A

A 1
TREATISE

TREATISE 2
ON THE

ON THE 3
ART

ART 4
OF

OF 5
 DANCING.

DANCING. 6
 By Giovanni-Andrea Gallini.

By Giovanni-Andrea Gallini. 7
 LONDON :

LONDON : 8
 Printed for the AUTHOR ;

Printed for the AUTHOR ; 9

 And Sold by R. Dodsley, in Pall-Mall; T. Becket
and P. A. De Hondt, in the Strand; J. Dixwell,
in St. Martinâs-Lane, near Charing-Cross;

And Sold by R. Dodsley, in Pall-Mall; T. Becket and P. A. De Hondt, in the Strand; J. Dixwell, in St. Martinâs-Lane, near Charing-Cross;
10
AND

AND 11
 At Mr. Bremnerâs Music Shop, opposite
Somerset-House, in the Strand.

At Mr. Bremnerâs Music Shop, opposite Somerset-House, in the Strand. 12

 MDCCLXXII.

MDCCLXXII. 13
THE

THE 14
TABLE

TABLE 15
OF

OF 16
 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
ix A

ADVERTISEMENT.

W
was
of
All
unworthy
view,
that
hat I have here to say is rather in the nature of an apology than of a preface or
partiality
advertisement.
implicitly
recommendation
me
principal
approbation
been
the
one
order
influence
public
to
there
self-conceit,
importance
as
and,
far
body;
through
instinct
is
poetry,
One
allowed
talent
observes,
motion
insensibly
Even
consideration,
susceptible
the
its
athis
from
to
public,
of
able
Iof
virtue;
in
that
honored,
esteem,
imagined.
wish
is
to
in
Pirrhic
of
xto
the
the
Ithe
or
music,
of
bespeak
nothing
clear
it;
mention
the
rejecting
dancing,
motive
have
personally
for
threatens
of
of
austere
that
gesture;
nature,
stoln
means
is
in
greatest
that
just
but
of
that
deserving
view
the
with
which
it,
to
dance,
the
from
withall
laid
their
to
a
painting,
an
inspired
to
light,
The
Isensibility
give
into
It
Iattention
fair
for
sentiment,
may,
the
see
purely
view
which
shall
of
orator
such
of
see
as
expressing
is
critic,
before
the
leads
but
profession.
so
hazarding
very
and
himself,
a
to
his
state
not
obtaining
just
by
readerâs
conducive
of
less
liberal
more
without
of
much
more
it,
satisfy
least
that
assistence.
me
executing
being
the
manner,
my
and
to
most
high
Scaliger,
should
ones:
people
title
awhich
it,
in
of
of
obviate
private
with
endeavours
most
the
than
by
it
this
tincture
machinery.
avoid
and
the
either
its
accomplishment,
notions
of
health
employed
admired
an
occurred
favorable
this
its
presumption,
it
a
Iimpression
retain
is
favor;
ano
into
shall
manly
pretentions
art
xivand
being
most
practitioner
Emperorâs
there
elegant
favor,
made
Treatise
unknown
itthan
or
production
to
the
In
of
sentiment
before
and
of
the
fashioned
of
public
the
xvinot,
the
which,
any
probably
prepossession
institutors
perhaps
is
than
and
pedantry,
to
the
it
by
to
the
precaution
in
ridicule
joy
in
view
collateral
formation
exageration
that
me,
for
please
thing
upon
adorning
its
from
him.
grave,
enthusiasm
it.
to
principles
it
represent
curiosity,
by
of
of
in
xiiiexample,
inspiring
so
is,
really
a
Iof
it
that
entertainment,
this
it
nothing
am
as
this
an
of
merely
the
of
visibly
of
strongly
indisputably,
ato
Quintilian
of
in
both,
little
as
artist,
the
genteel
over-rating
embellishments
it
art
so
against
of
art.
youth,
please.
art
the
graces
and
deserves,
might
it
of
of
as
orators;
of
weak
it
air
to
that
diffuses
is
presume
of
eligible,
mercenary
so
arising
dances
In
the
that
it
making
as
the
to
is
its
as
vulgarly,
of
dancing
stating
so
strongly
whose
exercise,
more
of
one
so
not
recommends
the
aim
art
as
encouragement,
that
aprofession,
itfar
that
gratitude.
dancing-master,
natural
it
not,
than,
the
cannot
to
from
being
be
nature
of
afor
at
is
Virtue
his
to
of
than
graceful
aim
fine
these
my
the
by
unpleasing
not
art
perfection,
or
spirit.
as
as
want
recommend
of
desiring
xiiconcern,
that
from
itmerit
on
so
aat
composition
he
a
should
taste,
by
principal
be
taste
aonly
strengthens
and
amiable,
dancing-master,
prejudice.
pretentions,
or
duty.
frivolous,
impressing;
a
The
of
vanity
very
especially
dancing;
Under
improper
aagility
superficial
of
meaning
or
a
fond
has
to
from
general
have
and
that
the
It
to
justly
prove
xiin
graces,
or
the
dancing
is
been
who
the
A2his
even
he
even
so
My
but
have
in
for
the
the
all
is
to
xv

