inquisitive, as to who particularly excelled on these +occasions. Distinction in these dances was a great incentive to +love, and produced many happy unions. + +Such of these virgins as married, retained, in quality of wives, +such a veneration for this sort of worship, that they formed an +assembly of matrons, who on set days, performed much the same +devotion, imploring, in concert, of the goddess, a continuance +of her gifts, and of that spirit of purity, the fittest to make +them edifying examples of conjugal love and maternal tenderness. + +Innocent amusements having been ever reputed allowable, and even +necessary expedients for relaxing both mind and body from the +fatigue of serious or robust occupations, Diana had her temples, +especially in countries proper for hunting, where the parents +used to resort with their children, and encouraged them to +partake of the diversions in which dancing had a principal +share. + +The antients have left us an unaccountable description of the +Bacchanalians, whose deportment forms a striking contrast to +the decent regularity observed in the worship of Diana. The +Bacchanalians strolled the country, and, in the course of that +vagabond scheme, erected temporary huts, their residence being +always short wherever they came. In their intoxication they +seemed to defy all decency and order; affecting noise, and +a kind of tumultuous, boisterous joy, in which there could +never be any true pleasure or harmony. They were, in the +licentiousness of their manners, a nuisance to society; which +they scandalized and disturbed by their riots, their mad +frolics, and even by their quarrels. Their heads and waists were +bound with ivy, and in their hands they brandished a thirsus, or +kind of lance, garnished with vine-leaves. When by any foulness +of weather they were driven into their huts, they passed their +time in a kind of noisy merriment, of shoutings and dithirambic +catches, accompanied by timpanums, by cymbals, by sistrums, and +other instruments, in which noise was more consulted than music, +and corresponded to the sort of time they kept to them, in the +frantic agitations of their Bacchic enthusiasm. The Corybantes +were called so from their disorderly dancing as they went along. + +The Pirrhic dance differs not much from Plato's military dance. +The invention of it is most generally attributed to Pirrhus, son +of Achilles; at least this opinion is countenanced by Lucian, in +his treatise upon dancing; though it is most probably derived +from the Memphitic dance of Egypt. The manner of it was to dance +armed to the sound of instruments. Xenophon takes notice of +these dances in armour, especially among the Thracians, who were +so warlike a people. In their dance to music, they exhibited the +imitation of a battle. They executed various evolutions; they +seemed to wound each other mortally, some falling down as if +they had received their death-wound; while those who had given +the blow sung to the song of triumph, called _Sitalia_, and +then withdrew, leaving the rest to take up their seeming dead +comrade, and to make preparations for his mock-funeral, in the +pantomime stile of dance. He has also described the dance of the +Magnesians, in which they represented their tilling the ground, +in an attitude, and in readiness for defence, against expected +moroders. They put themselves in a posture of protecting their +plough, with other motions expressive of their resolution and +courage, all adapted to the sound of the flute. The moroders +arrive, prevail, and bind the husbandmen to their plough, and +this terminates the dance. Sometimes the dance varies, and the +husbandmen prevailing, bind the moroders. + +The same author mentions also the Mysians who danced in armour, +and used a particular sort of _peltae_ or targets, on which they +received the blows. In short, these armed dances had different +names bestowed upon them, according to the countries in which +they were used. + +The Egyptians and Greeks were extravagantly expensive in their +public festivals, of which, dancing always constituted a +considerable part. + +The Romans, among whom the more coarse and licentious dances +derived from the Hetruscans, had at first prevailed, came at +length to adopt the improvements of taste, and consequently of +decency and regularity; the festivals, of which dancing was to +compose the principal entertainment, were adapted to the season +of the year. + +Every autumn, for example, it was a constant custom, for those +who could afford the expence, to build a magnificent saloon in +the midst of a delightful garden. This ball-room was decorated +in the most brilliant manner: At one end of the ball-room stood +a statue of Pomona, surrounded with a great number of baskets +made in the neatest manner, and full of all the finest fruits +that the season produced. These, with the statue, were placed +under a canopy hung round with clusters of real grapes and +vine-leaves, so artfully disposed as to appear of the natural +growth. These served to refresh both the eye and mouth. The +performers of the ball went up to this part of the saloon, in +couples, processionally, to avoid confusion. Each youth took +care to help his partner to what she liked best, and then +returned, in the same regular manner, to the other end of +the room, when they served what remained to the rest of the +spectators. After which the ball immediately began. + +I was shown, by an Italian painter, a curious picture in his +possession, of the antients celebrating one of this kind of +festivals. The attitudes into which the figures were put, and +which appeared to have been drawn for the conclusion of the +ball, were beautiful beyond imagination. + +In winter there were balls in the city of Rome; for which +the appropriated apartments were commodious; and where the +illuminations were so great, that notwithstanding the usual +rigor of that season, the room was sufficiently warm. + +Round the room there were tables and stands, on which was placed +the desert; and there were generally twelve persons chosen to +distribute the refreshments, and do the honors of the ball. The +whole was conducted with the utmost decency and regularity, +while Rome preserved her respect for virtue and innocence of +manners. + +By the best accounts procurable, their serious dances were +properly interspersed and inlivened with comic movements. Their +first steps were solemn and majestic, and, by couples they +turned under each other's arms; and when the whole thus turned +together, they could not but afford a pleasing sight. After +which they resumed the serious again, and so proceeded +alternately till they concluded the dance. + +In the spring, the country became naturally the scene of their +dances. The best companies resorted, especially to such villages +as were noted for the most pure and salubrious springs of water. +If the weather was mild, they danced upon an open green; if not, +they formed a large covered pavilion, in the middle of which +they placed the statue of Flora, ornamented with flowers, round +which they performed their dances. First the youth, then those +of riper years; and lastly, those of a more advanced age. After +each of these divisions had danced separately, they all joined +and formed one great circle. The most distinguished for +excellence in the performing these dances, had for reward the +privilege of taking a flower, with great solemnity, from the +statue of the goddess. This was esteemed so high an honor, that +it is scarce imaginable how great an emulation this inspired; as +this privilege was to be obtained by the impartial determination +of the best judges. + +Summer was however the season in which the pleasure of dancing +was carried to the highest pitch. For the scene of it, they +chose a shady and delightful part of a wood, where the sunshine +could not incommode them, and where care was taken to clear the +ground underfoot, for their performance. A young lady of the +most eminence for rank and beauty was chosen to personate the +goddess Ceres. Her dress was of an exquisite taste, ornamented +with tufts of gold, in imitation of wheat-sheaves: while her +head was decked with a kind of crown composed of spangles, +representing the ears of ripe corn, and perhaps, for the greater +simplicity, of the natural grain itself. Those who danced round +her, all wore wreaths of the choicest flowers, and were dressed +in white, with their hair flowing loose, in the stile of +wood-nimphs. On this occasion, there was always a great croud +of spectators; and the joy that appeared in each parent's eye, +when their daughters were applauded, made no small part of the +entertainment. As garlands, and wreaths of flowers composed the +principal ornament of the persons who performed in this dance, +such a respect was had for it by the people in general, that +they abstained from gathering any flowers, till after this +festival was over. + +I have myself seen a drawing of this rural dance, in which I +counted no less than sixty performers. + +The celebrated Pilades is mentioned to have been the great +improver of this dance. He excluded from it all jumping or +capering, for fear of violating or of disfiguring the graceful +regularity of the whole, which he considered as the most +essential towards preserving a pleasing effect. + +Not less than two months were the usual time of preparation for +this dance, to which there was always a confluence of persons +from all the neighbouring parts. But none were allowed the +liberty of dancing, except persons of the first rank and +distinction in the country; the whole being regulated by some +person acting in quality of _choragus_, or director of the +dance. + +The reign of Augustus Caesar was undoubtedly the epoch, of the +establishment in Rome, of the art of dancing in its greatest +splendor. Cahusac, an ingenious French author, in his historical +treatise of this art, assigns to that emperor a deep political +design in giving it so great an encouragement as he undoubtedly +did; that of diverting the Romans from serious thoughts on the +loss of their liberty; especially in fomenting a dissention +among them, about so frivolous an object as the competition +between those two celebrated dancers, Pilades and Bathillus. +That something of this sort might be the design of that emperor, +is not to be doubted; but Cahusac, over-heated, perhaps, by his +subject, exagerates the importance of it beyond the bounds of +cool reason. So much however is true, that those two dancers +were extremely eminent in their art, and may be esteemed the +founders of that theatrical dancing, or pantomime execution, for +which it is not sufficient to be only a good dancer, but there +is also required the being a good actor; in both which lights, +these two artists were allowed to excel, Pilades in the serious +or tragic dance, Bathillus in the comic. + +These also founded a kind of academies of dancing, which +produced several eminent artists, but none that ever equalled +themselves in performance or reputation. What history records +of them, and of their powers, as well as of that theatrical +pantomime dance, of which they were the introductors, in Rome, +would exceed belief, if it was not attested by such a number of +authors as leave no room to think it an imposition. + +But as to dancing itself, either considered in a religious, +or in only an amusive light, it may be pronounced to have been +among the Romans, as old as Rome itself, and like that rude in +its beginnings, but to have received gradual improvement, as +fast as the other arts and sciences gained ground. + +Processional dances were also much in vogue among that people. +They had especially an anniversary ceremony or procession, +called, from its pre-eminence, singly, POMPA, or the Pomp. + +It was celebrated, in commemoration of a victory obtained over +the Latians, the news of which was said to have been brought by +Castor and Pollux, in person. This festival, was, at first, +consecrated to Jupiter, Juno, and Minerva. But it was afterwards +made more general, and celebrated in honor of all the Gods. This +procession was in the month of September. It began at the temple +of _Jupiter Capitolinus_, proceeded to the _Forum Romanum_, from +thence to the _Velabrum_, and afterwards to the _Grand Circus_. +You have in Onuphrius Panvinius, the order of this procession at +large, of which the directors were the chief magistrates of the +city: the sons of the nobility leading the van. Those of the +Equestrian order, whose fathers were worth a hundred and fifty +thousand sesterces, followed on horseback. It would be here +foreign from my purpose to give the whole description of this +procession, and of those who composed it. It is sufficient to +observe, that processional dancing constituted a considerable +part of it. The Pirrhic dance, executed to a martial air, called +the _Proceleumaticus_, employed the men of arms. These were +followed by persons who danced and leaped, in the manner of +Satirs, some of them in the dress ascribed to _Silenus_, +attended by performers on instruments adapted to that character +of dance. These made the comic part of the procession, and the +persons representing Satirs, took care to divert the people by +leaps, by a display of agility, and by odd uncouth attitudes, +such as were in the character they had assumed. There were also +in another part of the procession twelve _Salii_, or priests of +Mars, so called from their making sacred dances in honor of that +God, the most considerable part of their worship; these were +headed by their master or _Praesul_, the leader of the dance, +a term afterwards assumed by the Christian Prelates. There were +also the _Salian_ virgins, besides another division of the +_Salii_ called _Agonenses_ or _Collini_. + +Nor is the processional dancing any thing surprizing; concerning +that among the heathens, and even among the Hebrews, they were +greatly in use. Who does not know that David's dancing before +the arch was but in consequence of its being one of the +religious ceremonies on that occasion? + +The heathens used especially to form dances before their altars, +and round the statues of their gods. The _Salii_, or priests of +Mars, whose dances were so framed as to give an idea of military +exercise and activity, threw into their performance steps so +expressive and majestic, as not only to defend their motions and +gestures from any idea of levity and burlesque, which it is so +natural for the moderns to associate with that of dancing, but +even to inspire the beholders with respect and a religious awe. +The priests chosen for this function, were always persons of the +noblest aspect, suitable to the dignity of the sacerdotal +ministry. And so little needs that dignity of the heathen +ministry be thought to be wounded or violated by the act of +dancing, in religious worship, that dances were actually in use +among the primitive Christians, in their religious assemblies. +There was a place in their churches, especially allotted for +these consecrated dances, upon solemn festivals, which even +gave the name of _choir_ to those parts of the church now only +appropriated to the reading of the divine service, and to +singing. In Spain, it long remained an established custom for +Christians to assemble in the church-porches, where, in honor of +God, they sang sacred himns, and to the tunes of them, performed +dances, that were extremely pleasing, for the decent and +beautiful simplicity of the execution. All which I mention +purely to salve that inconsistence, of the levity of dancing +with the gravity of divine worship. An inconsistence of which +the antients had no idea; since, on that occasion, they almost +constantly joined dancing to singing. + +They are both natural expressions of joy and festivity; and +as such they thought neither of them improper in an address of +gratulation to the deity, whom they supposed rather pleased at +such innocent oblations of the heart, exulting in his manifold +bounties and blessings. + +From before the altar, among the heathens, the admission of +dances upon the theatre, was rather an extension of their power +to entertain, than a total change of their destination; since +the theatres themselves were dedicated to the worship _of the +heathen deities_, of which their making a part was one of the +principal objections of the primitive Christians to the theatres +themselves. However, it was from the theatres that dancing +received its great and capital improvement. + +As an exercise, the virtue of dancing was well known to the +antients, for its keeping up the strength and agility of the +human body. There is a remark which I submit to the +consideration of the reader, that it is not impossible but +that the antient Romans, who were, generally speaking, low in +stature, and yet were eminently strong, owed that advantage to +their cultivation of bodily exercise. This kept their limbs +supple, and rendered their constitution stout and hardy. Now, +very laborious exercises would rather wear out the machine than +they would invigorate it, if there was not a due relaxation, +which should not, however, be too abrupt a transition from the +most fatiguing exercises to a state of absolute rest. Whereas +that dancing, of which they were so fond, afforded them, not +only a pleasing employ of vacant hours, but, withall, in its +keeping up the pliability of their limbs, made them find more +ease in the application of themselves to more athletic, or to +more violent exercises, either of war or of the chace: while all +together bred that firmness of their muscles, that robust +compactness and vigor of body, which enabled them to atchieve +that military valor, to which they owed all their conquests and +their glory. + +Certain it is then, that among the Romans, even in the most +martial days of that republic, the art of dancing was taught, as +one of the points of accomplishment necessary to the education +of youth; and was even practised among the exercises of the +Circus. I need not observe, that there were also various abuses +of dancing, which they very justly accounted dishonorable to +those who practised them, whether in public or private. These, +in the degenerate days of Rome, grew to an enormous excess. But +I presume no one will judge of an art by the abuse that may be +made of it. + + + + + Of + + DANCING + + In General. + + +This is one of the arts, in which, as in all the rest, the study +of nature is especially to be recommended. She is an unerring +guide. She gives that harmony, that power of pleasing to the +productions of those who consult her, which such as neglect her +must never expect. They will furnish nothing but monsters and +discordances; or, at the best, but sometimes lucky hits, without +meaning or connexion. + +All the imitative arts acknowledge this principle. + +In Poetry, a happy choice of the most proper words for +expressing the sentiments and images drawn from the observation +of nature, constitutes the principal object of the poet. + +In Painting, the disposition of the subject, the resemblance +of the coloring to that of the original, in short the greatest +possible adherence to nature, is the merit of that art. + +In Music, that expression of the passions which should raise the +same in the hearer, whether of joy, affliction, tenderness, or +pity, can never have its effect without marking and adopting the +respective sounds of each passion as they are furnished by +nature. + +In Dancing, the attitudes, gestures, and motions derive also +their principle from nature, whether they caracterise joy, rage, +or affection, in the bodily expression respectively appropriated +to the different affections of the soul. A consideration this, +which clearly proves the mistake of those, who imagine the art +of dancing solely confined to the legs, or even arms; whereas +the expression of it should be pantomimically diffused through +the whole body, the face especially included. + +Monsieur Cahusac, in his ingenious treatise on this art, has +very justly observed, that both singing and dancing must have +existed from the primeval times; that is to say, from the first +of the existence of human-kind itself. + + "Observe, says he, the tender children, from their entry + into the world, to the moment in which their reason unfolds + itself, and you will see that it is primitive nature + herself, that manifests herself in the sound of their, + voice in the features of their face, in their looks, in + all their motions. Mark their sudden paleness, their quick + contortions, their piercing cries, when their soul is + affected by a sensation of pain. Observe again, their + engaging smile, their sparkling eyes, their rapid motions, + when it is moved by a sentiment of pleasure. You will then + be clearly persuaded of the principles of music and dancing + proceeding from the beginning of the world down to us." + +Certain it is, that even in children, the motions and gesture, +strongly paint nature; and their infantine graces are not +unworthy the remarks of an artist, who will be sure to find +excellence in no way more obtainable than by a rational study +of her, where she is the purest. + +The cultivation of the natural graces, and a particular care +to shun all affectation, all caricature, unless in comic or +grotesque dances, cannot be too much recommended to those who +wish to make any figure in this art. It is doing a great +injustice to it, to place its excellence in capers, in brilliant +motions of the legs, or in the execution of difficult steps, +without meaning or significance, which require little more than +strength and agility. + +I have already observed, that the Greeks, who were so famous for +this art, as indeed for most others, which is no wonder, since +all the arts have so acknowledged an affinity with each other, +studied especially grace and dignity in the execution of their +dances. That levity of capering, that nimbleness of the legs, +which we so much admire, held no rank in their opinion. They +were inconsistent with that clearness of expression, and +neatness of motion, of which they principally made a point. The +great beauty of movements, or steps, is, for every one of them +to be distinct; not huddled and running into one another, so as +that one should begin before the precedent one is finished. This +so necessary avoidance of puzzled or ambiguous motion, can only +be compassed by an attention to significance and justness of +action. This simplicity will arise from sensibility, from being +actuated by feelings. No one has more than one predominant +actual feeling at a time; when that is expressed clearly, the +effect is as sure as it is instantaneous. The movement it gives, +neither interferes with the immediately precedent, nor the +immediately following one, though it is prepared or introduced +by the one, and prepares or introduces the other. + +This the Greeks could the better effectuate, from their +preference of the sublime, or serious stile; which, having so +much less of quickness or rapidity of execution, than the comic +dance, admits of more attention to the neat expressiveness of +every motion, gesture, attitude, or step. + +As to the great nicety of the Greeks, in the ordering and +disposing their dances, I refer to what I have before said, for +its being to be observed, how much at present this art is fallen +short of their perfection in it, and how difficult it must be +for a composer of dances to produce them in that masterly manner +they were used to be performed among the antients. Let his +talent for invention or composition be never so rich or fertile, +it will be impossible for him to do it justice in the display, +unless he is seconded by performers well versed in the art, and +especially expert in giving the expression of their part in the +dance; not to mention the collateral aids of music, machinery, +and decoration, which it is so requisite to adapt to the +subject. + +But where all these points so necessary are duly supplied, and +dancing is executed in all its brilliancy, it would be no longer +looked upon, especially at the Opera, as merely an expletive +between the acts, just to afford the singers a little breathing +time. The dances might recover their former lustre, and give the +public the same pleasure as to the Greeks and Romans, who made +of them one of their most favorite entertainments, and carried +them up to the highest pitch of taste and excellence. + +The Romans seem to have followed the Greeks, in this passion +for dancing; and the theatrical dances, upon the pantomime plan, +were in Rome pushed to such a degree of perfection as is even +hard to conceive. Whole tragedies plaid, act by act, scene by +scene, in pantomime expression, give an idea of this art, very +different from that which is at present commonly received. + +Every step in dancing has its name and value. But not one should +be employed in a vague unmeaning manner. All the movements +should be conformable to the expression required, and in harmony +with one another. The steps regular, and properly varied, with a +graceful suppleness in the limbs, a certain strength, address, +and agility; just positions exhibited with ease, delicacy, and +above all, with propriety, caracterise the masterly dancer, and +in their union, give to his execution its due beauty. The least +negligence, in any of these points, is immediately felt, and +detracts from the merit of the performance. Every step or motion +that is not natural, or has any thing of stiffness, constraint, +or affectation, is instinctively perceived by the spectator. The +body must constantly preserve its proper position, without the +least contortion, well adjusted to the steps; while the motion +of the arms, must be agreeable to that of the legs, and the head +to be in concert with the whole. + +But in this observation I pretend to no more than just +furnishing a general idea of the requisites towards the +execution: the particulars, it is impossible, to give in verbal +description, or even by choregraphy or dances in score. + +Many who pretend to understand the art of dancing, confound +motions of strength, with those of agility, mistaking strength +for slight, or slight for strength; tho' so different in their +nature. It is the spring of the body, in harmony with sense, +that gives the great power to please and surprize. The same it +is with the management of the arms; but all this requires both +the theory of the art, and the practice of it. One will hardly +suffice without the other; which makes excellence in it so rare. + +The motion of the arms is as essential, at least, as that of +the legs, for an expressive attitude: and both receive their +justness from the nature of the passions they are meant to +express. The passions are the springs which must actuate the +machine, while a close observation of nature furnishes the art +of giving to those motions the grace of ease and expertness. +Any thing that, on the stage especially, has the air of being +forced, or improper, cannot fail of having a bad effect. +A frivolous, affected turn of the wrist, is surely no grace. + +One of the most nice and difficult points of the art of dancing +is, certainly, the management and display of the arms; the +adapting their motion to the character of the dance. In this +many are too arbitrary in forming rules to themselves, without +consulting nature, which would not fail of suggesting to them +the justest movements. For want of this appropriation of +gesture and attitude, the movements fit for one character are +indistinctly employed in the representation of another. And into +this error those will be sure to fall, who deviate from the +unerring principles of nature; which has for every character an +appropriate strain of motion and gesture. + +Nothing then has a worse effect, than any impropriety in the +management of the arms: it gives to the eye, the same pain that +discordance in music does to the ear. + +There are some who move their arms with a tolerably natural +grace, without knowing the true rules rising out of nature into +art: but where the advantage of theory gives yet a greater +security, consequently a greater ease and a nobler freedom to +the motions of the performer; the performance cannot but meet +with fuller approbation. And yet it may be as bad to show too +much art, as to have too little. The point is to employ no more +of art than just what serves to grace nature, but never to hide +or obscure her. + +Great is the difference between the antient and the modern +dances. The antient ones were full of sublime simplicity. +But that simplicity was far from excluding the delicate, the +graceful, and even the brilliant. The moderns are so accustomed +to those dances from which nature is banished, and false +refinements substituted in her room, that it is to be questioned +whether they would relish the returning in practice to the purer +principles of the art. Myself knowing better, and sensible that +the principles of nature are the only true ones, have been +sometimes forced to yield to the torrent of fashion, and to +adopt in practice those florishings of art, which in theory +I despised; and justly, for surely the plainest imitation of +nature must be the grounds from which alone the performance can +be carried up to any degree of excellence. It is with our art, +as in architecture, if the foundation is not right, the +superstructure will be wrong. + +This primitive source then must be studied, known, and well +attended to; or we only follow the art blindly, and without +certainty. Thence the common indifference of so many performers, +who mind nothing more than a rote of the art, without tracing it +to its origin, nature. + +To succeed, we must abandon the false taste, and embrace the +true; which is not only the best guide to perfection; but +when rendered familiar, by much the most easy and the most +delightful. It has all the advantages that truth has over +falshood. + +The greater the simplicity of steps in a dance, the more +beautiful it is; and requires the more attention in the +performer to exactness and delicacy; for slowness and neatness +being in the character of simplicity, afford the spectator both +leisure and distinctness for his examination: whereas dances of +intricate evolutions, or quick motions, in their confusion and +hurry, allow no clearness, or time for particular observation. + +If the merit of a theatrical dancer were to consist, as many +imagine, in nothing but in the motions of the legs, in cutting +lively or brilliant capers, in surprizing steps, in the agility +of the body, in vigorous springs, in vaulting, in a tolerable +management of the arms, and especially in being well acquainted +with those parts of the stage where the perspective gives him +the greatest advantage; the art of dancing might be, as it is +generally looked upon to be, an art easily acquired. Whereas, +for the attaining to a just perfection in it, there are many +other points required, but none so much as the close imitation +of beautiful nature; and that especially in its greatest +simplicity. + +Nor should it be imagined that the simplicity I recommend, tends +to save the composer of dances any trouble of invention: on the +contrary, that sort of simplicity of execution intended to +produce, by means of its adherence to nature, the greatest +effect, will cost him more pains, more exertion of genius, +than those dances of which the false brilliants of extravagant +decoration, and of mere agility without meaning or expression, +constitute the merit. It is with the composition of dances, as +with that of music, the plainest and the most striking, are ever +the most difficult to the composer. + +The comic, or grottesque dancers, indeed are in possession of a +branch of this art, in which they are dispensed from exhibiting +the serious or pathetic; however, they may be otherwise as well +acquainted with the fundamental principles of the art, as the +best masters. But as their success depends chiefly on awakening +the risible faculty, they commonly chuse to throw their whole +powers of execution into those motions, gestures, grimaces, and +contortions, which are fittest to give pleasure by the raising +a laugh. And certainly this has its merit; but in no other +proportion to the truth of the art, which consists in moving +the nobler passions, than as farce is to tragedy or to genteel +comedy. They are in this art of dancing, what Hemskirk and +Teniers are in that of painting. + +The painter, can only in his draught present one single unvaried +attitude in each personage that he paints: but it is the duty +of the dancer, to give, in his own person, a succession of +attitudes, all like those of the painter, taken from nature. + +Thus a painter who should paint Orestes agitated by the furies, +can only give him one single expression of his countenance and +posture: but a dancer, charged with the representation of that +character, can, seconded by a well-adapted music, execute a +succession of motions and attitudes, that will more strongly and +surely with more liveliness, convey the idea of that character, +with all its transports of fury and disorder. + +It was in this light, that the antients required the union of +the actor and of the dancer in the same person. They expected, +on the theatre especially, dances of character, that should +express to the eye the sensations of the soul: without which, +they considered it as nothing but an art that had left nature +behind it; a mere corpse without the animating spirit; or at the +best, carrying with it a character of falsity or tastelessness. +A thorough master of dancing, should, in every motion of every +limb, convey some meaning; or rather be all expression or +pantomime, to his very fingers ends. + +How many requisites must concur to form an accomplished +possession of this talent! It is not enough that the head should +play on the shoulders with all the grace of a fine connection; +nor that his countenance should be enlivened with significance +and expression; that his eyes should give forth the just +language of the passions belonging to the character he +represents; that his shoulders have the easy fall they ought to +have; let even the motions of his arms be true; let his elbows +and wrists have that delicate turn of which the grace is so +sensible; let the movement of the whole person be free, genteel, +and easy; let the attitudes of the bending turn be agreeable; +his chest be neither too full nor too narrow; his sides clean +made, strong, and well turned; his knees well articulated, and +supple; his legs neither too large, nor too small, but finely +formed; his instep furnished with the strength necessary to +execute and maintain the springs he makes; his feet in just +proportion to the support of the whole frame; all these, +accompanied with a regularity of motion; and yet all these, +however essential, constitute but a small part of the talent. +Towards the perfection of it, there is yet more, much more +required, in that sensibility of soul, which has in it so much +more of the gift of nature, than of the acquisition of art; and +is perhaps in this, what it is in most other arts and sciences, +if not genius itself, an indispensable foundation of genius. +There is no executing well with the body, what is not duly +felt by the soul: sentiment gives life to the execution, and +propriety to the looks, motions and gestures. + +Those who would make any considerable progress in this art, +should, above all things, study justness of action. They cannot +therefore too closely attend to the representation of nature, +either upon the stage, or in life. I cannot too often repeat it; +those who keep most the great original, Nature, in view, will +ever be the greatest masters of this art. + +As to the different characters of dances, there are, properly +speaking, four divisions of the characters of dances: the +serious, the half serious, the comic, and the grottesque; but +for executing any of them with grace, the artist should be well +grounded in the principles of the serious dance, which will give +him what may be called a delicacy of manner in all the rest. + +But as one of these divisions may be more adapted to the humor, +genius, or powers of an artist, than another, he should, if he +aims at excellence, examine carefully for which it is that he is +the most fit. + +After determining which, whatever imperfections he may have from +nature, he must set about correcting, as well as he can, by art. +Nothing will hardly be found impossible for him to subdue, by an +unshaken resolution, and an intense application. + +Happy indeed is that artist, in whom both the requisites of +nature and art are united: but where the first is not grossly +deficient, it may be supplemented by the second. However well a +beginner may be qualified for this profession by nature, if he +does not cultivate the talent duly, he will be surpassed by +another, inferior to him in natural endowments, but who shall +have taken pains to acquire what was wanting to him, or to +improve where deficient. The experience of all ages attests +this. + +The helps of a lively imagination, joined to great and assiduous +practice, carry the art to the highest perfection. But practice +will give no eminent distinction without study. Whoever shall +flatter himself with forming himself by practice alone, without +the true principles and sufficient grounds of the art, can only +proceed upon a rote of tradition, which may appear infallible +to him. But this adoption of unexamined rules, and this plodding +on in a beaten track, will never lead to any thing great or +eminent. It carries with it always something of the stiffness +of a copy, without any thing of the graceful boldness of +originality, or of the strokes of genius. + +Vanity should never mislead a man in the judgment he forms +of his own talents: much less should an artist resort to the +meanness of depending in the support of cabals: it must be the +general approbation that must seal his patent of merit. + +I have before observed that the grave or serious stile of +dancing, is the great ground-work of the art. It is also the +most difficult. Firmness of step, a graceful and regular motion +of all the parts, suppleness, easy bendings and risings, the +whole accompanied with a good air, and managed with the greatest +ease of expertness and dexterity, constitute the merit of this +kind of dancing. The soul itself should be seen in every motion +of the body, and express something naturally noble, and even +heroic. Every step should have its beauty. + +The painter draws, or ought to draw his copy, the actor his +action, and the statuary his model, all from the truth of +nature. They are all respectively professors of imitative arts; +and the dancer may well presume to take rank among them, since +the imitation of nature is not less his duty than theirs; with +this difference, that they have some advantages of which the +dancer is destitute. The Painter has time to settle and correct +his attitudes, but the dancer must be exactly bound to the time +of the music. The actor has the assistance of speech, and the +statuary has all the time requisite to model his work. The +dancer's effect is not only that of a moment, but he must every +moment represent a succession of motions and attitudes, adapted +to his character, whether his subject be heroic or pastoral, or +in whatever kind of dancing he exhibits himself. He is by the +expressiveness of his dumb show to supplement the want of +speech, and that with clearness; that whatever he aims at +representing may be instantaneously apprehended by the +spectator, who must not be perplexed with hammering out to +himself the meaning of one step, while the dancer shall have +already begun another. + +In the half-serious stile we observe vigor, lightness, agility, +brilliant springs, with a steadiness and command of the body. +It is the best kind of dancing for expressing the more general +theatrical subjects. It also pleases more generally. + +The grand pathetic of the serious stile of dancing is not what +every one enters into. But all are pleased with a brilliant +execution, in the quick motion of the legs, and the high springs +of the body. A pastoral dance, represented in all the pantomime +art, will be commonly preferred to the more serious stile, +though this last requires doubtless the greatest excellence: +but it is an excellence of which few but the connoisseurs are +judges; who are rarely numerous enough to encourage the composer +of dances to form them entirely in that stile. All that he can +do is to take a great part of his attitudes from the serious +stile, but to give them another turn and air in the composition; +that he may avoid confounding the two different stiles of +serious and half-serious. For this last, it is impossible to +have too much agility and briskness. + +The comic dancer is not tied up to the same rules or +observations as are necessary to the serious and half serious +stiles. He is not so much obliged to study what may be called +nature in high life. The rural sports, and exercises; the +gestures of various mechanics or artificers will supply him with +ideas for the execution of charracters in this branch. The more +his motions, steps, and attitudes are taken from nature, the +more they will be sure to please. + +The comic dance has for object the exciting mirth; whereas, +on the contrary, the serious stile aims more at soothing and +captivating by the harmony and justness of its movements; by the +grace and dignity of its steps; by the pathos of the execution. + +The comic stile, however its aim may be laughter, requires +taste, delicacy, and invention; and that the mirth it creates +should not even be without wit. This depends not only upon the +execution, but on the choice of the subject. It is not enough to +value oneself upon a close imitation of nature, if the subject +chosen for imitation is not worth imitating, or improper to +represent; that is to say, either trivial, indifferent, +consequently uninteresting; or disgustful and unpleasing. +The one tires, the other shocks. Even in the lowest classes of +life, the composer must seize only what is the fittest to give +satisfaction; and omit whatever can excite disagreeable ideas. +It is from the animal joy of mechanics or peasants in their +cessations from labor, or from their celebration of festivals, +that the artist will select his matter of composition; not from +any circumstances of unjoyous poverty or loathsome distress. He +must cull the flowers of life, not present the roots with the +soil and dirt sticking to them. + +Even contrasting characters, which are so seldom attempted on +the stage, in theatrical dances, might not have a bad effect; +whereas most of the figures in them are simmetrically coupled. +Of the first I once saw in Germany a striking instance; an +instance that served to confirm that affinity between the arts +which renders them so serviceable to one another. + +Passing through the Electorate of Cologne, I observed a number +of persons of all ages, assembled on a convenient spot, and +disposed, in couples, in order for dancing; but so odly paired +that the most ugly old man, had for his partner the most +beautiful and youngest girl in the company, while, on the +contrary, the most decrepid, deformed old woman, was led by the +most handsome and vigorous youth. Inquiring the reason of so +strange a groupe of figures, I was told that it was the humor of +an eminent painter, who was preparing a picture for the gallery +at Dusseldorp, the subject of which was to be this contrast; and +that in order to take his draught from nature, he had given a +treat to this rustic company, in the design of exhibiting at one +view, the floridness of youth contrasted to the weakness and +infirmities of old age, in a moral light, of exposing the +impropriety of those matches, in which the objection of a +disparity of years should not be duly respected. + +I have mentioned this purely to point out a new resource +of invention, that may throw a pleasing variety into the +composition of dances; and save them from too constant a +simmetry, or uniformity, either of dress or figure, in the +pairing the dancers: by which I am as far from meaning that that +simmetry should be always neglected, as that it should be always +observed. + +The comic dance, having then the diversion of the spectator, +in the way of laughing, for its object, should preserve a +moderately buffoon simplicity, and the dancer, aided by a +natural genius, but especially by throwing as much nature as +possible into his execution, may promise himself to amuse and +please the spectator; even though he should not be very deep in +the grounds of his art; provided he has a good ear, and some +pretty or brilliant steps to vary the dance. The spectators +require no more. + +As to the grotesque stile of dance, the effect of it chiefly +depends on the leaps and height of the springs. There is more of +bodily strength required in it than even of agility and flight. +It is more calculated to surprize the eye, then to entertain it. +It has something of the tumbler's, or wire-dancer's merit of +difficulty and danger, rather than of art. But the worst of it +is, that this vigor and agility last no longer than the season +of youth, or rather decrease in proportion as age advances, and, +by this means, leave those who have trusted solely to that vigor +and agility deprived of their essential merit. Whereas such as +shall have joined to that vigor and agility, a proper study of +the principles of their art; that talent will still remain as a +resource for them. Commonly those dancers who have from nature +eminently those gifts which enable them to shine in the +grottesque branch, do not chuse to give themselves the trouble +of going to the bottom of their art, and acquiring its +perfection. Content with their bodily powers, and with the +applause their performances actually do receive from the public, +they look no further, and remain in ignorance of the rest of +their duty. Against this dissipation then, which keeps them +always superficial, they cannot be too much, for their own +advantage, admonished. + +They will not otherwise get at the truth of their art, like him +who qualifies himself for making a figure in the serious, and +half-serious stiles, which also contribute to diffuse a grace +over every other kind of dancing, however different from them. + +But though the grotesque may be a caricature of nature, it is +never to lose sight of it. It must ever bear a due relation to +the objects of which it attempts to exhibit the imitation, +however exagerated. But in this it is for genius to direct the +artist. And it is very certain that this kind of dancing, well +executed, affords to the public, great entertainment in the way, +if what may be called broad mirth; especially where the figure +of the grotesque dancer, his gestures, dress, and the +decorations, all contribute to the creation of the laugh. He +must also avoid any thing studied or affected in his action. +Every thing must appear as natural as possible, even amidst the +grimaces, contortions, and extravagancies of the character. + + + + + Of + + SUNDRY REQUISITES, + + for + + PERFECTION OF THE + + ART + + of + + DANCING. + + +I have already observed how necessary it is that all the steps, +in the theatrical dances, which have imitation for their object, +should be intelligible at the first glance of the eye. This +cannot be too much inculcated. The passions and manners of +mankind, have all a different expression, which cannot be +presented too plain, and too obvious. The adjustment of the +motions to the character must be observed through every stile of +dancing, the serious, the half-serious, the comic, and the +grotesque. The various beauties of these different kinds of +dances, all center in the propriety or truth of nature. Looks, +movements, attitudes, gestures, should in the dancer, all +have an appropriate meaning; so plainly expressed as to be +instantaneously understood by the spectator, without giving him +the trouble of unriddling them: otherwise, it is like talking to +them in a foreign language for which an interpretor is needed. + +But to give a sentiment, a man must have it first: where a +pathetic sentiment is well possessed of the mind, the expression +of it is diffused over the whole body. + +The theatre shows to advantage a well proportioned dancer. +A tall person appears the more majestic on it; but those of a +middling stature are more generally fit for every character; +and may make up in gracefulness what they want in size. The +remarkably tall commonly want the graces to be seen in those of +the more general standard. + +A young dancer who displays a dawn of genius, cannot be too much +exhorted to deliver himself up to the power of nature; so that +acquiring a particular manner of his own, he may himself proceed +on original. If he would hope to arrive at any eminence in the +art, he must break the