17 B

CONTENTS. 17
 A

A 18
TREATISE

TREATISE 19
ON THE

ON THE 20
 ART of DANCING.

Of the Antient Dance.

constituted
accounts
Inations,
n most ofevidently
we
the
not
have
nations
even
attest
of the
an
among
inconsiderable
it.
sacred
thedances,
antients,
part
of dancing
the
of their
Jews was
religious
especially,
not only
rites
asmuch
and
well ceremonies.
as
practised,
of other but
The
18
pitch.
this
preserved
limbs,
Nothing
regard
stress.
scarce
termed
Their
so
They
great,
the
figurers
decorations
great
figurers.
of
The
which
with
from
they
nothing
voice;
considered
measure
plainly
and
principles
choruses,
being
those
necessary
suppled,
most
perfection
exercise.
Greeks,
Greeks
comedy,
dances
were
Egypt,
their
did
steps
one
part
They
were
certain
the
all
any
Attitude,
imports,
the
the
but
were
could
who
In
not
of
celebrated
qualified
of
in
pompous,
places
undoubtedly
their
of
nimbleness
thing
short,
as
and
were
life
the
in
considered
as
certain
where
were
peculiarly
who
that
which,
nature,
so
expletive
imagine
the
made
forty
Many
movements
greater
a
be
of
to
and
stanzas;
liberty,
much
motions
they
constitutive
in
their
probably
religious
of
19give
more
of
every
sublime.
them
it
or
dancing,
general,
measures
soul
in
also
of
dancing,
B2worship,
came
masters
or
was
might
fifty.
that
grace,
affect
tragedy
their
number
them
dances.
composed
of
and
graceful
dancing
the
heroic
athing
originally
of
for
were
as
in
prior
the
ceremony.
in
to
took
the
A
Their
it.
delicacy
capering
be
the
joints
making
great
piqued
in
the
part
without
expression,
dancing
was
they
be
of
intervals
20was
performed
all
stile
especially,
dances
properly
than
The
invention.
their
signification
their
competent
the
in
than
moderately
acted
dresses
distinct,
of
necessary
all
in
esteem
were
to
in
another
of
figures
themselves
in
the
art.
an
bodies,
honor
of
the
with
special
be
first
the
correspondent
dance.
other
are,
and
of
their
agreeable
called
soon
performance.
That
sung,
requisite
highest
were
by
motion
the
The
ideas
the
clear,
and
of
were
in
point
declaimed,
skill
extremely
taste,
of
countries,
a
for
regard
comic,
They
majestic
introduced
their
acts,
operas
legs
tragic-writers,
strophe,
but
chorus
danced
practice,
magnificent
their
the
of
in
being
on
and
exquisite.
of
order,
figure
flexibility
this
which,
the
and
deities.
spared
words
for
rivalling,
light;
their
or
to
principal
neat;
to
for
of
The
admitted
the
theatrical,
air,
himns.
art,
half
that
feet,
antistrophe,
were
the
well
and
the
carried
dancers,
example,
in
upon
arms.
all
in
strophe
repose
so
for
proceeding
dancing
as
From
The
this
serious,
cultivated
and
expression
subject,
conformed,
process
and
very
on
their
in
but
could
intermixed
natural
object.
they
no
The
their
excellence
least
kind
They
which
it
in
into
obedience
before
super-inductions
pains
fit
or
festivals
in
up
of
and
truth
taste.
no
not
did
even
as
to
theatres,
actorâs
harmony
which
of
21the
number
did
to
They
more
agility
we
antistrophe,
from
prove
they
of
well
and
entertainment.
time,
which
nor
a
their
them,
is,
and
singers.
and
number
Their
not
governed
most
lay
very
of
executed
and
were
that
cost,
epode,
get
to
than
did
aart,
disposed
of
so
heightened
upon
the
execution,
so
altars,
of
may
to
strength
with
command.
while
high
others,
games,
their
rid,
the
tragedy
much
the
great
and
all
which
towards
amistake
ofto
truer
be
kind
were
the
the
as
along
and
they
a
the
for
a
22
This
subject
what
absurdity
Athenæus,
Mactrismus,
observes,
only
greatest
advanced
Cautious
to
festivals
But
morality.
nothing
considerable
antients.
Who
solemn,
character.
graceful
protection
rest,
inquisitive,
dances
Such
sort
much
gifts,
love
Innocent
expedients
occupations,
diversions
The
deportment
of
scheme,
came.
and
pleasure
a
frolics,
When
time
by
more
the
their
nuisance
their
sacred
Diana,
Diana.
them;
timpanums,
scene
festivals
parents
frantic
as
antients
a
of
solves,
and
not
does
by
in
hands
disorderly
of
was
and
violated
consulted
the
kind
by
In
to
worship,
and
a
was
religious
of
these
superior
intrinsically
and
inconsistent
decency;
and
worth
erected
but
maternal
their
or
amusements
as
Temples
any
kind
dancing,
but
The
in
of
at
same
that
in
itself
the
not
in
They
of
agitations
of
to
as
who
even
for
harmony.
they
used
in
Ia
them,
forms
the
that
least
a
years.
consecrated
at
that
have
which
Diana
games,
part
their
am
from
tumultuous,
foulness
Bacchanalians
society;
great
virgins
of
drama:
know
to
by
intoxication
dance
ain
relaxing
and
stated
by
dancing
was
that
devotion,
than
has
executed
moderns.
great
noisy
ceremonies,
who
brandished
graces
by
spirit
of
temporary
the
speaking
to
Iof
excusable,
invoking
of
left
chastity.
cymbals,
it
that
a
tenderness.
their
am
dancing
had
honor.
using
incentive
resort
their
the
in
hardly
left
striking
the
may
they
the
which,
entirely
earliest
music,
with
of
as
particularly
being
which
measure,
periods.
us
of
it,
merriment,
aware
of
having
27 they
both
their
her
own
great
us
of
as
married,
worship
greatest
weather
contrary
purity,
an
quarrels.
be
to
a
formed
C2imploring,
dances
boisterous
decency
with
Socrates
they
performance,
before
an
they
more
her
false
They
Those
temples,
had
by
deemed
among
her.
huts,
and
did
unaccountable
contrast
presumed,
athey
parents.
mind
strolled
Bacchic
ages
on
for
there
was
to
Diana
been
account
thirsus,
None
sistrums,
continual
their
seemed
not
went
love,
the
this
acorresponded
the
Her
paid
argument,
so:
were,
retained,
an
excelled
magnificence
scandalized
before
they
their
them,
a
to
principal
of
of
Their
and
were
those
ever
26himself,
even
mark
seeming
fittest
of
consequently,
assembly
female
in
footing,
children,
were
purity
them,
the
so
altar
shoutings
antiquity,
especially
joy,
and
to
enthusiasm.
Nor
to
and
along.
or
of
Ephesus?
were
concert,
residence
in
gravity,
indispensable
that
the
to
the
heads
than
country,
received
reputed
many
the
and
inspiration
kind
many
in
show
body
the
were
of
heathens,
produced
was
admitted
on
to
defy
in
who
of
share.
description
which
decent
Isex,
presiding
their
learnt
driven
that
altar,
in
should
other
absurdity
make
quality
these
licentiousness
before
manners
and
of
held
of
to
things
and
from
dancing
a
the
of
in
were
of
all
distinguished
lance,
23the
The
respect
matrons,
allowable,
exercise
being
attributing
and,
the
rewards
the
countries
there
The
encouraged
the
disturbed
but
in
decency
the
there
young
instruments,
antients,
regularity
into
waists
them
in
dithirambic
occasions.
but
many
of
say,
were
the
Molossic,
the
of
honor
assemblies
erected
sort
that
antient
the
a
goddess
goddess,
practised
Corybantes
in
art,
pure
garnished
or
of
wives,
always
was
their
virgins
part
could
fatigue
inanimate
that
the
was
for
edifying
their
so
chastity,
highest
the
of
was
happy
were
found
not
who
25when
of
and
proper
thoughts,
esteemed
of
common
time
by
would
of
even
far
course
Chuts,
in
no
dances,
observed
the
Bacchanalians,
themselves
the
never
such
the
only
men
Distinction
considered
them
their
of
short
interference
the
on
catches,
their
a
bound
of
honor
from
order;
even
in
by
secret
a
he
in
unions.
that
making
continuance
they
the
with
deity,
veneration
examples
a
Persian
serious
set
were
they
place
which
performance,
be
for
scene
from
her
persons
a
24but
was
degree
manners,
of
be
to
wherever
riots,
veneration
having
most
necessary
decency
since
as
and
virtue,
days,
an
of
hunting,
vine-leaves.
kept
that
with
an
affecting
partake
temples
in
supposed
curiously
any
passed
with
called
already
accompanied
the
in
the
this
noise
unpardonable
dances
itself.
exercise,
the
in
above
Sicinnis,
or
as
her
their
their
spotless
vagabond
ivy,
it
of
to
true
with
performed
of
these
priestess
any
robust
a
goddess.
having
by
Diana,
whose
made
worship
sanctity