shackles of a servile imitation, and +preserve nothing but the principles and grounds of his art, +which will be so far from fettering him, that they will assist +his soaring upon the wings of his own genius. + +Where a dancer undertakes to represent a subject on the theatre, +he must ground his plan of performance on the selecting all the +most proper situations for furnishing the most strikingly +pictures, prospects, and consequently, producing the greatest +effect. + +This was doubtless the great secret of Pilades, the founder, at +least in Rome, of the pantomime art. It was on this choice of +situations, that the understanding whole pieces, both tragic and +comic, executed in dances, entirely depends. + +And here, upon mentioning the pantomime art, be it allowed me +to defend it against the objections made to it, by those who +consider it only under a partial or vulgar point of view. + +If any one should pretend that the pantomime art is superior to +the actor's power of representation in tragedy or comedy, or +that such an entertainment of dumb show ought to exclude that of +speaking characters; nothing could be more ridiculous or absurd +than such a proposition. + +That indeed would be rejecting one of the most noble +improvements of nature, in favor of an art rather calculated for +the relaxation of the mind than for the instruction of it; in +which it can only claim a subordinate share. + +Those subjects, whether serious or comic, which are executed by +dances, or in the pantomime strain, are chiefly intended for the +throwing a variety into theatrical entertainments, without +disputing any honors of rank. + +The very same person who shall have at one time, taken pleasure +in seeing and hearing the noble and pathetic sentiments of +tragedy, or the ridicule of human follies in a good comedy, +finely represented, may, without any sort of inconsistence, not +be displeased at seeing, at another time, a subject executed in +dances, while the music, the decorations, all contribute to the +happy diversification of his entertainment. Ought he therefore +either to call his own taste to an account for his being +pleased, or to grudge to others a pleasure, which nature itself +justifies, in his having given to mankind a love of variety? + +Nor is there perhaps, in the world, an art more the genuine +offspring of Nature, more under her immediate command, than +the art of dancing. For to say nothing of that dancing, which +has no relation to the theatre, and which is her principal +demonstrations of joy and festivity, the theatrical branch +acknowledges her for its great and capital guide. All the +motions, all the gestures, all the attitudes, all the looks, can +have no merit, but in their faithful imitation of Nature: while +man himself, man, the noblest of her productions, is ever the +subject which the dancer paints through all his passions and +manners. + +The painter presents man in one fixed attitude, with no more of +life than the draught and colors can give to his figure: the +dancer exhibits him in a succession of attitudes, and, instead +of painting with the brush, paints, surely more to the life, +with his own person. A dance in action, is not only a moving +picture, but an animated one: while to the eloquence of the +tongue, it substitutes that of the whole body. + +The art, viewed in this light, shows how comparatively little +the merely mechanical part of it, the agility of the legs and +body, contributes to the accomplishment of the dancer; however +necessary that also is. We might soon form a dancer, if the art +consisted only in his being taught to shake his legs in cadence, +to ballance his body, or to move his arms unmeaningly. But if he +has not a genius, susceptible of cultivation, and which is +itself far the most essential gift, he will make no progress +towards the desirable distinction: he is a body without a soul: +his performance will have more of the poppet moved by wires, +than of the actor giving that life to the character, which +himself receives from the sensibility of genius. + +There are many young beginners, who, looking on this art as a +good way of livelihood, enter on the rudiments of it, with great +ardor. But this ardor soon abates, in proportion, as they +advance, and find there is more study and pains required from +them than they expected to find, towards their arrival at any +tolerable degree of perfection. Having considered this art as +purely a mechanical one, they are surprised at the discovery of +its exacting thought and reflection, for which their ideas of it +had not prepared them. A man who has not sufficient share of +genius to attempt the vanquishing these difficulties, of which, +in his false conception of things, he has formed to himself no +notion; either treats these great essentials of the art, as +innovations, and such as he is not bound to admit, or in the +despair of acquiring them, sits down contented with his +mediocrity. It is well if he does not rail at, or attempt to +turn into ridicule, perfections which are beyond his reach. And +to say the truth, the art has not greater enemies than those +professors of it, who stick at the surface, and want the spirit +necessary to go to the bottom of it. In vain does the public +refuse its applause to their indifferent, ordinary, +uninteresting performance: rather than allow the fault to be in +themselves, their vanity will lay it on the public: they never +refuse themselves that approbation which others can see no +reason for bestowing on them. They are perfectly satisfied with +having executed in their little manner, the little they know or +are capable of; they have no idea of any thing beyond their +short reach. + +Certainly the best season of life, for the study of this art, +is, as for that of most others, for obvious reasons, the time of +one's youth. It is the best time of laying the foundation both +of theory and practice. + +But the theory should especially be attended to, without however +neglecting the practice. For though a dancer, by an assiduous +practice, may, at the first unexamining glance, appear as well +in the eyes of the public, as he who possesses the rules; the +illusion will not be lasting; it will soon be dissipated, +especially where there is present an object of comparison. He +whose motions are dirrected only by rote and custom, will soon +be discovered essentially inferior to him whose practice is +governed by a knowledge of the principles of his art. + +A master does not do his duty by his pupil, in this art, if he +fails of strongly inculcating to him the necessity of studying +those principles; and of kindling in him that ardor for +attaining to excellence, which if it is not itself genius, it +is certain that no genius will do much without it. + +Invention is also as much a requisite in our art as in any +other. But to save the pains of study, we often borrow and copy +from one another. Indolence is the bane of our art. The trouble +of thinking necessary to the invention and composition of +dances, appears to many too great a fatigue: this engages them +to appropriate to themselves the fruits of other peoples +invention; and they appear to themselves well provided at a +small expence, when they have made free with the productions of +others. Some again, instead of cultivating their talent, chuse +indolently to follow the great torrent of the fashion, and stick +to the old tracks, without daring to strike out any thing new, +so that their prejudices are, in fact, the principles by which +they are governed, and which sometimes serves them for their +excuse; since they know better, but do not care to give +themselves the trouble of acting up to their knowledge. Thus +they plod in the safe, and broad road of mediocrity, but without +any reputation or name. They are neither envied nor applauded. + +As for those who borrow from others, content with being copies, +when they ought to strive to be originals; nothing can more +obstruct their progress in the discoveries of the depths of +their art, than this scheme of subsisting on the merit of +others. + +Many, besides those who are incapable of invention, are tempted +at once by their indolence, and by the hope of not being +discovered or minded in their borrowing from others, to give +stale or hackneyed compositions, which having seen in one +country, they flatter themselves they may palm for new and +original upon the public in another. Thence it is that the +audience is cloyed with repetitions of pantomime dances; perhaps +some of them very pretty at their first appearance, but which +cannot fail of tiring when too often repeated; or when the same +grounds or subject of action is only superficially or slightly +diversified. + +It is this barrenness of invention that the ingenious Goldoni +has so well exposed in one of his plays, in the following +speech, addressed to a young man. + + "[*] For example, you, as the female dancer will come upon + the stage, with a distaff, twirling it, or with a pail to + draw water; or with a spade for digging. Your companion will + come next perhaps driving a wheel-barrow, or with a sickle + to mow corn, or with a pipe a-smoaking; and though the scene + should be a saloon, no matter, it will come soon to be + filled with rustics or sailors. Your companion to be sure + will not have seen you, at first; that is the rule; upon + which you will make up to him, and he will send you a + packing. You will tap him on the shoulder with one hand, + and he will give a spring from you to the other side of the + stage. You will run after him; he, on his part will scamper + away from you, and you will take pet at it. When he sees you + angry, he will take it into his head to make peace; he will + sue to you, and you in your turn will send him about his + business. You will run from him, and he after you. He will + be down on his knees to you; peace will be made; then, + shaking your footsies, you will invite him to dance. He also + will answer you with his feet, as much as to say, come, let + us dance." + + "Then handing you backwards to the top of the stage, you + will begin gaily a _Pas-de-deux_, or Duet dance. The first + part will be lively, the second grave; the third a jig. You + will have taken care to procure six or seven of the best + airs for a dance, put together, that can be imagined. You + will execute all the steps that you are mistress of; and let + your character in the Pas-de-deux, be that of a country + wench, a gardener's servant, a granadier's trull, or a + statue; the steps will be always the same; and the same + actions for ever repeated; such as running after one + another, dodging, crying, falling in a passion, making peace + again, bringing the arms over the head, jumping in and out + of time, shaking legs and arms, the head, the body, the + shoulders, and especially smirking and ogling round you; not + forgetting gentle inflexions of the neck, as you pass close + under the lights, nor to make pretty faces to the audience, + and then, hey for a fine curtesy at the end of the dance!" + + [Footnote *: Per esempio vendra fora la ballerina, colla + rocca, filando, o con un secchio a trar l'acqua, o con una + zappa a zappar. El vostro compagno vendra fora o colla + cariola a portar qualche cosa, o colla falce a tagliar il + grano, o colla pipa a fumar, e si ben, che la scena fosse + una sala, tanto e tanto, se vien a far da contadini o da + marinari. El vostro compagno non vi vedra: voi andarete a + cercarlo, e el vi scacciera via. Gli batterete una man su + la spalla, ed el con un salto andera dall'altra banda. Voi + gli correrete dietro, lui se scampera, e voi anderete in + collera. Quando voi sarete in collera, a lui le vendra la + voglia di far pace, e lui vi preghera, voi lo scacciarete. + Scamparete via, e lui vi correra dietro. El se + inginocchiera, farete pace, voi, menando I pedini, + l'invitarete a ballar: anche ello, menando I piedi, + a segni dira, "balliamo," e tirandovi indietro + allegramente cominciarete el _Pas-de-deux_. La prima parte + allegra, la segonda grave, la terza una giga. Procurarete + di cacciargli dentro sei o sette delle migliori arie di + ballo che s'abbiano sentito; farete tutti i passi che + sapete fare, e che sia il _Pas-de-deux_ o da paesana, o da + giardinera, o da Granatiera, o da statue, i passi saranno + sempre gli istessi, correrse dietro, scampar, pianger, + andar in collera, far pace, tirar i bracci sopra la testa, + saltar in tempo e fora di tempo, menar gli bracci, e le + gambe, e la testa, e la vita, e le spalle, e sopra tutto + rider sempre col popolo, e storcer un pochetto il collo + quando si passa prossimo i lumi, e fare delle belle + smorfie all udienza, e una bella riverenza in ultima.] + +Nothing however would more obstruct the progress of this art, +than thus contenting one self with adopting the productions +of others. It even would, in the disgust which repetition +occasions, bring on the decline of this entertainment, in the +opinion of a public which is always fond of novelty. + +And of novelty, the beauties of nature furnish an inexhaustible +fund, in their infinite variety. Among these it is the business +of the artist to chuse such as can be brought upon the scene, +and theatrically adapted to the execution of his art. But for +this he must be possessed of taste, which is a qualification as +necessary to him, as a composer, as that of the graces are to +him as a performer. Both are gifts. But if a due exercise of +the art can add to the natural graces, taste does not stand +less in need of cultivation: it refines itself by a judicious +observation of the beauties and delicacies of nature. These he +must incessantly study, in order to transplant into his art such +as are capable of producing the most pleasing effect. He must +particularly consult the fitness of time, place and manners; +otherwise what would please in one dance might displease in +another. Propriety is the great rule of this art, as of all +others. A discordance in music hurts a nice ear; a false +attitude or motion in dancing equally offends the judicious eye. + +The looks of the dancer are far from insignificant to the +character he is representing. Their expression should be +strictly conformable to his subject. The eye especially should +speak. Thence it is that the Italian custom of dancing with +uncovered faces, cannot but be more advantageous than that of +dancing masked, as is commonly done in France; when the passions +can never be so well represented as by the changes of +expression, which the dancer should throw into his countenance. + +And it is by these changes of countenance, as well as of +attitude and gesture, that the dancer can express the gradations +of the passions; whereas the painter is confined intirely to one +passion, that of the particular moment in which he will have +chosen to draw a character. For example, a painter, who means to +represent a country-maid, under the influence of the passion of +love, can only aim at expressing some particular degree of that +passion, suitable to the circumstances of the rest of his +picture, or to the situation in which he shall have placed her. +But a dancer may successively represent all the gradations of +love; such as surprize at first sight, admiration, timidity, +perplexity, agitation, languor, desire, ardor, eagerness, +impatience, tumultous transports, with all the external simptoms +of that passion. All these may be executed in the most lively +manner, in time and cadence, to a correspondent music or +simphany. And so of all the other passions, whether of fear, +revenge, joy, hatred, which have all their subdivisions +expressible, by the quick shift and succession of steps, +gestures, attitudes, and looks, respectively adapted to each +gradation. + +A mask then cannot but hide a great part of the necessary +expression, or justness of action. It can only be favorable to +those who have contracted ill habits of grimacing or of +contortions of the face while they perform. + +There are however some characters in which a mask is even +necessary: but then great care should be taken to model and fit +it as exactly as possible to the face, as well as to have it +perfectly natural to the character represented. The French are +particularly, and not without reason, curious in this point. + +The female dancers have naturally a greater ease of expression +than the men. More pliable in their limbs, with more sensibility +in the delicacy of their frame; all their motions and actions +are more tenderly pathetic, more interesting than in our sex. We +are besides prepossessed in their favor, and less disposed to +remark or cavil at their faults. While on the other hand, that +so natural desire they have of pleasing, independently of their +profession, makes them studiously avoid any motion or gesture +that might be disagreeable, and consequently any contortion of +the face. They, instinctively then, one may say, make a point of +the most graceful expression. + +A woman, who should only depend on the exertion of strength in +her legs or limbs, without attention to expression, would +possess but a very defective talent. Such an one might surprize +the public, by the masculine vigor of her springs; but should +she attempt to execute a dance, where tender expressions are +requisite, she would certainly fail of pleasing. + +The female dancers have also an advantage over the men, in that +the petticoat can conceal many defects in their execution; even, +if the indulgence due to that amiable sex, did not only make +great allowances, but give to the least agreeable steps in them, +the power of obtaining applause. + +At the Italian theatres at Rome, in the Carnaval, where the +female dancers are not suffered to perform the dances, and where +the parts of the women are perform'd by men in the dresses of +women, it appears plainly, how much the execution suffers by +this expedient. However well they may be disguised, there is an +inherent clumsiness in them, which it is impossible for them to +shake off, so as to represent with justness the sprightly graces +and delicacy of the female sex. The very idea of seeing men +effeminated by such a dress, invincibly disgusts. An effeminate +man appears even worse than a masculine woman. + +But however the consulting a looking-glass gives to men, in +general, the air of fops or coxcombs; it is to those who would +make a figure in dancing a point of necessity. A glass is to +them, what reflexion is to a thinking person; it serves to make +them acquainted with their defects, and to correct them. To +practice then before it is even recommendable, that practice +will give the advantage of expertness, and expertness will give +the grace of ease, which is invaluable; nothing being such an +enemy to the graces as stiffness or affectation. This is a +general rule both for composition and performance. + +Education has doubtless a great share in giving early to the +body a command of graceful positions, especially for the grand +and serious dances, which, as I have before observed, are the +principal grounds of the art. And once more, the great point is +not to stick at mediocrity; but to aim at an excellence in the +art, that may give at least the best chance for not being +confounded with the croud. If it is true, that, among the +talents, those which are calculated for pleasing, are not those +that are the least sure of encouragement; it is also equally +true, that for any dependence to be had on them, it is something +more than an ordinary degree of merit in them that is required. + +In support of this admonition, I am here tempted to enliven this +essay with the narrative of an adventure in real life, that may +serve to break the too long a line of an attempt at instruction. + +A celebrated female dancer in Italy, designing to perform at a +certain capital, wrote to her correspondent there to provide her +an apartment suitable to the genteel figure which she had always +made in life. On her arrival, her acquaintance seeing she had +brought nothing with her, but her own person and two servants, +asked her when she expected her baggage. She answered, with a +smile, "If you will come to-morrow morning and breakfast with +me, you, and whoever you will bring with you, shall see it, and +I promise you it is worth your while seeing, being a sort of +merchandize that is very much in fashion." + +Curiosity carried a number early to the rendezvous, where, after +an elegant breakfast, she got up, and danced before them in a +most surprizingly charming manner. + +"These, said she, (pointing at her legs,) are all the baggage I +have left; the Alps have swallowed up all the rest." The truth +was, she had been really robbed of her baggage in her journey, +and the merchandize on which she now depended, was her talent at +dancing. Nor was she deceived, for her inimitable performance, +joined to the vivacity with which she bore her misfortunes, in +the spirit of the old Philosopher, who valued himself upon +carrying his all about him, made her many friends, whose +generous compassion soon enabled her to appear in her former +state. + +As to the composition of dances, it is impossible for a +professor of this art, to make any figure without a competent +stock of original ideas, reducible into practice. A dance should +be a kind of regular dramatic poem to be executed by dancing, in +a manner so clear, as to give to the understanding of the +spectator no trouble in making out the meaning of the whole, or +of any part of it. All ambiguity being as great a fault of stile +in such compositions, as in writing. It is even harder to be +repaired; for a false expression in the motions, gestures, or +looks, may confuse and bewilder the spectator so as that he will +not easily recover the clue or thread of the fable intended to +be represented. + +Clearness then is one of the principal points of merit which the +composer should have in view; if the effect, resulting from the +choice and disposition of the ground-work of his drama, does +honor to his inventiveness or taste; the justness, with which +every character is to be performed, is not less essential to the +success of his production, when carried into execution. + +To be well assured of this, it cannot but be necessary that the +composer of the dance or ballet-master, should be himself a good +performer, or at least understand the grounds of his art. + +He must also, in his composition, be pre-assured of all the +necessaries for their complete execution. Otherwise decorations +either deficient or not well adapted; an insufficient number of +performers, or their being bad ones; or, in short, the fault of +a manager, who, through a misplaced economy, would not allow the +requisite expences; all these, or any of these, might ruin the +composition, and the composer might, after taking all imaginable +pains to please, find his labor abortive, and himself condemned +for what he could not help. There is no exhibiting with success +any entertainment of this sort without having all the necessary +performers and accompaniments. It will be in a great measure +perfect or imperfect in proportion as they are supplied or +withheld. + +A good ballet-master must especially have regard to both +poetical and picturesque invention; his aim being to unite both +those arts under one exhibition. The poetical part of the +composition being necessary to furnish a well-composed piece +that shall begin with a clear exposition, and proceed unfolding +itself to the conclusion, in situations well chosen, and well +expressed. The picturesque part is also highly essential for the +formation of the steps, attitudes, gestures, looks, grouping the +performers, and planning their evolutions; all for the greatest +and justest effect. + +He should himself be thoroughly struck with his initial idea, +which will lead him to the second, and so on methodically until +the whole is concluded, without having recourse to a method +justly exploded by the best masters, that of choregraphy or +noting dances, which only serves to obstruct and infrigidate the +fire of composition. When he shall have finished his +composition, he may then coolly review it, and make what +disposition and arrangement of the parts shall appear the best +to him. Every interruption is to be avoided, in those moments, +when the imagination is at its highest pitch of inventing and +projecting. There are few artists who have not, at times, +experienced in themselves a more than ordinary disposition or +aptitude, for this operation of the mind; and it is these +critical moments, which may otherwise be irretrievable, they +ought particularly to improve, with as little diversion from +them as possible. They should pursue a thought, or a hint of a +thought, from its first crudity to its utmost maturity. + +A man of true genius in any of the imitative arts, and there is +not one that has a juster claim to that title than the art of +dancing, sensible that nature is the varied and abundant spring +of all objects of imitation, considers her and all her effects +with a far different eye from those who have no intention of +availing themselves of the matter she furnishes for observation. +He will discover essential differences between objects, where a +superficial beholder sees nothing but sameness; and in his +imitation he will so well know how to render those differences +discernible, that in the composition of his dance, the most +trite subject will assume the air of novelty with the grace of +variety. + +There is nothing disgusts so much as repetitions of the same +thing; and a composer of dances will avoid them as studiously as +painters do in their pieces, or writers tautology. + +The public complains, with great reason, that dances are +frequently void of action, which is the fault of the performers +not giving themselves the trouble to study just ones: satisfied +with the more mechanical part of dancing, they never think of +connecting the part of the actor with it, which however is +indispensably necessary to give to their performance, spirit, +and animation. + +A dance without meaning is a very insipid botch. The subject of +the composition should always be strictly connected to the +dances, so as that they should be in equal correspondence to one +another. And, where a dance is expletively introduced in the +intervals of the acts, the subject of it should have, at least, +some affinity to the piece. A long custom has made the want of +this attention pass unnoticed. It is surely an absurd and an +unnatural patchwork, between the acts of a deep tragedy, to +bring on, abruptly by way of diversion, a comic dance. By this +contrast both entertainments are hurt; the abruptness of the +transition is intolerable to the audience; and the thread, +especially of the tragic fable, is unpleasingly broken. The +spectators cannot bear to be so suddenly tossed from the serious +to the mirthful, and from the mirthful to the serious. In short, +such an heterogeneous adulteration has all the absurdity +reproached to the motley mixture in tragi-comedy, without any +thing of that connection which is preserved in that kind of +justly exploded dramatic composition. How easy too to avoid this +defect, by adapting the subjects of the dances to the different +exigences of the different dramas, whether serious, comic, or +farcical! + +One great source of this disorder, is probably the managers +considering dances in nothing better than in the light of merely +a mechanical execution for the amusement of the eye, and +incapable of speaking to the mind. And in this mistake they are +certainly justifiable by the great degeneracy of this art, from +the pitch of perfection to which it was antiently carried, and +to which the encouragement of the public could not fail to +restore it. The managers would then see their interest too +clearly in consulting the greater pleasure of the public, not to +afford to this art, the requisite cultivation and means of +improvement. + +The composer, who must even have something of the poet in him; +the musician, the painter, the mechanic, are essentially +necessary to the contribution of their respective arts, towards +the harmony and perfection of composition, in a fine dramatic +dance; even the dresses are no inconsiderable part of the +entertainment. The _costume_, or in a more general term, +propriety, should have the direction of them. It is not +magnificence, that is the great point, but their being well +assorted to character and circumstances. The French are +notoriously faulty in over-dressing their characters, and in +making them fine and showy, where their simplicity would be +their greatest ornament. I do not mean a simplicity that should +have any thing mean, low or indifferent in it; but, for example, +in rural characters, the simplicity of nature, if I may use the +expression, in her holy-day-cloaths. + +As to the decorations and machines especially, I know of no +place where there is less excuse for their being deficient in +them than in London, where they are too manifestly, to bear any +suspicion of flattery in the attributing it to them, executed to +a perfection that is not known in any other part of Europe. The +quickness with which the shifts and deceptions in the pantomime +entertainments are performed here, have been attempted in many +other parts; but the persons there employed, not having the same +skill and depth in mechanics as the artists here, cannot come up +to them in this point. And it is in this point precisely that a +composer of dances may be furnished with great assistence in the +effects from the theatrical illusion. And in an entertainment, +where by an established tacit agreement between the audience and +performers, there is such a latitude of introducing superhuman +personages, either of the heathen deities, or of fairy-hood, +inchanters, and the like, those transformations and deceptions +of the sight are even in the order of natural consequences, from +the pre-supposed and allowed power of such characters to operate +them. At the same time the rules of probability must even there +be observed. Nor is it amiss to be very sparing and reserved in +the composition of those dances, grounded on the introduction of +purely imaginary beings, such as the allegorical impersonation +of the moral Beings, whether the Virtues or the Vices. Unless +the invention is very interesting indeed, the characters +distinctly marked, and the application very just and obvious; +their effect is rarely answerable to expectation, especially on +the audiences of this country. The taste here for those airy +ideal characters is not very high, and perhaps not the worse for +not being so. + +Among the many losses which this art has sustained, one surely, +not the least regrettable, even for our theatres, was that of +the dances in armour, practised by the Greeks, which they used +by way of diversion and of _exercise_ for invigorating their +bodies. Sometimes they had only bucklers and javelins in their +hands: but, on certain occasions they performed in panoply, or +complete suits of armour. Strengthened by their daily and +various manly exercises, they were enabled to execute these +dances, with a surprising exactness and dexterity. The martial +simphony that accompanied them, was performed by a numerous band +of music; for the clash of their arms being so loud, would else +have drowned the tune or airs of the musicians. It is impossible +to imagine a more sublime, splendid and picturesque sight than +what these dances afforded, in the brilliancy of their arms, and +the variety of their evolutions; while the delight they took in +it, inspired them with as much martial fire, as if they had been +actually going to meet the enemy. And indeed this diversion was +so much of the nature of the military exercise, that none could +be admitted who were not thoroughly expert in all martial +training. In time of peace, this kind of dance was considered as +even necessary to keep up that suppleness and athletic +disposition of body, to bear action and fatigue, essential to +the military profession. If the practice had been neglected, but +for a few days, they observed a numbness insensibly diffuse +itself over the whole body. They were persuaded then that the +best way of preserving their health, and fitness for action, and +consequently to qualify them for the most heroic enterprizes, +was to keep up this kind of exercise, in the form of diversion. + +These martial dances, have, in some operas of Italy, been +attempted to be imitated, with some degree of success: but as +the performers had not been trained up to such an exercise, like +the Greeks, it was not to be expected that the representation +should have the same perfection, or color of life. + +The composition of the music, and the suiting the airs to the +intended execution of a dance, is a point of which it is scarce +needful to insist on the importance, from its being so obvious +and so well known. Nothing can produce a more disagreeable +discordance than a performer's dancing out of time. And here it +may be observed, how much lies upon a dancer, in his being at +once obliged to adapt his motions exactly to the music and to +the character: which forms a double incumbence, neither point of +which he can neglect, without falling into unpardonable errors. + +Where dances are well composed, they may give a picture, to the +life, of the manners and genius of each nation and each age, in +conformity to the subject respectively chosen. But then the +truth of the _costume_, and of natural and historical +representation must be strictly preserved. Objects must be +neither exagerated beyond probability, nor diminished so as not +to please or affect. A real genius will not be affraid of +striking out of the common paths, and, sensible that +inventiveness is a merit, he will create new theatrical +subjects, or produce varied combinations of old ones. And where +the decorations, or requisite accompaniments are not supplied as +he could wish, he must endeavour to make the most of what he can +get, towards the exhibition of his production; if not with all +the advantage of which it is susceptible, at least with all +those he can procure for it. Where the best cannot be obtained, +he must be content with the least bad. But especially a composer +of dances should never lose sight of his duty in preserving to +his art its power of competition, as well as its affinity with +the other imitative arts, in the expression of nature; all the +passions and sentiments being manifestly to be marked by motion, +gestures, and attitudes, to the time of a correspondent and well +adapted music. While all this aided and set off, by the +accompaniments of proper decorations of painting, and, where +necessary, of machinery, makes that, a well composed dance, may +very justly be deemed a small poem, thrown into the most lively +action imaginable; into an action so expressive as not to need +the aid of words, for conveying its meaning; but to make the +want of them rather a pleasure than matter of regret; from its +exercising, without fatiguing, the mind of the spectator, to +which it can never be but an agreeable entertainment, to have +something left for its own making out, always provided that +there be no perplexing difficulty or ambiguity. Nothing of which +is impossible to an artist who has the talent of making a right +choice among the most pleasing objects of nature; of +sufficiently feeling what he aims at expressing; of knowing how +far it is allowable for his art, to proceed towards the +embellishing nature, and where it should stop to avoid its +becoming an impertinence; and especially of agreeably disposing +his subject, in the most neat and intelligible manner that can +be desired. + + + + + Some + + THOUGHTS + + On the UTILITY of + + LEARNING TO DANCE, + + And Especially upon the + + MINUET. + + +Was I, in quality of a dancing-master, to offer even the +strongest reasons of inducement to learn this art, they could +not but justly lose much, if not all, of their weight, from my +supposed interest in the offering them; besides the partiality +every artist has for his art. + +It would however exceed the bounds prescribed to modesty itself, +were I to neglect availing myself of the authority of others, +who were not only far from being professors of this art, but who +hold the highest rank in the public opinion for solidity of +understanding, and purity of morals, and who yet did not disdain +to give their opinion in favor of an art only imagined +frivolous, for want of considering it in a just and inlarged +view. + +After this introduction, I need not be ashamed of quoting Mr. +Locke, in his judicious treatise of education. + + "Nothing (says he) appears to me to give children so much + becoming confidence and behaviour, and so to raise them to + the conversation of those above their age, as dancing. + I think they should be taught to dance as soon as they are + capable of learning it; for though this consists only in + outward gracefulness of motion, yet, I know not how, it + gives children manly thoughts and carriage more than any + thing." + +In another place, he says, + + "Dancing being that which gives graceful motions to all our + lives, and above all things, manliness, and a becoming + confidence to young children, I think it cannot be learned + too early, after they are once capable of it. But you must + be sure to have a good master, that knows and can teach what + is graceful and becoming, and what gives a freedom and + easiness to all the motions of the body. One that teaches + not this, is worse than none at all; natural awkwardness + being much better than apish affected postures: and I think + it much more passable, to put off the hat, and make a leg + like an honest country-gentleman, than like an ill-fashioned + dancing-master. For as for the jigging, and the figures of + dance, I count that little or nothing better than as it + tends to perfect graceful carriage." + +The Chevalier De Ramsay, author of Cyrus's travels, in his plan +of education for a young Prince, has (page 14.) the following +passage to this purpose. + + "To the study of poetry, should be joined that of the three + arts of imitation. The antients represented the passions, by + gests, colors and sounds. Xenophon tells us of some + wonderful effects of the Grecian dances, and how they moved + and expressed the passions. We have now lost the perfection + of that art; all that remains, is only what is necessary to + give a handsome action and airs to a young gentleman. This + ought not to be neglected, because upon the external figure + and appearance, depends often the regard we have to the + internal qualities of the mind. A graceful behaviour, in the + house of Lords or Commons, commands the attention of a whole + assembly." + +And most certainly in this last allegation of advantage to be +obtained by a competent skill, or at least tincture of the art, +the Chevalier Ramsay, has not exagerated its utility. Quintilian +has recommended it, especially in early years, when the limbs +are the most pliable, for procuring that so necessary +accomplishment, in the formation of orators gesture: observing +withall, that where that is not becoming, nothing else hardly +pleases. + +But even independent of that consideration, nothing is more +generally confessed, than that this branch of breeding qualifies +persons for presenting themselves with a good grace. To whom can +it be unknown that a favorable prepossession at the first sight +is often of the highest advantage; and that the power of first +impressions is not easily surmountable? + +In assemblies or places of public resort, when we see a person +of a genteel carriage or presence, he attracts our regard and +liking, whether he be a foreigner or one of this country. At +court, even a graceful address, and an air of ease, will more +distinguish a man from the croud, than the richest cloaths that +money may purchase; but can never give that air to be acquired +only by education. + +There are indeed who, from indolence or self-sufficiency, affect +a sort of carelessness in their gait, as disdaining to be +obliged to any part of their education, for their external +appearance, which they abandon to itself under the notion of its +being natural, free, and easy. + +But while they avoid, as they imagine, the affectation of +over-nicety, they run into that of a vicious extreme of +negligence, which proves nothing but either a deficiency of +breeding, or if not that, a high opinion of themselves, with +what is not at all unconsequential to that, a contempt of +others. + +Such are certainly much mistaken, if they imagine that an art, +which is principally designed to correct defects, should leave +so capital an one subsisting as that of want of ease, and +freedom, in the gesture and gait. On the contrary, it is as +great an enemy to stiffness, as it is to looseness of carriage, +and air. It equally reprobates an ungainly rusticity, and a +mincing, tripping, over-soft manner. Its chief aim is to bring +forth the natural graces, and not to smother them with +appearances of study and art. + +But of all the people in the world, the British would certainly +be the most in the wrong for not laying a great enough stress on +this part of education; since none have more conspicuously the +merit of figure and person; and it would in them be a sort of +ingratitude to Nature, who has done so much for them, not to do +a little more for themselves, in acquiring an accomplishment, +the utility of which has been acknowledged in all ages, and in +all countries, and especially by the greatest and most sensible +men in their own. + +As to the ladies, there is one light in which perhaps they would +not do amiss to view the practice of this art, besides that of +mere diversion or improvement of their deportment: it is that of +its being highly serviceable to their health, and to what it can +never be expected they should be indifferent about, their +beauty, it being the best and surest way of preserving, or even +giving it to their whole person. + +It is in history a settled point, that beauty was no where more +florishing, nor less rare, than among such people as encouraged +and cultivated exercise, especially in the fair sex. The various +provinces and governments in Greece, all agreed, some in a less, +some in a greater degree, in making exercise a point of female +education. The Spartans carried this to perhaps an excess, since +the training of the children of that sex, hardly yielded to that +of the male in laboriousness and fatigue. Be this confessed to +be an extreme: but then it was in some measure compensated by +its being universally allowed, that the Spartan women owed to it +that beauty in which they excelled the rest of the Grecian +women, who were themselves held, in that point, preferable to +the rest of the world. Hellen was a Spartan. Yet the legislator +of that people, did not so much as consider this advantage among +the ends proposed in prescribing so hardy an education to the +weaker sex. His views were for giving them that health and vigor +of body, which might enable them to produce a race of men the +fittest to serve their country in war. + +But as the best habit of body is ever inseparable from the +greatest perfection of beauty, of which its possessor is +susceptible, it very naturally followed, that the good plight to +which exercise brought and preserved the females, gave also to +their shape, that delicacy and suppleness, and to their every +motion, that graceful agility which caracterized the Grecian +beauties, and distinguished them for that nymph-stile of figure, +which we to this day admire in the description of their +historians, of their poets, or in the representations that yet +remain to us in their statues, or other monuments of antiquity. + +But omitting to insist on the Spartan austerity, and especially +on their gimnastic training for both sexes, and to take the +milder methods of exercise in use among the Grecians, we find +that the chace, that foot-races, and especially dancing, +principally composed the amusement of the young ladies of that +country; where, in the great days of Greece, no maxim ever more +practically prevailed, than that sloth or inactivity was equally +the parent of diseases of the body, as of vices of the mind. +Agreeable to which idea, one of the greatest physicians now in +Europe, the celebrated Tronchin, while at Paris, vehemently +declaimed against this false delicacy and aversion against +exercise; from which the ladies, especially of the higher rank +of life, derived their bad habits of body, their pale color, +with all the principles of weakness, and of a puny diseased +constitution, which they necessarily intail on their innocent +children. Thence it was that he condemned the using oneself too +much to coaches or chairs, which, he observed, lowers the +spirits, thickens the humors, numbs the nerves, and cramps the +liberty of circulation. + +Considering the efficacy of exercise, and that fashion has +abolished or at least confined among a very few, the more robust +methods of amusement, it can hardly not be eligible to cultivate +and encourage an art, so innocent and so agreeable as that of +dancing, and which at once unites in itself the three great +ends, of bodily improvement, of diversion, and of healthy +exercise. As to this last especially, it has this advantage, its +being susceptible at pleasure, of every modification, of being +carried from the gentlest degree of motion, up to that of the +most violent activity. And where riding is prescribed purely for +the sake of the power of the concussion resulting from it, to +prevent or to dissipate obstructions, the springs and agitations +of the bodily frame, in the more active kind of dances, can +hardly not answer the same purpose, especially as the motion is +more equitably diffused, and suffers no checks or partiality +from keeping the seat, as either in riding, or any other method +of conveyance. At least, such an entertainment, one would +imagine, preferable, for many reasons, to an excess of such +sedentary amusements as those of cards, and the like. + +Certainly those of the fair sex who use exercise, will, in their +exemption from a depraved or deficient appetite, in the +freshness or in the glow of their color, in the firmness of +their make, in the advantages to their shape, in the goodness in +general of their constitution, find themselves not ill repaid +for conquering any ill-habit of false delicacy and sloth, to +which so many, otherwise fine young ladies, owe the disorders of +their stomach, their pale sickly hue, and that languid state of +health which must poison all their pleasures, and even endanger +their lives. These are not strained nor far-fetched +consequences. + +But even as to those of either sex, the practice of dancing is +attended with obviously good effects. Such as are blessed by +nature with a graceful shape and are clean-limbed, receive still +greater ease and grace from it; while at the same time, it +prevents the gathering of those gross and foggy humors which in +time form a disagreeable and inconvenient corpulence. On the +other hand, those whose make and constitution occasion a kind of +heavy proportion, whose muscular texture is not distinct, whose +necks are short, shoulders round, chest narrow, and who, in +short are, what may be called, rather clumsy figures; these will +greatly find their account in a competent exercise of the art of +dancing, not only as it will give them a freedom and ease one +would not, at the first sight, imagine compatible with their +figure, but may contribute much to the cure, or at least to the +extenuation of such bodily defects, by giving a more free +circulation to the blood, a habit of sprightliness and agility +to the limbs, and preventing the accumulation of gross humors, +and especially of fat, which is itself not among the least +diseases, where it prevails to an excess. Not that I here mean +any thing so foolishly partial, as that nothing but dancing +could operate all this; but only place it among not the least +efficacious means. + +Nothing is more certain than that exercises in general, +diversions, such as that of hunting, and the games of dexterity, +keep up the natural standard of strength and beauty, which +luxury and sloth are sure to debase. + +Dancing furnishes then to the fair-sex, whose sphere of exercise +is naturally more confined than that of the men, at once a +salutary amusement, and an opportunity of displaying their +native graces. But as to men, fencing, riding and many other +improvements have also doubtless their respective merit, and +answer very valuable purposes. + +But where only the gentlest exercise is requisite, the minuet +offers its services, with the greatest effect; and when +elegantly executed, forms one of the most agreeable fights +either in private or public assemblies, or, occasionally, even +on the theatre itself. + +Yet I speak not of this dance here with any purpose of +specifying rules for its attainment. Such