them,
the
of
so
or
conjugal
most
they
was
their
where
of
and
mad
But
were
noise,
the
for
the
her
thing
that
afrom
to
the
&c.
part
not
a
this
in
be
in
28
most
countenanced
derived
among
exhibited
wound
death-wound;
also
ground,
put
their
prevail,
Sometimes
particular
armed
which
which,
The
Hetruscans,
compose
Every
expence,
ball-room
a
manner,
statue,
vine-leaves,
refresh
saloon,
partner
other
Ispectators.
celebrating
and
beyond
were
usual
Round
there
the
regularity,
By
inlivened
couples
together,
serious
In
companies
salubrious
if
statue
First
After
great
for
goddess.
emulation
determination
29 was
statue
not,
winter
the
Sitalia,
the
reward
sound
honors
themselves
Pirrhic
same
Egyptians
Romans,
to
consequently
which
described
the
resolution
each
commodious;
generally
shown,
end
circle.
were
rigor
autumn,
spring,
they
of
make
the
dancing
best
dances
each
the
were
both
in
again,
to
imagination.
and
from
they
in
of
youth,
and
there
Flora,
This
the
with
to
they
the
was
sort
couples,
and
of
author
of
this
what
an
appeared
springs
room
while
of
the
dance
of
Pomona,
Thracians,
resorted,
generally
formed
were
After
the
one
accounts
build
bind
had
The
so
other
the
placed
instruments.
preparations
turned
full
by
the
these
principal
among
that
imitation
the
attitude,
was
while
comic
and
decorated
then
of
and
by
had
privilege
inspired;
could
the
for
were
artfully
attributed
always
ornamented
dance
and
then
in
she
of
an
there
room,
eye
Rome
at
most
used.
of
peltæ
which
the
Memphitic
mentions
country
ball.
Lucian,
a
differs
of
a
season,
mortally,
example,
of
this
esteemed
dance
so
processionally,
Greeks
different
afirst
and
Italian
all
divisions
magnificent
withdrew,
courage,
those
posture
liked
under
under
surrounded
balls
decency
not
to
those
and
movements.
especially
large
best
whom
water.
husbandmen
twelve
procurable,
proceeded
who
varies,
distinguished
the
The
were
entertainment,
and
kind
constituted
preserved
disposed
when
of
have
the
or
where
prevailed,
of
as
but
not
in
mouth.
of
in
best,
abecame
in
to
judges.
Xenophon
painter,
targets,
who
finest
for
taking
the
were
a
covered
whole
each
this
were
of
in
also
ball
battle.
the
of
his
some
the
If
tables
names
dance
it
with
the
of
persons
canopy
Pirrhus,
afford
much
had
been
they
so
all
riper
and
readiness
his
the
leaving
festivals.
was
room
the
protecting
had
and
privilege
treatise
to
most
more
immediately
Magnesians,
the
high
saloon
extravagantly
city
otherâs
adapted
so
fruits
as
with
alternately
The
danced
mock-funeral,
flowers,
was
a
their
her
weather
the
Their
falling
regularity;
served
naturally
came
to
illuminations
drawn
a
They
34and
to
from
a
years;
of
a
30flower,
pavilion,
given
warlike
to
then
bestowed
Mysians
for
was
hung
curious
of
considerable
constant
son
takes
such
pleasing
an
avoid
brilliant
performers
a
their
coarse
Egypt.
on
respect
33husbandmen
conducted
the
appear
were
that
serious
Rome;
stands,
in
great
excellence
upon
first
The
Dfor
Platoâs
honor,
executed
was
arms;
at
which
returned,
down
sufficiently
of
separately,
to
for
the
what
and
chosen
round
their
rest
round
villages
with
was
plough,
notice
the
confusion.
a
length
defence,
Achilles;
adapted
the
attitudes
steps
till
picture
in
The
who
and
began.
the
to
in
people.
the
number
dancing;
manner:
blow
midst
of
for
upon
custom,
lastly,
sight.
for
to
dances
expensive
as
the
and
season
on
they
remained
plough,
mild,
that
they
which
great
be
in
sound
scene
were
military
which
the
with
conclusion
manner
with
festivals,
of
take
licentious
virtue
danced
to
which
if
of
part.
various
the
which
to
were
as
in
sung
obtained
middle
and
in
when
them,
prevailing,
they
the
of
it
in
distribute
received
natural
After
these
warm.
at
concluded
to
those
against
they
adopt
In
the
were
the
clusters
so
solemnity,
of
into
the
is
they
pantomime
Each
up
were
of
a
At
his
produced.
though
for
they
least
this
with
the
ball