an attempt would be +vain and impracticable. Who does not know that almost every +individual learner requires different instructions? The laying a +stress on some particular motion or air which may be proper to +be recommended to one, must be strictly forbidden to another. In +some, their natural graces need only to be called forth; in +others the destroying them by affectation is to be carefully +checked. Where defects are uncurable, the teacher must show how +they may be palliated and sometimes even converted into graces. +It will easily then be granted that there is no such thing as +learning a minuet, or indeed any dance merely by book. The +dead-letter of it can only be conveyed by the noting or +description of the figure and of the mechanical part of it; but +the spirit of it in the graces of the air and gesture, and the +carriage of the dancer can only be practically taught by a good +master. + +I have mentioned the distinction of a good master, +most assuredly not in the way of a vain silly hint of +self-recomdation; but purely for the sake of giving a caution, +too often neglected, against parents, or those charged with the +education of youth, placing children, at the age when their +muscles are most flexible, their limbs the most supple, and +their minds the most ductile, and who are consequently +susceptible of the best impressions, under such pretended +masters of this art, who can only give them the worst, and who, +instead of teaching, stand themselves in need of being taught. +The consequence then of such a bad choice, is, that young people +of the finest disposition in the world, contract, under such +teachers, bad, awkward habits, that are not afterwards easily +curable. + +Those masters who possess the real grounds of their art, find in +their uniting their practice with their knowledge, resources +even against the usual depredations of age; which, though it may +deprive them of somewhat of their youthful vigor, has scarce a +sensible influence on their manner of performance. There will +still long remain to them the traces of their former excellence. + +I have myself seen the celebrated Dupre, at near the age of +sixty, dance at Paris, with all the agility and sprightliness of +youth, and with such powers of pleasing, as if the graces _in +him_ had braved superannuation. + +Such is the advantage of not having been content with a +superficial tincture of this art; or with a mere rote of +imitation, without an aim at excellence or originality. + +But though there is no necessity for most learners to enter so +deep into the grounds and principles of the art, as those who +are to make it their profession, it is at least but doing +justice to one's scholars to give them those essential +instructions as to the graces of air, position, and gesture; +without which they can never be but indifferent performers. + +For example, instead of being so often told to turn their toes +out, they should be admonished to turn their knees out, which +will consequently give the true direction to the feet. A due +attention should also be given to the motion of the instep, to +the air of sinking and rising; to the position of the hips, +shoulders, and body; to the graceful management of the arms, and +particularly to the giving the hand with a genteel manner, to +the inflections of the neck and head, and especially to the so +captivating modesty of the eye; in short, to the diffusing over +the whole execution, an air of noble ease, and of natural +gracefulness. + +It might be too trite to mention here what is so indispensable +and so much in course, the strict regard to be paid to the +keeping time with the music. + +Nothing has a better effect, nor more prepossessing in favor of +the performance to follow, than the bow or curtsy at the opening +the dance, made with an air of dignity and freedom. On the +contrary, nothing is more disgustful than that initial step of +the minuet, when auckwardly executed. It gives such an ill +impression as is not easily removed by even a good performance +in the remaining part of the dance. + +There is another point of great importance to all, but to the +ladies especially, which is ever strictly recommended in the +teaching of the minuet; but which in fact, like most of the +other graces of that dance, extends to other occasions of +appearance in life. This point is the easy and noble port of the +head. Many very pretty ladies lose much of the effect of their +beauty, and of the signal power of the first impressions, as +they enter a room, or a public assembly, by a vulgar or improper +carriage of the head, either poking the neck, or stooping the +head, or in the other extreme, of holding it up too stiff, on +the Mama's perpetually teizing remonstrance, of "hold up your +head, Miss," without considering that merely bridling, without +the easy grace of a free play, is a worse fault than that of +which she will have been corrected. + +Certainly nothing can give a more noble air to the whole person +than the head finely set, and turning gracefully, with every +natural occasion for turning it, and especially without +affectation, or stifly pointing the chin, as if to show which +way the wind sits. + +But it must be impossible for those who stoop their heads down, +to give their figure any air of dignity, or grace of politeness. +They must always retain something of ignoble in their manner. +Nothing then is more recommendable than for those who are +naturally inclined to this defect, to endeavor the avoiding it +by a particular attention to this capital instruction in +learning the minuet. It is also not enough to take the +minuet-steps true to time, to turn out their knees, and to slide +their step neatly, if that flexibility, or rise and fall from +the graceful bending of the instep, is not attended to, which +gives so elegant an air to the execution either of the minuet, +or of the serious theatrical dances. Nothing can more than that, +set off or show the beauty of the steps. + +It should also be recommended to the dancers of the minuet, ever +to have an expression of that sort of gaity and chearfulness in +the countenance, which will give it an amiable and even a noble +frankness. Nothing can be more out of character, or even +displeasing, than a froward or too pensive a look. There may be +a sprightly vacancy, an openness in the face, without the least +tincture of any indecent air of levity: as there may be a +captivating modesty, without any of that bashfulness which +arises either from low breeding, wrong breeding, or no breeding +at all. + +But to execute a minuet in a very superior manner, it is +recommendable to enter into some acquaintance, at least, with +the principles of the serious or grave dances, with a naturally +genteel person, a superficial knowledge of the steps, and a +smattering of the rules, any one almost may soon be made to +acquit himself tolerably of a minuet; but to make a +distinguished figure, some notion of the depths and refinements +of the art, illustrated by proper practice, are required. + +It is especially incumbent on an artist, not to rest satisfied +with having pleased: he should, from his knowledge of the +grounds of his art, be able to tell himself why he has pleased; +and thus by building upon solid principles, preferably to mere +lucky hits, or to transient and accidental advantages of form or +manner, insure the permanency of his power to please. + +There is a vice in dancing, against which pupils cannot be too +carefully guarded; it is that of affectation. It is essentially +different from that desire of pleasing, which is so natural and +so consistent even with the greatest modesty, in that it always +builds on some falsity, mistaken for a means of pleasing, though +nothing can more surely defeat that intention; there is not an +axiom more true than that the graces are incompatible with +affectation. They vanish at the first appearance of it: and the +curse of affectation is, that it never but lets itself be seen, +and wherever it is seen, it is sure to offend, and to frustrate +its own design. + +The simplicity of nature is the great fountain of all the +graces; from which they flow spontaneous, when unchecked by +affectation, which at once poisons and dries them up. + +Nature does not refuse cultivation, but she will not bear being +forced. The great art of the dancing-master is not to give +graces, for that is impossible, but to call forth into a nobly +modest display those latent ones in his scholars, which may have +been buried for want of opportunities or of education to break +forth in their native lustre, or which have been spoiled or +perverted, by wrong instruction, or by bad models of imitations. +In this last case, the master's business is rather to extirpate +than to plant; to clear the ground of poisonous exotics, and to +make way for the pleasing productions of nature. + +This admirable prerogative of pleasing, inseparable from the +natural graces, unpoisoned by affectation, is in nothing more +strongly exemplified, than in the rural dances, where simplicity +of manners, a sprightly ease, and an exemption from all design +but that of innocent mirth, give to the young and handsome +villagers, or country-maids, those inimitable graces for ever +unknown to artifice and affectation. Not but, even in those +rural assemblies, there may be found some characters tainted +with affectation; but then in the country they are exceptions, +whereas in town they constitute the generality, who are so apt +to mistake airs for graces, though nothing can be more +essentially different. + +But how shall those masters guard a scholar sufficiently against +affectation, who are themselves notoriously infected with it? +Nay, this is so common to them, that it is even the foundation +of a proverbial remark, that no gentleman can be said to dance +well, who dances like a dancing-master. Those false refinements, +that finical, affected air so justly reproached to the +generality of teachers, a master should correct in himself +before he can well give lessons for avoiding them to his pupils. +And, in truth, they are but wretched substitutes to the true +grounds and principles of the art, in which nothing is more +strongly inculcated than the total neglect of them, and the +reliance on the engaging and noble simplicity of nature. + +It is then no paradox to say that the more deep you are in the +art, the less will it stifle nature. On the contrary, it will, +in the noble assurance which a competent skill is sure to bring +with it, give to the natural graces a greater freedom and ease +of display. Imperfection of theory and practice cramps the +faculties; and gives either an unpleasing faulteringness to the +air, steps, and gestures, or wrong execution. And as the minuet +derives its merit from an observation of the most agreeable +steps, well chosen in nature and well combined by art, there is +no inconsistence in avering that art may, in this, as in many +other objects of imitative skill, essentially assist nature, and +place her in the most advantageous point of light. + +The truth of this will be easily granted, by numbers who have +felt the pleasure of seeing a minuet gracefully executed by a +couple who understood this dance perfectly. Nay, excellence in +the performance of it, has given to an indifferent figure, at +least a temporary advantage over a much superior one in point of +person only; and sometimes an advantage of which the impression +has been more permanent. + +But besides the effect of the moment in pleasing the spectators; +the being well versed in this dance especially contributes +greatly to form the gait, and address, as well as the manner in +which we should present ourselves. It has a sensible influence +in the polishing and fashioning the air and deportment in all +occasions of appearance in life. It helps to wear off any thing +of clownishness in the carriage of the person, and breathes +itself into otherwise the most indifferent actions, in a genteel +and agreeable manner of performing them. + +This secret and relative influence of the minuet, _Marcel_, my +ever respected master, whom his own merit in his profession, and +the humorous mention of him by _Helvetius_, in his famous book +DE L'ESPRIT, have made so well known, constantly kept in view, +in his method of teaching it. His scholars were generally known +and distinguished from those of other masters, not only by their +excellence in actual dancing, but by a certain superior air of +easy-genteelness at other times. He himself danced the minuet to +its utmost perfection. Not that he confined his practice to that +dance alone; on the contrary, he confessed himself obliged for +his greatest skill in that, to his having a general knowledge of +all the other dances, which he had practised, but especially +those of the serious stile. + +But certainly it is not only to the professed dancer, that +dancing in the serious stile, or the minuet, with grace and +ease, is essential. The possessing this branch of dancing is of +great service on the theatre, even to an actor. The effect of it +steals into his manner, and gait, and gives him an air of +presenting himself, that is sure to prepossess in his favor. +Persons of every size or shape are susceptible of grace and +improvement from it. The shoulders so drawn back as not to +protuberate before, but as it were, to retreat from sight, or as +the French express it _bien effacees_, the knees well turning +outwards, with a free play; the air of the shape noble and +disengaged; the turns and movements easy; in short, all the +graces that characterise a good execution of the minuet, will, +insensibly on all other occasions, distribute through every limb +and part of the body, a certain liberty and agreeableness of +motion easier to be conceived than defined. To the actor, in all +characters, it gives, as I have just before observed, a graceful +mien and presence; but, in serious characters, it especially +suggests that striking portliness, that majestic tread of the +stage, for which some actors from the very first of their +appearance so happily dispose the public to a favorable +reception of their merit in the rest of their part. An influence +of the first impression, which a good actor will hardly despise, +especially with due precaution against his contracting any thing +forced or affected in his air or steps, from his attention to +his improvement by dancing, as the very best things may be even +pernicious by a misuse. Whatever is not natural, free, and easy, +will undoubtedly, on the stage, as every where else, have a bad +effect. A very little matter of excess will, from his aim at a +grace, produce a ridiculous caricature. Too stiff a regulation +of his motions or gestures, by measure and cadence, would even +be worse than abandoning every thing to chance; which might, +like the Eolian harp, sometimes suffer lucky hits to escape him; +whereas affectation is as sure forever to displease, as it is +not to escape the being seen where it exists. + +Among the many reasons for this dance of the minuet having +become general, is the possibility of dancing it to so many +different airs, though the steps are invariable. If one tune +does not please a performer, he may call for another; the minuet +still remaining unalterable. + +There is no occasion however for a learner to be confined to +this dance. He should rather be encouraged, or have a curiosity +be excited in him, to learn especially those dances, which are +of the more tender or serious character, contributing, as they +greatly do, to perfect one in the minuet; independently of the +pleasure they besides give both in the performance and to the +sight. The dances the most in request are, the _Saraband_, the +_Bretagne_ the _Furlana_, the _Passepied_, the _Folie +d'Espagne_, the _Rigaudon_, the _Minuet du Dauphin_ the +_Louvre_, _La Mariee_, which is always danced at the Opera of +Roland at Paris. Some of these are performed solo, others are +duet-dances. The _Louvre_ is held by many the most pleasing of +them all, especially when well executed by both performers, in a +just concert of motions; no dance affording the arms more +occasion for a graceful display of them, or a more delicate +regularity of the steps; being composed of the most select ones +from theatrical dances, and formed upon the truest principles of +the art. This dance is executed in most countries of Europe +without any variation. It is generally followed or terminated by +a minuet; and these two dances, the Louvre and the minuet, are +at present the most universally in fashion, and will, in all +probability, continue so, from their being both pleasing beyond +all others, to the performers, as well as to the spectators, and +from their not being difficult to learn, if the scholar has but +common docility. + +Youth being for learning this art undoubtedly the best season, +for reasons as I have before observed, too obvious to need +insisting on, the master cannot pay too much attention to the +availing himself of the pliancy of that age, to give his +scholars the necessary instructions for preparing and +well-disposing their limbs. This holds good, particularly with +regard to that propensity innate to most persons of turning in +their toes. I have already mentioned the expediency of curing +this defect, by the directing them to acquire a habit of turning +the knees outward, to which I have to add, that on the proper +turn of the knee, chiefly depend the graces of the under part of +the figure, that is to say, from the foot to the hip. + +Frequent practice also of dancing, or of any salutary exercise, +is also highly recommendable for obtaining a firmness of body; +for a tottering dancer can never plant his steps so as to afford +a pleasing execution. It may sound a little odd, but, the truth +is, that in dancing, sprightliness and agility are principally +produced by bodily strength; while on the contrary, weakness, or +infirmity, must give every step and spring, not only a +tottering, but a heavy air. The legs that bear with the most +ease the weight of the body, will naturally make it seem the +lightest. + + + + + A + + SUMMARY ACCOUNT + + Of various kinds of + + DANCES + + In different Parts of the WORLD. + + _Cantatur et saltatur apud omnes gentes, + aliquo saltem modo_, + QUINT. + + + + + In EUROPE. + + +As almost every country has dances particular to it, or, at +least, so naturalized by adoption from others, that in length of +time they pass for originals; a slight sketch of the most +remarkable of them may serve to throw a light upon this subject, +entertaining to some, and both entertaining and useful to +others. + +In BRITAIN, you have the hornpipe, a dance which is held an +original of this country. Some of the steps of it are used in +the country-dances here, which are themselves a kind of dance +executed with more variety and agreeableness than in any part of +Europe, where they are also imitatively performed, as in Italy, +Germany and in several other countries. Nor is it without reason +they obtain, here the preference over the like in other places. +They are no where so well executed. The music is extremely well +adapted, and the steps in general are very pleasing. Some +foreign comic dancers, on their coming here, apply themselves +with great attention to the true study of the hornpipe, and by +constant practice acquire the ability of performing it with +success in foreign countries, where it always meets with the +highest applause, when masterly executed. There was an instance +of this, sometime ago at Venice, at an opera there, when the +theatre was as well provided with good singers and dancers, as +any other. But they had not the good fortune to please the +public. A dancer luckily for the manager, presented himself, who +danced the hornpipe in its due perfection. This novelty took so, +and made such full houses, that the manager, who had begun with +great loss, soon saw himself repaired, and was a gainer when he +little expected it. + +It is to the HIGHLANDERS in North-Britain, that I am told we are +indebted for a dance in the comic vein, called the _Scotch +Reel_, executed generally, and I believe always in _trio_, or by +three. When well danced, it has a very pleasing effect: and +indeed nothing can be imagined more agreeable, or more lively +and brilliant, than the steps in many of the Scotch dances. +There is a great variety of very natural and very pleasing ones. +And a composer of comic dances, might, with great advantage to +himself, upon a judicious assemblage of such steps as he might +pick out of their dances, form a dance that, with well adapted +dresses, correspondent music, and figures capable of a just +performance, could hardly fail of a great success upon the +theatre. + +I do not know whether I shall not stand in need of an apology +for mentioning here a dance once popular in England, but to +which the idea of low is now currently annexed. It was +originally adapted from the Moors, and is still known by the +name of Morris-dancing, or Moresc-dance. It is danced with +swords, by persons odly disguised, with a great deal of antic +rural merriment: it is true that this diversion is now almost +exploded, being entirely confined to the lower classes of life, +and only kept up in some counties. What the reason may be of its +going out of use, I cannot say; but am very sure, there was not +only a great deal of natural mirth in it, but that it is +susceptible enough of improvement, to rescue it from the +contempt it may have incurred, through its being chiefly in use +among the vulgar; though most probably it may have descended +among them from the higher ranks. For certainly of them it was +not quite unworthy, for the Pirrhic or military air it carries +with it, and which probably was the cause of its introduction +among so martial a people. Rude, as it was, it might require +refinement, but it did not, perhaps, deserve to become quite +obsolete. + +In SPAIN, they have a dance, called, _Les Folies d'Espagne_, +which is performed either by one or by two, with castanets. +There is a dress peculiarly adapted to it, which has a very +pleasing effect, as well as the dance itself. + +In FRANCE, their _Contre-dances_, are drawn from the true +principles of the art, and the figures and steps are generally +very agreeable. No nation cultivates this art with more taste +and delicacy. Their _Provencale_ dance, is most delightfully +sprightly, and well imagined. The steps seem to correspond with +the natural vivacity and gaiety of the Provencals. This dance is +commonly performed to the pipe and tabor. + +The FLEMISH dances run in the most droll vein of true rural +humor. The performers seem to be made for the dances, and the +dances for the performers; so well assorted are the figures to +the representation. Several eminent painters in the grotesque +stile, Teniers especially, have formed many diverting pictures +taken from life, upon this subject. + +At NAPLES, they have various grotesque dances, which are +originals in their kind, being extremely difficult to execute, +not only for the variety of the steps, but for the intricacy and +uncommonness, or rather singularity of them. + +But while I am mentioning Naples, I ought not to omit that +effect of dancing, which is attributed to it, upon those who are +bitten with the _Tarantula_. The original of this opinion, was +probably owing to some sensible physician, prescribing such a +violent motion, more likely to be kept up in the patient, by the +power of music, than by any thing else, as might enable him to +expel the poison, by being thereby thrown into a copious sweat, +and by other benefits from such a vehement agitation. This, it +is supposed, was afterwards abused and turned into a mere trick, +to assemble a croud and get money, either by sham bites, or by +making a kind of show of this method of practice in real ones. +However, that may be, the various grimaces or contortions, leaps +and irregular steps, commonly used on this occasion, to be +executed to that sort of music, or airs adapted to it, might +afford a good subject for a grotesque dance, to be formed upon +the plan of a burlesque or mock-imitation: and I am not quite +sure that the idea of such a dance, has not been already carried +into execution. + +The castanets the NEAPOLITANS most frequently use, are of the +largest size. It is also from Naples that we have taken the +Punchinello dance. + +At FLORENCE, they have a dance, called, _il Treschone_. The +country-women, in the villages, are very