their
and
solemn
the
scarce
to
delightful
baskets
dance.
great,
was
had
their
same
the
one
of
their
to
in
the
performing
in
which
utmost
danced
possession,
according
those
evolutions;
all
which
of
dances
of
of
the
noted
represented
season
the
dances
terminates
youth
performed
armour,
went
it
properly
of
the
appropriated
their
growth.
innocence
other
by
this
expected
which
dance
flute.
joined
received
placed
which
whole
a
the
end
was
of
dances.
the
it
seeming
bind
song
that
regular
improvements
more
imaginable
the
The
and
rest
who
they
is
real
from
made
the
opinion
public
These,
up
blows.
for
decency
upon
took
of
stile
motions
refreshments,
in
garden.
to
ball,
most
The
of
derived
impartial
they
dance.
to
dancing
notwithstanding
the
and
thus
invention
majestic,
of
These
and
the
to
figures
armour,
the
interspersed
grapes
could
dance
these
advanced
resumed
the
they
the
of
music,
their
moroders.
The
triumph,
of
their
manner,
in
care
the
this
moroders
were
an
moroders.
dead
their
festivals,
32probably
formed
In
desert;
placed
ball-room
with
most
used
the
turned
is
year.
the
manners.
dance.
apartments
the
statue
and
This
open
seemed
expressive
short,
served
dance.
best
how
countries
dances,
from
part
31armed
to
were
dances.
was
and
antients
beautiful
tilling
especially
neatest
comrade,
they
the
and,
afford
of
apure
of
help
the
age.
the
great
called
to
one
and
of
green;
it
the
to
of
He
and
taste,
these
arrive,
They
of
put,
and
to
is
the
stood
to
by
the
to
and
his
had
has
the
in
do
an
of
35 D2
Summer
highest
where
ground
taste,
decked
round
their
always
when
garlands,
Iperformed
performers.
excluded
graceful
preserving
Not
there
director
Rome,
author,
design
diverting
fomenting
between
sort
over-heated,
bounds
extremely
dancing,
These
artists,
history
dance,
attested
But
may
that
other
Processional
an
It
was,
more
month
Forum
Circus.
van.
thousand
to
sufficient
men
instruments
procession,
leaps,
character
Salii,
Præsul,
There
Agonenses
Nor
heathens,
know
The
idea
but
for
thought
dances
assemblies.
consecrated
parts
simplicity
antients
They
singing.
pleased
From
blessings.
was
destination;
heathen
primitive
dancing
As
consideration
were,
advantage
rendered
wear
relaxation,
fatiguing
were
its
of
chace:
and
owed
Certain
republic,
necessary
the
they
or
presume
have
was
which
Satirs,
their
them,
them
themselves
give
the
private.
keeping
an
anniversary
this
country;
directors
most
religious
sacerdotal
church-porches,
levity
strength
Circus.
there
even
as
less
is
celebrated
reign
Pirrhic
heathens
beauty
perhaps,
majestic,
burlesque,
vigor
might
rather
rude
of
Those
be
abstained
very
at
hair
or
are
out
allowed
so
of
before
general,
that
arts
was
all
their
exercise,
generally
ornamented
were
the
her,
celebrated,
by
Pomp.
also
myself
the
to
Romanum,
of
while
in
of
You
military
a
records
the
but
arms.
function,
underfoot,
were
first,
gods.
in
with
it
of
pitch.
priests
pronounced
the
improper
of
fond,
at
In
to
received
than
had
regularity
deities,
their
by
was
performed
or
those
the
great
no
both
to
some
exercises
Christians
considerable
the
dancing
a
September.
giving
from
their
flowing
to
is
in
which
and
sesterces,
of
47justly
they
his
processional
and
always
cool
Davidâs
sunshine
to
eminent
a
be
Spain,
the
These,
all
such
in
founded
to
dance,
an
a
daughters
which
Iwhole
none
display
of
or
up
have
pantomime
also
was
and
such
then,
leader
inspire
church
the
its
There
observe,
since
one
need
dancing
adapted
body,
Augustus
the
dissention
a
dances,
consecrated
and
ceremonies
all
dances
pleasing
no
art
actually
were
the
perhaps,
Romans
art
said
this
however
for
historical
two
the
to
The
These
their
wore
seen
the
as
afforded
of
Collini.
conquests
wounded
For
used
wreaths
extension
kind
natural
to
and
the
sciences
dance.
even
ministry.
it
constitution
reason.
had
croud
beginnings,
two
of
ceremony
from
which
Pilades
exercise
the