fond of it. They are +generally speaking, very robust, and capable of holding out the +fatigue of this dance, for a long time. To make themselves more +light for it, they often pull off their shoes. The dance is +opened by a couple, one of each sex. The woman holds in her hand +a handkerchief, which she flings to him whom she chuses for her +next partner, who, in his turn has an equal right to dispose of +it in the same manner, to any woman of the company he chuses. +Thus is the dance carried on without any interruption till the +assembly breaks up. + +The favorite dance of the VENETIANS, is what they call the +_Furlana_, which is performed by two persons dancing a-round +with the greatest rapidity. Those who have a good ear, keep time +with the crossing their feet behind; and some add a motion of +their hands, as if they were rowing or tugging at an oar. This +dance is practiced in several other parts of Italy. + +The Peasants of TIROL, have one of the most pleasant and +grotesque dances that can be imagined. They perform it in a sort +of holy-day dress, made of skins, and adorned with ribbons. They +wear wooden shoes, not uncuriously painted; and the women +especially express a kind of rural simplicity and frolic mirth, +which has a very agreeable effect. + +The GRISONS are in possession of an old dance, which is not +without its merit, and which they would not exchange for the +politest in Europe; they being as invariably attached to it, as +to their dress. + +The HUNGARIANS are very noisy in their dances, with their iron +heels, but when they are of an equal size, and dressed in their +uniforms, the agility of their steps, and the regularity of +dress in the performers, render them not a disagreeable sight. + +The GERMANS have a dance called the _Allemande_, in which the +men and women form a ring. Each man holding his partner round +the waist, makes her whirl round with almost inconceivable +rapidity: they dance in a grand circle, seeming to pursue one +another: in the course of which they execute several leaps, and +some particularly pleasing steps, when they turn, but so very +difficult as to appear such even to professed dancers +themselves. When this dance is performed by a numerous company, +it furnishes one of the most pleasing sights that can be +imagined. + +The POLISH nobility have a dance, to which the magnificence of +their dress, and the elegance of the steps, the gracefulness of +the attitudes, the fitness of the music, all contribute to +produce a great effect. Were it performed here on the theatre, +it would hardly fail of a general applause. + +The COSSACS, have, amidst all their uncouth barbarism, a sort of +dancing, which they execute to the sound of an instrument, +somewhat resembling a Mandoline, but considerably larger, and +which is highly diverting, from the extreme vivacity of the +steps, and the oddity of the contortions and grimaces, with +which they exhibit it. For a grotesque dance there can hardly be +imagined any thing more entertaining. + +The RUSSIANS, afford nothing remarkable in their dances, which +they now chiefly take from other countries. The dance of dwarfs +with which the Czar Peter the Great, solemnized the nuptials of +his niece to the Duke of Courland, was, probably rather a +particular whim of his own, than a national usage. + + + + + In ASIA. + + +In TURKY, dances have been, as of old in Greece, and elsewhere +instituted in form of a religious ceremony. The _Dervishes_ who +are a kind of devotionists execute a dance, called the _Semaat_ +in a circle, to a strange wild-simphony, when holding one +another by the hand, they turn round with such rapidity, that, +with pure giddiness, they often fall down in heaps upon one +another. + +They have also in Turky, as well as India and Persia, professed +dancers, especially of the female sex, under the name of +dancing-girls, who are bred up, from their childhood, to the +profession; and are always sent for to any great entertainment, +public or private, as at feasts, weddings, ceremonies of +circumcision, and, in short, on all occasions of festivity and +joy. They execute their dances to a simphony of various +instruments, extremely resembling the antient ones, the +_tympanum_, the _crotala_, the _cimbals_, and the like, as well +as to songs, being a kind of small dramatic compositions, or +what may properly be called _ballads_, which is a true word for +a song at once sung and danced: _ballare_ signifying to dance; +and _ballata_, a song, composed to be danced. It is probable +that from these eastern kind of dances, which are undoubtedly +very antient, came the name, among the Romans, of _balatrones_. +Nothing can be imagined more graceful, nor more expressive, than +the gestures and attitudes of those dancing-girls, which may +properly be called the eloquence of the body, in which indeed +most of the Asiatics and inhabitants of the southren climates +constitutionally excel, from a sensibility more exquisite than +is the attribute of the more northern people; but a sensibility +ballanced by too many disadvantages to be envied them. The +Siamese, we are told, have three dances, called the _Cone_, the +_Lacone_, and the _Raban_. The _Cone_ is a figure-dance, in +which they use particularly a string-instrument in the nature of +a violin, with some others of the Asiatic make. Those who dance +are armed and masked, and seem to be a fighting rather than +dancing. It is a kind of Indian Pirrhic. Their masks represent +the most frightful hideous countenances of wild-beasts, or +demons, that fancy can invent. In the _Lacone_ the performers +sing commutually stanzes of verses containing the history of +their country. The Raban is a mixed dance, of men and women, not +martial, nor historical, but purely gallant; in which the +dancers have all long false nails of copper. They sing in this +dance, which is only a slow march without any high motions, but +with a great many contortions of body and arms. Those who dance +in the Raban and Cone have high gilt caps like sugar-loaves. The +dance of the _Lacone_ is appropriated to the dedication of their +temples, when a new statue of their _Sommona-codom_ is set up. + +In many parts of the East, at their weddings, in conducting the +bride from her house to the bridegroom's, as in Persia +especially, they make use of processional music and dancing. +But, in the religious ceremonies of the Gentoos, when, at stated +times, they draw the triumphal car, in which the image of the +deity of the festival is carried, the procession is intermixed +with troops of dancers of both sexes, who, proceed, in chorus, +leaping, dancing, and falling into strange antics, as the +procession moves along, of which they compose a part; these +adapt their gestures and steps to the sounds of various +instruments of music. + +Considering withal that the Romans, in their most solemn +processions, as in that called the _Pompa_, which I have before +mentioned, in which not only the Pirrhic dance was +processionally executed, but other dances, in masquerade, by men +who, in their habits, by leaping and by feats of agility, +represented satirs, the _Sileni_, and _Fauni_, and were attended +by minstrels playing on the flute and guitar; besides which, +there were _Salian_ priests, and _Salian_ virgins, who followed, +in their order, and executed their respective religious dances; +it may bear a question whether not an unpleasing use might not +be made, on the theatres, of processional dances properly +introduced, and connected, especially in the burlesque way. In +every country, and particularly in this, processions are +esteemed an agreeable amusement to the eye; and certainly they +must receive more life and animation from a proper intermixture +of dances, than what a mere solemn march can represent, where +there is nothing to amuse but a long train of personages in +various habits, walking in parade. I only mention this however +as a hint not impossible to be improved, and reduced into +practice. + +But even, where it might be improper or ridiculous to think of +mixing dances with a procession, though it were but in +burlesque, which must, if at all, be the preferable way of +mixing them, the pleasure of those who delight in seeing +processions and pageantry exhibited on the theatre, might be +gratified, without any violence to propriety, by making them +introductory to the dances of the grandest kind. For example; +where a dance in Chinese characters is intended, a procession +might be previously brought in, of personages, of whom the +habits, charactures, and manners might be faithfully copied from +nature, and from the truth of things, and convey to the +spectator a juster notion, of the people from which the +representation was taken, of their dress and public processions, +than any verbal description, or even prints or pictures. After +which, the dance might naturally take place, in celebration of +the festival, of which, the procession might be supposed the +occasion. + +In order to give a more distinct idea of this hint, I have +hereto annexed the print of a Chinese procession taken from the +description of a traveller into that country; by which a good +composer would well know how to make a proper choice of what +might be exhibited, and what was fit to be left out; especially +according as the dance should be, serious or burlesque. In the +last case; even the horses might be represented by a theatrical +imitation. And certainly, bringing the personages on in such a +regular procession at first, would give a better opportunity of +observing their dresses, than in the huddled, confused manner of +grouping them, that has been sometimes practised: to say nothing +of the pleasure afforded to the eye by the procession itself. + +The print annexed represents the procession of a Chinese +Mandarin of the first order. First appear two men who strike +each upon a copper instrument called a gongh, resembling a +hollow dish without a border, which has pretty much the effect +of a kettle-drum. + +Follow the ensign-bearers, on whose flags are written in large +characters the Mandarin's titles of honour. Next fourteen +standards, upon which appear the proper simbols of his office, +such as the dragon, tiger, phoenix, flying tortoise, and other +winged creatures of fancy, emblematically exhibited. + +Six officers, bearing a staff headed by an oblong square board, +raised high, whereon are written in large golden characters the +particular qualities of this Mandarin. + +Two others bear, the one a large umbrella of yellow silk (the +imperial color) of three folds, one above the other; the other +officer carries the case in which the umbrella is kept. + +Two archers on horseback, at the head of the chief guard: then +the guards, armed with large hooks, adorned with silk fringe, in +four rows one above another; two other files of men in armor, +some bearing maces with long handles; others, maces in the form +of a hand, or of a serpent: others, equipped with large hammers +and long hatchets like a crescent. Other guards bearing sharp +axes: some, weapons like scythes, only strait. Soldiers carrying +three-edged halberds. + +Two porters, carrying a splendid coffer, containing the seal of +his office. + +Two other men, beating each a _gongh_, which gives notice of the +Mandarin's approach. + +Two officers, armed with staves, to keep off the croud. + +Two mace-bearers with gilt maces in the shape of dragons, and a +number of officers of justice, some equiped with bamboes, a kind +of flat cudgels, to give the bastinado: others with chains, +whips, cutlasses, and hangers. + +Two standard-bearers, and the captain of the guard. + +All this equipage precedes the Mandarin or Viceroy, who is +carried in his chair, surrounded with pages and footmen, having +near his person an officer who carries a large fan in the shape +of a hand-fire-screen. + +He is followed by guards, some armed with maces, and others with +long-handled sabres; after whom come several ensigns and +cornets, with a great number of domestics on horseback, every +one bearing some necessary belonging to the Mandarin: as for +example, a particular Tartarian cap, if the weather should +oblige him to change the one he has on. + +From the above, it may appear, what scope or range a composer +may have for the exhibition of processions and pageantry of +other nations, as well as of the Chinese; in all which, nothing +is more recommendable than adhering, in the representation, as +much as the limitations of the theatre will admit, to the truth +of things, as they actually pass in the countries where the +scene is laid: which is but, in saying other words, in this, as +in every other imitative branch, strike to nature as close as +possible. + + + + + In AFRICA. + + +The spirit of dancing prevails, almost beyond imagination, among +both men and women, in most parts of Africa. It is even more +than instinct, it is a rage, in some countries of that part of +the globe. + +Upon the Gold-coast especially, the inhabitants are so +passionately fond of it, that in the midst of their hardest +labor, if they hear a person sing, or any musical instrument +plaid, they cannot refrain from dancing. + +There are even well attested stories of some Negroes flinging +themselves at the feet of an European playing on a fiddle, +entreating him to desist, unless he had a mind to tire them to +death; it being impossible for them to cease dancing, while he +continued playing. Such is the irresistible passion for dancing +among them. + +With such an innate fondness for this art, one would imagine +that children taken from this country, so strong-made and so +well-limbed as they generally are, and so finely disposed by +nature, might, if duly instructed, go great lengths towards +perfection in the art. But I do not remember to have heard that +the experiment was ever made upon any of them, by some master +capable of giving them such an improvement, as one would suppose +them susceptible of. + +Upon the Gold-coast, there long existed and probably still +exists a custom, for the greater part of the inhabitants of a +town or village to assemble together, most evenings of the year, +at the market-place to dance, sing, and make merry for an hour +or two, before bed-time. On this occasion, they appear in their +best attire. The women, who come before the men, have a number +of little bells tinkling at their feet. The men carry little +fans or rather whisks in their hand made of the tails of +elephants and horses, much like the brushes used to brush +pictures; only that theirs are gilt at both ends. They meet +usually about sunset. Their music consists of horn-blowers or +trumpeters, drummers, players on the flute, and the like; being +placed a-part by themselves. The men and women, who compose the +dance, divide into couples, facing each other, as in our +country-dances, and forming a general dance, fall into many wild +ridiculous postures, advancing and retreating, leaping, stamping +on the ground, bowing their heads, as they pass, to each other, +and muttering certain words; then snapping their fingers, +sometimes speaking loud, at other times whispering, moving now +slow, now quick, and shaking their fans. + +Artus and Villault add, that they strike each another's +shoulders alternately with those fans; also that the women, +laying straw-ropes in circles on the ground, jump into or dance +round them; and clicking them up with their toes, cast them in +the air, catching them as they fall with their hands. + +They are strangely delighted with these gambols; but do not care +to be seen at them by strangers, who can scarce refrain +laughing, and consequently putting them out of countenance. + +After an hour or two spent in this kind of exercise, they retire +to their respective homes. + +Their dances vary according to times, occurrences, and places. +Those which are in honor of their religious festivals, are more +grave and serious. There have been sometimes public dances +instituted by order of their Kings, as at Abrambo, a large town +in Widaw, where annually, for eight days together, there +resorted a multitude of both sexes from all parts of the +country. This was called the dancing-season. To this solemnity +all came dressed in the best manner, according to their +respective ability. The dance was ridiculous enough; but it +served to keep up their agility of body. And amidst all the +uncouth barbarism of their gestures and attitudes, nature breaks +out into some expressions of joy, or of the passions, that would +not be unworthy of an European's observation. + +They have also their kind of Pirrhic dances, which they execute +by mock-skirmishing in cadence, and striking on their targets +with their cutlasses. + +I have already mentioned that it is from Africa, the +Moresc-dances originally came. But what is somewhat surprising, +the Portugueze themselves, among whom I will not however include +the higher ranks of life in that nation, but, at least, the +number of the people who adopted, from the Caffrees, or Negroes +of their African possessions, a dance called by them +_LasChegancas_, (Approaches) was so great that the late King of +Portugal was obliged to prohibit it by a formal edict. The +reason of which was, that some of the motions and gestures had +so lascivious an air, and were so contrary to modesty, that the +celebrated _Frey Gaspar_, a natural son, if I mistake not, of +the late King of Portugal, represented so efficaciously to his +Portugueze Majesty, the shame and scandal of this dance being +any longer suffered, that it was put down by royal authority. +Nor was this done without occasioning heavy complaints against +_Frey Gaspar_, against whom there were lampoons and ballads +publickly sung, upon his having used his influence to procure +that prohibition. + + + + + In AMERICA. + + +In this part of the world, so lately discovered, nothing is a +stronger proof of the universality of dancing, of its being, in +short, rather an human instinct, than an art, than the fondness +for dancing every where diffused over this vast continent. + +In BRAZIL, the dancers, whether men or women, make a point of +dancing bare-headed. The reason of this is not mentioned: it +cannot however be thought a very serious one, since nothing can +be more comical than their gestures, their contortions of body, +and the signs they make with the head to each other. + +In MEXICO, they have also their dances and music, but in the +most uncouth and barbarian stile. For their simphony they have +wooden drums, something in form of a kettle-drum, with a kind of +pipe or flageolet, made of a hollow cane or reed, but very +grating to an European ear. It is observed they love every thing +that makes a noise how disagreeable soever the sound is. They +will also hum over something like a tune, when they dance thirty +or forty in a circle, stretching out their hands, and laying +them on each others shoulders. They stamp and jump, and use the +most antic gestures for several hours, till they are heartily +weary. And one or two of the company sometimes step out of the +ring, to make sport for the rest, by showing feats of activity, +throwing up their lances into the air, catching them again, +bending backwards, and springing forwards with great agility. +Then when they are in a violent sweat, from this exercise, they +will frequently jump into the water, without the least bad +consequences to their health. Their women have their dancing and +music too by themselves; but never mingle in those of the men. + +In VIRGINIA, according to the author of the history of that +country, they have two different kinds of dancing; the first, +either single, or at the most in small companies; or, secondly, +in great numbers together, but without having any regard either +to time or figure. + +In the first kind one person only dances, or two, or three at +most. While during their performance, the rest, who are seated +round them in a ring, sing as loud as they can scream, and ring +their little bells. Sometimes the dancers themselves sing, dart +terribly threatening looks, stamp their feet upon the ground, +and exhibit a thousand antic postures and grimaces. + +In the other dance, consisting of a more numerous company of +performers, the dance is executed round stakes set in the form +of a circle, adorned with some sculpture, or round about a fire, +which they light in a convenient place. Every one has his little +bell, his bow and arrow in his hand. They also cover themselves +with leaves, and thus equipped, begin their dance. Sometimes +they set three young women in the midst of the circle. + +In PERU, the manner of dancing has something very particular. +Instead of laying any stress on the motion of the arms, in most +of their dances, their arms hang down, or are wrapped up in a +kind of mantle, so that nothing is seen but the bending of the +body, and the activity of the feet; they have however many +figure-dances, in which they lay aside their cloaks or mantles, +but the graces they add, are rather actions than gestures. + +The PERUVIAN Creolians dance after the same manner, without +laying aside their long swords, the point of which they contrive +to keep up before them so that it may not hinder them from +rising, or in coupeeing, which is sometimes to such a degree +that it looks like kneeling. + +They have a dance there, adopted from the natives, which they +call _Zapatas_, (shoes) because in dancing they alternately +strike with the heels and toes, taking some steps, and +coupeeing, as they traverse their ground. + +Among the savages of North-America, we are told there are +various dances practised, such as that of the calumet, the +leaders dance, the war-dance, the marriage-dance, the +sacrifice-dance, all which, respectively differ in the +movements, and some, amidst all the wildness of their +performance, are not without their graces. But the dance of the +calumet is esteemed the finest; this is used at the reception of +strangers whom they mean to honor, or of ambassadors to them on +public occasions. This dance is commonly executed in an oval +figure. + +The AMERICANS, in some parts, prescribe this exercise by way of +phisic, in their distempers: a method of treatment, not, it +seems unknown to the antients: but, in general, their motive for +dancing, is the same as with the rest of the world, to give +demonstrations of joy and welcome to their guests, or to divert +themselves. On some occasions indeed, they make them part of the +ceremony at their assemblies upon affairs, when even their +public debates are preceded by dancing, as if they expected that +that exercise would rouse their mental faculties, and clear +their heads. The war-dance is also used by them, by way of +proclamation of war against their enemies. + +The foregoing summary sketch of some of the various dances, +which are practised in different parts of the globe, and which, +to describe universally and minutely, would fill whole volumes, +may serve to show that nature has, in all parts of the inhabited +world, given to man the instinct of dancing, as well as of +speaking, or of singing. But it certainly depends on the nations +who encourage the polite arts, once more to carry it up to that +pitch of excellence, of which the history of the Greeks and +Romans shows it to have been susceptible, among the antients, +however the moderns may have long fallen short of it. There has +indeed lately appeared a dawning hope of its recovery; which, +that it may not be frustrated, is the interest of all who wish +well to an innocent and even useful pleasure. + + + + + Of PANTOMIMES. + +As this branch of the art of dancing is often mentioned, +especially in this country, without a just idea being affixed to +it, or any other idea than what is vulgarly taken from a species +of compositions which are sometimes exhibited after the play, on +the theatre here, (not to mention Sadler's wells) and go by the +name of pantomime entertainments; it may not be unacceptable to +the reader, my laying down before him the true grounds and +nature of this diversion, which once made so great a figure in +the theatrical sphere of action. + +And as, on this point, Monsieur Cahusac, an ingenious French +writer, has treated the historical part of it with so much +accuracy, that it was hardly possible to offer any thing new +upon it, beyond what he has furnished; and that not to make use +of his researches would only betray me into a fruitless +affectation of originality, I am very ready to confess, that for +the best and greatest part of what I am now going to offer upon +this subject I am indebted to his production. + +That prodigious perfection to which the antients carried the +pantomime art, appeared so extraordinary to the celebrated abbot +Du Bos, that, not being able to contradict the authorities which +establish the truth of it, he was tempted to consider the art of +dancing in those times as something wholly different from what +is at present understood by dancing. + +The chevalier Ramsay places it also among the lost arts. Both, +no doubt, grounding their opinion on that deficiency of +execution on the modern theatres, compared to what is +incontestably transmitted to us, by history, of the excellence +of the antient pantomimes. + +But none have more contributed to establish the opinion of the +pantomime art being an art totally different from that of +dancing, and not merely an improvement of it, as was certainly +the case, than some of the professors of the art themselves, who +even exclaimed against M. Cahusac, for his attempts to give +juster notions, and to recommend the revival of it. + +We are too apt to pronounce upon possibilities from our own +measure of knowledge, or of capacity. Nothing is more common +than to hear men of a profession declare loudly against any +practice attempted to be established for the improvement of +their art, and peremptorily to aver such a practice being +impossible, for no other reason than that their own study and +efforts had not been able to procure them the attainment of it. +In this too they are seconded by that croud of superficial +people who frequent the theatres, and who can believe nothing +beyond what themselves have seen: any thing above the reach of +what they are accustomed or habituated to admire, always seems +to them a chimera. + +The reproach of incredulity is commonly made to men of the +greatest knowledge, because they are not over-apt to admit any +proposition without proof: but this reproach may, with more +justice, be oftenest made to the ignorant, who generally reject, +without discussion, every thing beyond their own narrow +conception. + +To these it may sound more than strange; it may appear +incredible, that on the theatre of Athens, the dance of the +Eumenides, or Furies, had so expressive a character, as to +strike the spectators with irresistible terror. The Areopagus +itself shuddered with horror and affright; men grown old in the +profession of arms, trembled; the multitude ran out; women with +child miscarried; people imagined they saw in earnest those +barbarous deities commissioned with the vengeance of heaven, +pursue and punish the crimes of the earth. + +This passage of history is furnished by the same authors, who +tell us, that Sophocles was a genius; that nothing could +withstand the eloquence of Demosthenes; that Themistocles was a +hero; that Socrates was the wisest of men; and it was in the +time of the most famous of the _Greeks_ that even upon those +highly privileged souls, in sight of irreproachable witnesses, +the art of dancing produced such great effects. + +At Rome, in the best days of this art, all the sentiments which +the dancers expressed, had each a character of truth, so great a +power, such pathetic energy, that the multitude was more than +once seen hurried away by the illusion, and mechanically to take +part in the different emotions presented to them by the animated +picture with which they were struck. In the representation of +_Ajax in a frenzy_, the spectators took such violent impressions +from the acting-dancer who represented him, that they perfectly +broke out, into outcries; stripped, as it were, to fight, and +actually came to blows among each other, as if they had caught +their rage from what was passing on the theatre. + +At another time they melted into tears at the tender affliction +of Hecuba. + +And upon whom were these lively impressions produced? Upon the +cotemporaries of Mecenas, of Lucullus, Augustus, Virgil, Pollio; +upon men of the most refined taste, whose criticism was as +severe as their approbation honorable; who never spared their +censure nor their applause, where either was due. How, +especially under the eyes of Horace, could any thing pass the +approbation of the public, unless under the seal of excellence +in point of art and good taste? Would Augustus have declared +himself the special patron of a kind of entertainment that had +been deficient as to probability and genius? Would Mecenas, the +protector of Virgil, and of all the fine arts, have been pleased +with a sight that was not a striking imitation of beautiful +nature? + +The proofs shown of the perfection of dancing at Athens, and +under the reign of Augustus, being incontestable, it is plain +that what now passes for the art of dancing, is as yet only in +its infancy. To display the arms gracefully, to preserve the +equilibrium in the positions, to form steps with a lightness of +air; to unfold all the springs of the body in harmony to the +music, all these points, sufficient to what may be called +private, or to assembly-dancing, are little more than the +alphabet of the theatrical dances, or of pantomime execution. +The steps and figures are but the letters and words of this art. +A writing-master is one who teaches the mechanical part of +forming letters. A mere dancing-master is an artist who teaches +to form steps. But the first is not more different from what we +call a man of letters, or a _writer_, than the second is from +what may deserve on the theatre, the name of principal dancer. + +Besides the necessity of learning his art elementally, a dancer, +like a writer, should have a stile of his own, an original +stile: more or less valuable, according as he can exhibit, +express, and paint with elegance a greater or lesser quantity of +things admirable, agreeable, and useful. + +Speech is scarce more expressive, than the gestual language. The +art of painting, which places before our eyes the most pathetic, +or the most gay images of human life, composes them of nothing +but of attitudes, of positions of the arms, expressions of the +countenance, and of all these parts dancing is composed, as well +as painting. + +But, as I have before observed, painting can express no more +than an instant of action. Theatrical dancing can exhibit all +the successive instants it chuses to paint. Its march proceeds +from picture to picture, to which, motion gives life. In +painting, life is only imitated; in dancing, it is always the +reality itself. + +Dancing is, evidently, in its nature, an action upon the +theatres; nothing is wanting to it but meaning: it moves to the +right, to the left; it retrogrades, it advances, it forms steps, +it delineates figures. There is only wanting to all this an +arrangement of the motions, to furnish to the eye a theatrical +action upon any subject whatever. + +The history of the art proves that the dancers of genius, had no +other means or assistance in the world but this to express all +the human passions, and the possibilities of it are in all +times, the very same. + +Both here, and in France, there have been some of these dramatic +pieces in action, by dance, attempted, which have been well +received by the public. + +Some years ago, the Dutchess of Maine ordered simphonies to be +composed for the scene of the fourth act of the _Horatii_; in +which the young Horatius kills Camilla. Two dancers, one of each +sex, represented this action at _Sceaux_; and their dance +painted it with all the energy and pathos of which it was +susceptible. + +In Italy especially many subjects of a what may be called low +comedy, are very naturally expressed by dancing. In short, there +is hardly any comic action but what they represent upon their +theatres, if not with perfection, at least satisfactorily. And +certainly the dance in action has the same superiority over +sheer unmeaning dancing, that a fine history-piece has over +cutting flowers in paper. In the last there is little more +required than mechanical nicety, and, at the best, it affords no +great pretention to merit. But it is only for genius to order, +distribute and compose, in the other. A Raphael is allowed to +take place in the Temple of Fame, by a Virgil; and the art of +dancing is capable of having its Raphaels too. Pilades, and +Bathillus were painters, and great ones, in their way. +Picturesque composition is not less the duty of a composer of +dances, than of a painter. + +Among the antients, that _Protheus_, of whom fabulous history +records such wonders, was only one of their dancers, who, by the +rapidity of his steps, by the strength of his expression, and by +the employment of the theatrical deceptions, seemed at every +instant, to change his form. The celebrated _Empusa_ was a +female dancer, whose agility was so prodigious that she appeared +and vanished like a spirit. + +But it was at Rome that the Pantomime art received its highest +improvement. Pilades born in Cilicia, and Bathillus of +Alexandria, where the two most surprising geniuses, who, under +the reigns of Augustus Caesar, displayed their talents in their +utmost lustre. The first invented the solemn, grave and pathetic +dances. The compositions of Bathillus were in the lively, gay, +and sprightly stile. + +Bathillus had been the slave of Mecenas, who had given him his +freedom in favor of his talents. Having seen Pilades in Cilicia, +he engaged him to come to Rome, where he had disposed Mecenas in +his favor, who, becoming the declared protector of both, +procured to them the encouragement of the Emperor. + +A theatre was built for them: the Romans flocked to it, and saw, +with surprise, a complete tragedy; all the passions painted with +the most vigorous strokes of representation: the exposition, +plot, catastrophe expressed in the clearest and most pathetic +manner, without any other means or assistence but that of +dancing, executed to the simphonies the best adapted, and far +superior to any that had been before heard in Rome. + +Their surprise was not to end here. To this a second +entertainment succeeded; in which an ingenious action, without +needing the voice or speech, presented all the characters, all +the pleasant strokes, and humorous pictures of a good comedy. + +And in both these kinds, the executive talents of Pilades and +Bathillus corresponded to the boldness and beauty of the kind of +compositions they had ventured to bring on the stage. + +Pilades especially, who was at the head of this project, was the +most singular man that had till then appeared on the theatre. +His fertile imagination constantly supplied him with new means +of perfecting his art and embellishing his entertainments. +Athenaeus mentions his having written a book much esteemed on the +depths and principles of his art. + +Before him, some flutes composed the orchestra of the Romans. He +reinforced it with all the known instruments. He added choruses +of dances to his representations, and took care that their steps +and figures, should always have some relation or affinity to the +principal action. He provided them with dresses in the highest +taste of propriety, and omitted nothing towards producing, +keeping up, and pushing to the highest pitch, the charm of the +theatrical illusion. + +The actions on the Roman theatres were tragic, comic, or +satirical; these last pretty nearly answering to what we +understand by grotesque or farcical. + +Esopus and Roscius had been, from their excellence in +declamation, the delight and admiration of Rome. But on their +leaving no successors to their degree of merit; the taste for +dramatic poetry which was no longer supported by actors equal to +them, began to decline; and the theatrical dances under such +great masters as Pilades and Bathillus, either by their novelty, +or by their merit, or by both, made the Romans the less feel +their loss of those incomparable actors. The gestual language +took place of that which was declaimed; and produced regular +pieces acted in the three kinds of tragedy, comedy, and farce or +grotesque. The spectators grew pleased with such an exercise of +their understanding. Steps, motions, attitudes, figures, +positions, now were substituted to speech; and there resulted +from them an expression so natural, images so resembling, +a pathos so moving, or a pleasantry so agreeable, that people +imagined they heard the actions they saw. The gestures alone +supplied the place of the sweetness of the voice, of the energy +of speech, and of the charms of poetry.[*] + + [Footnote *: Hanc partem Musicae disciplinae Majores + mutam nominarunt, quae ore clauso loquitur, et quibusdam + gesticulationibus facit intelligi, quod vix narrante + lingua, aut scripturae textu possit agnosci. + + _Cassiod_, var. 1. 20. + + Loquacissimas manus, linguosos digitos, silentium + clamosum, expositionem tacitam. + + _Idem._] + +This kind of entertainment, so new, though formed upon a +ground-work already known, planned and executed by genius, and +adopted with a passionate fondness by the Romans, was called the +_Italic dance_; and in the transports of pleasures it caused +them, they gave to the actors of it, the title of _Pantomimes_. +This was no more than a lively, and not at all exagerated +expression, of the truth of their action, which was one +continual picture to the eyes of the spectators. Their motion, +their feet, their hands, their arms, were but so many different +parts of the picture; none of them were to remain idle; but all, +with propriety, were to concur to the formation of that +assemblage, from which result the harmony, and, with pardon for +the expression, the happy _all-together_ of the composition and +performance. A dancer learned from his very name of _pantomime_, +that he could be in no esteem in Rome, but so far as he should +be _all the actor_. + +And, in fact, this art was carried to a point of perfection hard +to believe; but for such a number of concurrent and authentic +testimonies. + +It appears also clearly from history, that this art, in its +origin, (so favored by an arbitrary prince, and who also made +some use of it, towards establishing his despotism, nay even +primordially introduced by Bathillus, a slave) could no longer +preserve its great excellence, than the spirit of liberty was +not wholly worn out in the Roman breasts; and, like its other +sister arts, gradually decayed and sunk under the subsequent +emperors. + +Pilades gave a memorable instance of the (as yet) unextinguished +spirit of liberty, when, upon his being banished Rome, for some +time, by Augustus Cesar, upon account of the disturbances the +pantomime parties occasioned, he told him plainly to his face, +that he was ungrateful for the good his power received, by the +diversion to the Romans from more serious thoughts on the loss +of their liberty. "Why do not you," says he, "let the people +amuse themselves with our quarrels?" + +This dancer had such great powers in all his tragedies, that he +could draw tears from even those of the spectators the least +used to the melting mood. + +But in truth, the effect of these pantomimes, in general, was +prodigious. Tears and sobs interrupted often the representation +of the tragedy of _Glaucus_, in which the pantomime Plancus +played the principal character. + +Bathillus, in painting the amours of Leda, never failed of +exciting the utmost sensibility in the Roman ladies. + +But what is more surprising yet, _Memphir_, a Pithagorean +philosopher, as Athenaeus tells us, expressed, by dancing, all +the excellence of the philosophy of Pithagoras, with more +elegance, more clearness and energy, than the most eloquent +professor of philosophy could have done. + +Upon considering all this, one is almost tempted to say, with M. +Cahusac, "We have, upon the stage, excellent feet, lively legs, +admirable arms: what a pity it is, that with all this we have so +little of the art of dancing!" + +Our tragedy and our comedy have an extent and duration which are +supported by the charms of speech, by the interestingness of +narration, by the variety of the sallies of wit. The action is +divided into acts, each act into scenes, these scenes +successively present new situations, and these situations keep +up the warmth of interest and attention, form the plot, lead to +the conclusion or unravelment, and prepare it. + +Such must have been, or such must be, (but with more precision +and markingness) tragedies or comedies represented by dancing; +as gesture is something more marking and succinct than speech. +There are required many words to express a thought, but one +single motion may paint several thoughts, and situations. + +In such compositions, then, made to be danced, the theatrical +action must go forward with the utmost rapidity: there must not +be one unmeaning entry, figure, or step in them. Such a piece +ought to be a close crouded abstract of some excellent written +dramatic piece. + +Dancing, like painting, can only present situations to the eye; +and every truly theatrical situation is nothing but a living +picture. + +If a composer of dances should undertake to represent upon the +stage any great action or theatrical subject, he must begin by +making an extract from it, of all the most picturesque +situations. No other parts beside these can enter into his plan; +all the others are defective or useless, they can only embarras, +perplex, confound, and render it cold and insipid. + +Whereas, if the situations succeed one another naturally, and in +great number; if their being well linked together conducts them +with rapidity, from the first situation to the last, which must +clearly and strikingly unravel the whole; the choice is +complete, and the theatrical effect will be sure. + +It is that final effect, of which, in the execution, the +composer and performer must never lose sight. Successive +pictures must be exhibited, and animated with all the expression +that can result from the impassioned motions of the dance. + +This was doubtless the great secret of the art of Pilades, who +so highly excelled in his ideas of theatrical expression: this +is, perhaps, too for all kinds of theatrical composition, +whether to be declaimed, or to be executed by dancing, a general +rule that is not to be slighted. + +One instance of the regard shewn by Pilades to theatrical +propriety is preserved to us, and not unworthy of attention. He +had been publickly challenged by Hilas, once a pupil of his, to +represent the greatness of Agamemnon: Hilas came upon the stage +with buskins, which, in the nature of stilts, made him of an +artificial height; in consequence of which he greatly +over-topped the croud of actors who surrounded him. This passed +well enough, 'till Pilades appeared with an air, stern and +majestic. His serious steps, his arms a-cross, his motion +sometimes slow, sometimes animated, with pauses full of meaning, +his looks now fixed on the ground, now lifted to heaven, with +all the attitudes of profound pensiveness, painted strongly a +man taken up with great things, which he was meditating, +weighing, and comparing, with all the dignity of kingly +importance. The spectators, struck with the justness, with the +energy and real elevation of so expressive a portraiture, +unanimously adjudged the preference to Pilades, who, coolly +turning to Hilas, said to him, "_Young man, we had to represent +a king who commanded over twenty kings: you made him tall: +I showed him great._" + +It was in the reign of Nero, that a cinical mock-philosopher, +called Demetrius, saw, for the first time, one of these +pantomime compositions. Struck with the truth of the +representation, he could not help expressing the greatest marks +of astonishment: but whether his pride made him feel a sort of +shame for the admiration he had involuntarily shewn, or whether +naturally envious and selfish, he could not bear the cruel pain +of being forced to approve any thing but his own singularities; +he attributed to the music the strong impression that has been +made upon him: as, in that reign, a false philosophy very +naturally had a greater influence than the real, this man was, +it seems, of consequence enough for the managers of the dances +to take notice of this partiality, or at least to be piqued +enough, for their own honor, to lay a scheme for undeceiving +him. He was once more brought to their theatre, and seated in a +conspicuous part of the house, without his having been +acquainted with their intention. + +The orchestra began: an actor opens the scene: on the moment of +his entrance, the simphony ceases, and the representation +continues. Without any aid but that of the steps, the positions +of the body, the movements of the arms, the piece is performed, +in which are successively represented the amours of Mars and +Venus, the Sun discovering them to the jealous husband of the +goddess, the snares which he sets for his faithless spouse and +her formidable gallant, the quick effect of the treacherous net, +which, while it compleats the revenge of Vulcan, only publishes +his shame, the confusion of Venus, the rage of Mars, the arch +mirth of the gods, who came to enjoy the sight. + +The whole audience gave to the excellence of the performance its +due applause, but the Cinic, out of himself, could not help +crying out, in a transport of delight; "_No! this is not a +representation; it is the very thing itself._" + +Much about the same time a dancer represented the _labors of_ +Hercules. He retraced in so true a manner all the different +situations of that hero, that a king of Pontus, then at Rome, +and who had never seen such a sight before, easily followed the +thread of the action, and charmed with it, asked with great +earnestness of the emperor, that he would let him have with him +that extraordinary dancer, who had made such an impression upon +him. + + "Do not, says he to Nero, be surprised at my request. I have + for borderers upon my kingdom, some Barbarian nations whose + language none of my people could understand, nor they learn + ours. Such a man as this dancer would be an admirable + interpreter between us." + +It would then surely be a great error to imagine, that an +habitual dexterity, a daily practice, with their arms, their +legs and feet, were the only talents of these pantomime dancers. +Their execution, without doubt, required all these advantages of +the body in the most eminent degree; but their compositions +supposed, and indispensably implied an infinite number of +combinations which belong intirely to the mind, or intellectual +faculties; as for example, especially an attentive and judicious +discernment of the most interesting truths of human nature. How +extensive a study this exacts, it is more easy to conceive than +to attain. + +And surely there is an evident necessity for studying men, +before one can undertake to paint or represent them. It is not +till after a profound examination of the passions, that one +ought to flatter one's self with characterising them purely by +the powers of external signs of actions. All the passions have +affinities to each other, which it is only for a great justness +of understanding to seize; they have shades that distinguish +them, which nothing but a nice eye can perceive, and which +easily escape a superficial observer. + +In serious dancing, where the character of a hero is to be +given, there are in his actions, in the course of his life, +certain marking strokes, certain incidents or extraordinary +passages, which are subjects proper for the stage, and which +must be separated from others perhaps more brilliant in history, +but which would infrigidate a theatrical composition. + +In the state of dancing of our days, the dancers, and even the +composers of dances, aspire to little more than the mechanical +part of their art; and, indeed, they hardly know any thing +beyond that, and cannot in course, cultivate what they have no +conception of. + +When M. Cahusac wrote, he observed that this was sufficient for +the spectators, who required nothing more than a brilliant +execution from the dancers in the old track of steps and capers; +and this is, in fact, true of the greater number now. But +lately, the taste for dances of action, animated with meaning +and conveying the idea of some fable or subject, has begun to +gain ground. People are less tired with a dance, in which the +understanding is exercised, without the fatigue of perplexity, +than by merely seeing a succession of lively steps, and +cabriols, however well executed; which, in point of merit, bear +no more proportion to that of a