together
speaking,
accounted
machine
idea;
they
innocent
the
it
excel,
chosen
the
execution.
of
whole
altar,
required
will
not
of
all
that
were
the
education
in
more
a
agility
loose,
should
liberty
it
its
dance,
that
description
a
design
Equestrian
Mars,
months
the
them
itself,
in
them,
not
to
Salii,
the
in
from
executed
pliability
was
for
which
the
of
celebrated
38number
with
cultivation
dancing
which
a
of
the
dancing
wreaths
to
assumed.
now
in
celebrated
especially
virtue
Onuphrius
long
confluence
jumping
to
a
dances,
could
persons
among
Salian
were
an
reader,
where,
to
the
followed
great
judge
were
only
have
gathering
commemoration
greater
with
so
drawing
upon
were
to
of
the
that
ever
agility,
in
since,
It
kind
scene
it
crown
37observe,
were
their
from
effect.
a
theatres
expressions
among
Cæsar
always
the
by
chief
part
of
Pilades
athletic,
them,
being
have
So
a
is
beholders
dancing
treatise
among
or
address
thence
execution,
began
in
is
gained
or
state
tufts
so
of
great
spectators;
to
use
either
And
only
the
degenerate
and
remained
of
42not,
and
place
such
of
enabled
bred
on
than
flowers
dance,
mentioned
oblations
to
their
the
his
followed
or
of
were
so
not
priests
also
low
processional
been
much
the
theatres
the
violated
season
and
equalled
of
personate
solemn
called
the
that
dishonorable
virgins,
dancing,
their
art,
performance.
serious
stout
but
of
applauded,
All
that
was
before
of
the
in
of
on
magistrates
defend
among
that
whole,
of
Jupiter,
to
composed
or
dancing
been
representing
procession,
so
simplicity,
of
activity,
natural
and
of
appropriated
order,
subject,
academies
their
regulated
however,
an
of
not
was
on
being
gravity
There
of
persons
an
the
authors
incommode
their
to
of
dress
youth;
in
that
stile
a
honor
its
they
human
Panvinius,
the
in
considered
which
at
introductors,
dancers,
it,
much
making
them,
capital
in
a
any
themselves
that
to
of
capering,
ground.
and
their
character
the
of
little
gold,
or
brought
any
this
of
absolute
taught,
respect
emperor,
this
43however
power
art
horseback.
a
honor
bodily
stature,
form
martial
occasion?
it
the
encouragement
and
were
composed
the
from
by
greatest
their
only
they
of
with
them
persons
the
Romans,
heathens,
have
undoubtedly
this
in
among
to
choicest
term
glory.
gratulation
festivals,
an
of
the
for
by
is
firmness
besides
of
thoughts
by
E2worship;
flowers,
which
themselves.
limbs,
usual
would
may
their
and
whose
the
a
there
themselves
occasion,
by
Mars,
Juno,
thing
were
ascribed
procession,
except
odd
rural
days
which
for
powers,
needs
of
to
more
Iin
was
not
temple
and
joy
Hebrews,
39of
the
about
hardy.
threw
wood-nimphs.
good
exagerates
Velabrum,
established
the
of
persons
body.
dances
which
the
as
a
mention
improvement.
of
art,
chose
respect
extremely
arch
their
churches,
athe
of
be
to
made
God,
exercise.
dancing
of
have
received
vogue
by
to
of
imitation
primitive
serious
divine
afterwards
as
Pilades
the
pleasing
was
by
ato
air,
of
called,
be
part
uncouth
and
the
motions
impossible
and
leave
for
goddess
the
rest.
Atime
was
well
is
all
also
and
of
heart,
were
the
he
dance,
surprizing;
entertain,
of
spangles,
Satirs,
invigorate
made
is
whose
act
the
in
atchieve
from
victory
too
splendor.
them,
assigns
some
to
fathers
violent
one
abuse
the
were
even
those
dancing,
another
actor;
young
flowers,
that
Castor
was
persons
till
so
esteemed
true,
into
making
moderns
the
joy
in
There
which
of
dance.
It
not
these
Now,
called
Rome,
the
fear
on
they
it
a
had
of
noblest
been
considered
a
as
festivity;
order
the
to
yet
was
no
Romans,
before
of
they
Minerva.
natural
even
abrupt
to
known
would
among
in
Whereas
who
religious,
Rome,
of
worship.
is
and
frivolous
their
after
shady
pleasure
city:
no
purely
of
the
they
also
Jupiter
or
all
that
the
and
from
constituted
Silenus,
principal
in
dignity
well
but
However,
to
exulting
and
their
them
admission
dancing,
Gods.
and