well-composed dance, than a +tiresome repetition of vignettes, of head-pieces and +tail-pieces, would do to the gravings of historical pieces after +a Raphael, a Michael Angelo, or a Correggio. + +As hitherto the composer of the dances of action, have not been +able to recover that height of perfection to which the antient +pantomimes carried their art; the most that any composers could +do, I mean with success, (for there have been some attempts +made, that, for want of a proper plan and execution, failed,) +was to furnish certain dances, in the nature of _poemetti_ or +small dramatic poems, which, where the subject of action has +been clearly and intelligibly executed, have ever been received +with the most encouraging applause by the public. + +And here the ingenious author to whom I am so much obliged in +this chapter, furnishes me with rules of composition for the +dances of action, which can hardly be too much recommended. + +All theatrical compositions ought to have three essential parts. + +By a lively dialogue, in a piece made to be spoken, or by an +incident dextrously introduced in one made for a dance in +action, the spectator is to be prepared for the subject that is +to be represented, and to have some acquaintance of the +character, quality, and manners of the persons of the drama: +this is what is called _the exposition_. + +The circumstances, the obstacles which arise out of the +ground-work of the subject, embroil it, and retard its march +without stopping it. A sort of embarrasment forms itself out of +the actions of the characters, which perplexes the curiosity of +the spectators, from whose even guess-work, the manner how all +is to be ultimately unravelled is to be kept as great a secret +as possible: and this embarrasment is what is called _the plot_. + +From this embarrasment, one sees successively break forth +lights, the more unexpected, the better. They unfold the action, +and conduct it by insensible degrees to an ingenious conclusion: +this is what is called _the unravelment_. + +If any of these three parts is defective, the theatrical merit +is imperfect. If they are all three in due proportion, the +action is complete, and the charm of the representation is +infallible. + +As the theatrical dance then is a representation, it must be +formed of these three essentially constitutive parts. Thus it +will be more or less perfect, according as its exposition shall +be more or less clear, its plot more or less ingenious, its +unravelment more or less striking. + +But this division is not the only one that should be known and +practised. A dramatic work is commonly composed of five or fewer +acts; and an act is composed of scenes in dialogue or soliloquy. +Now every act, every scene, should have, subordinately, its +exposition, its plot, and its unravelment, just as the total of +the piece has, of which they are the parts. + +So ought, also every representation in dancing to have those +three parts, which constitute every thing that is action. +Without their union, there is no action that is perfect: a fault +in one of those parts will have a bad effect on the others; the +chain is broke; the picture, whatever beauty it may have in +other respects, is without any theatrical merit. + +Besides these general laws of the theatre, which are in common +to those compositions of dances, that are to be executed on it, +they are subjected to other particular rules, which are derived +from the primitive principles of the art. + +As the art of dancing essentially consists in painting by +gestures and attitudes, there is nothing of what would be +rejected by a painter of good taste, that the dancer can admit; +and, consequentially, every thing that such a painter would +chuse, ought to be laid hold of, distributed, and properly +placed in a dance of action. + +Here, on this point, recurs that never too often repeated rule, +as infallible as it is plain: _let nature, in every thing, be +the guide of art; and let art, in every thing, aim at imitating +nature_: a rule this, than which there is not one more trite, +more hackneyed in the theory, nor less regarded in the practice. + +Nature then being always Nature, always invariable in her +operations and productions; there is no false conclusion, nor +straining inferences, in avering, that the art of dancing could +not but be a great gainer by a revival of the taste of the +antients for the pantomime branch; which, upon the theatre, +converted a transient flashy amusement of the eye, into a +rational or sensible entertainment, and made of dancers, who are +otherwise, a mere mechanical composition of feet, legs, and +arms, without spirit or meaning, artists formed to paint with +the most pathetic expression, the most striking situations of +human nature: I am not afraid of using here the term of the most +pathetic expression, injuriously to the great power of +theatrical declamation; because the great effect and charm of +the moment is, evidently, the more likely to be produced by +attitudes or gestures alone, unseconded by the voice; for that +the pleasure of the spectator will have been the greater for the +quickness of his apprehension not having needed that help to +understand the meaning of them. And this is so true of the force +of impression depending on that part of bodily eloquence, that +even in oratory, action was, by one of the greatest judges of +that art, pronounced to be the most essential part of it. + +This may be, perhaps, an exaggeration: but when people resort to +a theatre to unbend, or relax, they will hardly think their +pleasure tastelesly diversified by a fine pantomime execution of +a dramatic composition, to the perfection of which, poetry, +music, painting, decoration, and machinery will have all +contributed their respective contingents. + +For the subjects of these poetical dances, the composer will +undoubtedly find those which are the most likely to please, in +fabulous history, especially for the serious, or pathetic stile. +This we find was the great resource of the antients, who had, in +that point, a considerable advantage, from which the moderns are +excluded, by the antient mithology having lost that effect, and +warmth of interest, which accompanied all transactions taken +from it by their poets, and brought upon the theatre. The heroes +of antiquity, the marvellous of their deities, and the histories +of their amours, or of their exploits, can never make the same +impression on the moderns so thoroughly differing in manners and +ways of thinking, from those, to whom such exhibitions were a +kind of domestic, and even religious remembrancers. The +spectators of those times were more at home to what they saw +represented upon their theatres; the ground-work of the fable +represented to the audience being generally foreknown, +contributed greatly to the quickness of their apprehension; and +its being part of their received theology, and often of the +history of their own country, procured it the more favorable +attention. + +The greatest part of these advantages are wanting in the +employment of these fictions among the moderns; and to which +however they are, in some measure, compelled to have recourse, +for want of theatrical subjects striking enough to be agreeably +thrown into a dance; by which I do not mean to exclude all +subjects that have not those poetical fictions of Greek and +Roman antiquity for a basis; on the contrary, it might justly +pass for a barrenness of invention, the being reduced constantly +to borrow from them, but purely to point out a treasure, ever +open to the artist who shall know how to make a selection with +judgment and taste: always remembering, that the more +universally the fable is foreknown, the more easy will the task +be of rendering it intelligible in the execution. + +There are, doubtless, some parts of the antient mithology so +obscure, and so little known, that any plan taken from them, +would, to the generality of the spectators, be as great a +novelty, as if the composer had himself invented the subject. +There are others again of which all the interest is entirely +antiquated and exploded. + +As to the pieces of composition in the comic vein, there is +nothing like taking the subject of them from the most agreeable +and the most marking occurrences in real, current life; and the +stronger they are of the manners and practice of the times, the +nearer they will seem to the truth of nature, and the surer at +once to be understood, and to have a pleasing effect. + +And here I shall take the liberty of concluding with offering +two instances of poetic dances; the one in the serious, the +other in the comic vein, which are furnished rather as hints of +the improvable nature of such compositions, than in the least +meant for models of them. + + + The first has for title, + + VENUS and ADONIS. + +The decoration represents a wood intersected by several walks, +which form an agreeable perspective of distances. At the bottom +of the theatre, and in the middle, there is a grand walk, +terminated by a small mount, on the summit of which is seen a +colonnade, that forms the peristile of a temple. + +Venus, preceded by the Graces and several nimphs, comes out of +the temple, descends the mount, and advances to the front of the +wood; the simphony to be the most agreeable and melodious +imaginable, to announce the arrival of the goddess of love. + +The Graces and the nimphs open the action, and, by their +gestures and steps, express their endeavour to sooth the +impatience of Venus on the absence of Adonis. The agitation in +which she is, ought to be painted on her countenance, and +expressed by the discomposure of her steps, marking her anxiety +and desire of seeing her lover. + +The sound of the chace is heard, which betokens the approach of +Adonis. Joy breaks forth in the eyes, the gestures, and steps of +Venus and her train. + +Adonis, followed by several hunters, enters through one of the +side-walks of the wood. Venus runs to meet him, and seems to +chide him for having been so long away. He shows her the head of +a stag, which he has killed, and which is carried, as in +triumph, upon a hunting-pole, by one of the hunters; and offers +it, as the fruit of his chace, in homage to the goddess, who is +presently appeased, and graciously receives his offering. These +two lovers then express in a _pas-de-deux_, their mutual +satisfaction. + +The hunters mix with the Graces and nimphs, and form a dance +which characterises their harmony. + +Soon a noisy simphony, of military instrumental music, gives +warning of the arrival of Mars. Venus, Adonis, the Graces, the +nimphs, and hunters, show signs of uneasiness and terror. + +Mars, followed by several warriors, enters precipitately through +a walk opposite to that by which Adonis and the hunters came. +Venus separates from Adonis, having insisted on his getting out +of the way of the formidable god of war. He withdraws with his +train by the same way as he came. Mars, inraged with jealousy, +makes a shew of going to pursue Adonis. Venus stops him, and +employs, in her soothing and caresses, all the usual arts of +appeasing and blinding a jealous lover. She prevails at length, +not only to dissipate his passion, but to make him believe +himself in the wrong for having been jealous. + +The warriors address themselves to the Graces and nimphs, and +form together a dance expressive of a sort of reconciliation; +after which Mars and his train return by the same way as they +came. + +Venus, the Graces, and the nimphs, see them go, and when they +are got a little distance from them, testify their satisfaction +at having got so well over this interruption. + +Adonis returns alone: Venus springs to meet him, and gives him +to understand that he has now nothing to fear; that Mars will +not return in haste. + +In the same walk from which Adonis came, the hunters of his +train are seen pursuing a wild boar, that tries to escape just +by where the Graces and the nimphs are, who, in their fright, +attempt to fly from him: but he is already so near them, that +they do not know how to avoid him. Adonis runs hastily to pierce +the boar with his javelin; but the boar gets him himself down. +The hunters arrive at that instant, and kill the boar; but +Adonis is nevertheless mortally wounded, and expires. + +Here it is that the music and the dance are to display their +respective powers: the one by the most plaintive mournful +sounds; the other by gestures and steps in which grief and +despair are strongly characterised, ought to express the +profound affection into which Venus is plunged, and the share +the Graces, the nimphs, and the hunters take in it. + +Venus appears to implore the aid of all the gods, to restore her +lover to her. She bathes him with her tears, and those precious +tears have such a virtue, that Adonis appears all of a sudden +transformed into an anemony or wind-flower. + +The Graces and the nimphs express their surprise; but the +astonishment of the hunters should be yet more strongly marked. + +Venus herself is not the more comforted by this metamorphosis. +A flower cannot well supply the place of her lover. She turns +then her eyes towards the earth, and seems to invoke the power +of some deity inhabitant of its bowels. + +The flower disappears; the earth opens, and Proserpine rises out +of it, sitting on a chariot drawn by black horses, and having at +her side Adonis restored to life. + +It is natural to imagine the joy that is at this to be +expressed, by the simphony, by the gestures, and steps of Venus, +of the Graces, the nimphs, and hunters. + +Proserpine, getting out of her chariot, holding Adonis by the +hand, presents him to Venus. A _pas-de-trois_ or trio-dance +follows, in which the joy of the two lovers at seeing one +another again is to be characterised by all the expression, and +all the graces of the most pleasing dance, while Proserpine +testifies her satisfaction at having produced the re-union: +after which, she gets into her chariot, and re-descends into the +earth. + +The Graces, the nimphs, and hunters, express how highly they are +charmed at seeing Adonis again; Venus and Adonis form a +_pas-de-deux_, or duet-dance, in which the Goddess takes off her +girdle or _cestus_, and puts it upon Adonis, in the way of a +shoulder-belt, or as now the ribbons of most orders of +knight-hood are worn, which is to him a simbol of immortality. + +The Graces and nimphs testify to Adonis how pleased they are to +see him received into the number of the demi-gods: the hunters +pay their homage to him, and the whole concludes by a general +country-dance. + + + The other specimen has for title, + + The COQUETTE PUNISHED. + +The decoration represents a delicious garden, in which there +are several compartments, separated by canals and _jet-d'eaux_. +This scenery should exhibit the prospect of at once a +pleasure-garden, and a fruit-one. + +In the bottom of this perspective, there appear several +gardeners busied, some in pruning the hedges, others in sowing +and planting: more towards the front are seen, some women at +work, tying up the flowers, or cleaning them from pernicious +leaves; others setting roots in vases. All this forms the +scenical picture at the drawing up the curtain. + +A simphony mixed with the most rural instruments of music, +begins with soft and soothing airs. + +One of the female gardeners, more showishly dressed than the +others, and who is employed upon some necessary task about the +flower-vases, seems however more attentive to the admiring the +flowers, than to do her work: and as she is standing near a +canal, she is, when she imagines none are taking notice of her, +looking _at_ her figure in the watery mirror, admiring herself, +and adjusting her dress. Though she does all this by stealth, +her companions remark her coquettry, make signs to each other, +and point her out to the gardeners, who join the laugh at her, +without the coquet's perceiving it, who is too much taken up +with herself. + +The simphony should express by the sounds, as nearly as +possible, the mockery and bursts of laughter from the rest of +the gardeners. + +The coquet is sadly tempted to gather some of the flowers for +her own use, but dares not. In the moment that she is expressing +the greatest mind for it, enters a gardener, who is not one of +those employed at work, and who makes up to her, shows her a +fine nosegay, and signifies to her that he is come on purpose to +offer it her. The coquet immediately leaves off her work; and +this _pas-de-deux_ begins by all the little grimaces and false +coyness that the coquette opposes to her acceptance of the +nosegay, but which at the same time only the more betray the +mind she has for it. The gardener keeps pressing her to receive +it. Her companions, curious to see how this will end, advance +little by little towards them: the gardeners follow them; and +all surrounding the coquette and her swain, form a dance, in +which the men seem to excite the lover not to take a denial, and +the women want to engage the coquette to receive the nosegay; +but all this, with a bantering air: at length the coquette +accepts it, sticks some of the flowers in her hair, and the rest +in her bosom. Her companions and the gardeners, shew by their +signs, that they were very sure she would take the nosegay and +return to their, work. + +Another gardener now enters, on the side opposite to that on +which the first came, and advancing with an air of gaiety, +presents to the coquette, a small basket of fine fruit. In this +_pas-de-trois_, she a-fresh makes a great many faces, about +whether she will take the fruit or not. The swain of the nosegay +expresses his vexation at the intervention of this rival, but +the coquette manages so well that she pacifies his jealousy, and +accepts the other's basket of fruit, which she hangs upon her +arm. The gardeners do not quit their work, but they give to +understand by shrewd signs, what they think of the coquette's +game. + +It is easy to conceive, that the composer of this music will, in +the airs made for the _pas-de-deux_, and _pas-de-trois_, pay +attention to the different affections that are to be +characterised by the dance. + +While the gardener who brought the nosegay, and the other who +presented the fruit, and the coquette, are all seemingly in good +harmony, enters a third gardener, gallantly dressed, of a most +engaging figure, having in his hands some pink-and-silver +ribbons. + +The simphony should announce the arrival of this amiable +gardener, by an air all expressive of briskness and gay +gallantry. + +The gallant gardener approaches the coquette, and shews her +those glittering ribbons, which at once catch her eye, and give +her a violent longing for them. This new-comer takes notice of +the flowers in her hair and bosom, and of the fruit-basket hung +upon her arm. He gives her plainly to understand that she must +return all this to his rivals, if she has a mind to have the +ribbons. These begin to express their resentment; but the +coquette is so transported with the pleasure of bedizening +herself with those ribbons, that no regard can with-hold her: +she returns the flowers to the one, and the fruit to the other, +and takes the ribbons. The two gardeners, who see themselves +slighted in this manner, threaten him who has given the ribbons, +and throw themselves into attitudes of falling upon him; at +which he puts on a resolute look, and does not seem to fear +them. Her companions and the gardeners leave their work, and +advance some steps forwards, being curious to see how the scene +will end. + +The simphony should here express, by different airs, the +resentment of the two first swains, and the resentment of the +gallant gardener. + +The coquette uses her best arts to pacify the two angry +gardeners; but it is all in vain; they express their +indignation, and are determined to take their revenge upon their +rival. Just in the instant that they are preparing to attack +him, and that he is stoutly standing upon his defence, comes in +a female gardener, amiable, lively, but without any mark of +coquettry in her looks or dress; who, by the eager and +frightened air with which she interposes, and places herself +between the gallant gardener and the others, to prevent their +hurting him, discovers the tender regard she has for him. + +The two others, in respect to this charming girl, dare not +proceed; but they give her to understand that the coquette has +been so base as to return the flowers to the one, and the fruit +to the other, that she might get the ribbons from the gardener +whom she is protecting from their just resentment. + +At this the offended fair one expresses to her lover her +indignation, but does not the less for that make the others +sensible that she will not suffer them to hurt him. She snatches +next, from the coquette, the ribbons. The whole company round +testify their approbation of what she has done, even the two +gardeners, who were, the moment before, so angry, burst out +a-laughing for joy, to see the coquette so well punished, being +now left without flowers, fruit, or ribbons; at which she +withdraws, overwhelmed with confusion, and with the loud laugh +and rallying gestures of her companions and the other gardeners. + +The gay gardener, vexed at having been surprised by his +mistress, in an act of gallantry to another woman, wants to pass +it off to her as merely a scheme to amuse himself, and to laugh +at the coquette. At first she will not hear him; she treads the +ribbons under her feet, and is going away in a passion. He stops +her, and entreats her forgiveness with an air so moving and +penetrated, that, little by little, she is disarmed of her +anger, and pardons him, in sign of which she gives him her hand. + +There is no need of specifying here what the dance in action, +accompanied by the music, should express in this _pas-de-deux_; +it is too obvious. + +The gardeners, men and women, testify their rejoicing at this +reconciliation, and the dance becomes general. + + _FINIS._ + + + * * * * * + * * * * + * * * * * + + +SPELLING NOTES: + +The word "Salii" was consistently printed as Salue (u with umlaut); +it has been corrected for the e-text. The word "Praesul" was printed +in italics and may have read "Proesul" (oe for ae ligature); +it is here given the standard spelling. + +A number of words usually spelled with "y" are written with "i" in this +text: nimph, mith, simbol; and names such as Pilades, Hilas. + +The form "Hetruscans" is used consistently. + + +Some Variations and Anomalies: + + "character" is sometimes spelled "charracter" or "caracter" + "direct" and "dirrect" both occur + "withall" is more common than "withal" + "embarras" is consistently spelled with one "s" + "exagerate" is almost always spelled with one "g" + + "choregraphy" is always written without the second "o" + "gestual" is not an error for "gestural" but a different word + + +ERRORS, noted or corrected: + + _All duplications occur across a line break ("of / of ...")._ + + diverting the Romans from serious thoughts [thoughs] + twirling it, or with a pail to draw water [a a pail] + Voi gli correrete dietro [Voigli] + "Then handing you backwards + [_catchword has "There" for "Then"_] + specifying rules for its attainment [for for] + must be strictly forbidden [fobidden] + a vain silly hint of self-recomdation; + [_text unchanged: "recom/dation" at line break_] + nothing is more strongly inculcated [stongly] + Persons of every size or shape [of of] + inhabitants of the southren climates [_spelling unchanged_] + called by them _LasChegancas_, [_spacing unchanged_] + (not to mention Sadler's wells) [_capitalization unchanged_] + not being able to contradict the authorities + [_printed "be/ing" at line break without hyphen_] + adopted with a passionate fondness by the Romans [adoped] + the obstacles which arise out of the ground-work + [_printed "our of", corrected by hand to "out of"_] + and steps of Venus [of of] + + + + + +End of the Project Gutenberg EBook of A Treatise on the Art of Dancing, by +Giovanni-Andrea Gallini + +*** END OF THIS PROJECT GUTENBERG EBOOK A TREATISE ON THE ART OF DANCING *** + +***** This file should be named 24643.txt or 24643.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/4/6/4/24643/ + +Produced by Louise Hope, David Starner, Chuck Greif and +the Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by the Library of Congress) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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