small
dedicated
person
in
gradual
another
the
not
and
took
This
especially
preparation
dances
employ
for
of
reading
Christians,
that
in
were
pleasing,
who
as
the
attitudes,
that
and
sang
in
obtained
the
custom
one
very
lady
tragic
Ceres.
room
exercises,
performance
were
the
and
is
to
even
be
almost
the
a
epoch,
of
danced
assumed
that
grew
These
loss
practised
division
which
wheat-sheaves:
violating
and
sacred
various
the
muscles,
representing
Bathillus.
in
both
this
of
Cahusac,
On
than
appeared
but
he
were
which
it
as
of
sufficient
deity,
it,
a
be
aspect,
their
religious
concerning
its
that
where
to
a
importance
and
would
performance
points
kept
41this
that
grain
those
doubted;
care
gestures
to
practised
find
may
the
of
neighbouring
great
by
and
Capitolinus,
consequence
part
remark
the
eminently
This
Proceleumaticus,
Pollux,
of
as
laborious
most
sacred
those
transition
But
if
undoubtedly
of
An
this
that
an
sons
here
worth
associate
the
military
headed
of
to
Egave
pre-eminence,
acting
were
or
that
attended
festival
as
dance,
salve
were
the
in
to
of
ornament
Her
part
there
which
of
a
afterwards
the
in
for
delightful
40emperor
greatly
old
procession
that
the
Ialtars,
made
it
founders
constantly
of
people.
more
their
first
think
dancing
produced
as
inconsistence
in
to
object
whom
for
of
over
and
to
be
dances
total
counted
of
it
his
the
procession
allotted
itself.
vacant
an
such
a
improvement,
abuses
of
antients,
the
care
religious
two
exceed
was
in
improver
of
dancing,
36martial
suitable
principal
by
or
either
the
foreign
of
Christians
was
only
dress
who
for
that
most
people
among
as
divert
dances
considerable
the
dressed
such
the
of
That
heathen
awe.
an
in
a
made
the
himns,
so
in
which
to
that
46theatrical
their
enormous
occasion,
manifold
in
accomplishment
was
rank
from
most
but
leaped,
of
the
lights,
or
divine
Bathillus
liberty;
the
them,
limbs
by
hundred
the
valor,
dancers
was
it
ease
the
Rome
change
person.
the
from
that
this
exercises
antient
each
establishment
was
and
as
ingenious
be
framed
from
quality
of
strong,
the
name
in
they
Those
as
entertainment.
afterwards
by
with
robust
composed
disfiguring
an
decent
Salii
reputation.
They
proceeded
in
steps
a
eminence
they
something
hours,
their
inconsistence,
was
The
of
Cahusac,
nobility
of
not
for
Christian
part
were
belief,
it
use.
while
the
no
religious
Latians,
parts.
only
and
comic
of
procession
days
worship
the
did;
of
any
from
to
in
several
over.
Ideep
essential
dance,
the
performers
worship,
to
for
amusive
joined
at
ears
upon
round
honor
among
imposition.
taken
of
and
in
beyond
supple,
war
objections
the
of
submit
dancing,
in
that
parentâs
these
whether
service,
to
the
supposed
ministry
itself,
that
was
its
called
these
less
it.
singly,
general,
the
in
a
especially
priests
to
of
carried
the
people
large,
had
thought
the
which
bounties
who
of
competition
master
Romans,
this
employed
white,
its
This
distinction
Who
there
of
were
pantomime
idea
exercises
so
that
owed
as
a
compactness
of
in
and
which
excess.
due
in
of
and
her
being
theatres
but,
persons
the
my
to
or
of
assemble
choir
an
as
political
most
But
if
would
part
theatrical
good
their
the
a
Grand
French
choragus,
in
leading
of
the
than
keeping
which
dignity
to
of
the
expressive
dancing
application
to
especially
the
two
it
eminent
ripe
dance.
of
the
and
wood,
it.
danced
made
48the
festival,
fast
Prelates.
for
fifty
to
exquisite
of
purpose
head
the
and
does
manner
dancing,
to
beautiful
What
that
of
Pompa,
light,
clear
towards
withall,
was
give
they
none
theatre,
and
which
chosen
that
in
which
by
with
to
comic.
the
of
they
be
It
in
twelve
statues
eye,
to
one
that
or
the
levity
news
dancer,
neither
tunes
the
on
this
sixty
rank
of
artists
which
rather
corn,
like
As
rather
But
and
is
as
public
who
the
in
it.
who
45those
that
of
God,
not
the
to
the
was
an
in
44the
it
He
up
of
in
to
the
of
Ior
of
in
49 F

ART of DANCING. 21
OF

OF 22
DANCING

DANCING 23
In General.

T his is one of the arts, in which, as in all the rest, the study of nature is especially to
butrecommended.
be
pleasing
never
sometimes
expect.
to theThey
lucky
productions
She
will
hits,
is
furnish
an
without
of
unerring
those
nothing
meaning
who
guide.
but
consult
monsters
or
She
connexion.
gives
her, and
which
thatdiscordances;
harmony,
such as neglect
that
or,power
at
her
the
must
ofbest,
50
AllMusic,
images
poet.
original,
In
whether
andPoetry,
Painting,
the
adopting
imitative
drawn
in
of
that
ashort
joy,
the
happy
the
expression
from
affliction,
disposition
arts
the
respective
choice
the
greatest
acknowledge
observation
tenderness,
of
ofofthe
the
sounds
the
possible
passions
most
subject,
this
ofor
proper
adherence
nature,
principle.
each
pity,
which
thepassion
words
can
resemblance
constitutes
should
to
never
for
nature,
asraise
expressing
they
have
the
of
is
the
are
its
the
principal
the
same
furnished
effect
coloring
merit
the in
sentiments
without
object
of
theto
by
that
hearer,
that
nature.
of
marking
art.
the
of
and
the
51 F2
In Dancing,
whether
appropriated
proves
or
the
Monsieur
both
from
even
whole
singing
the
the
arms;
they
first
Cahusac,
body,
mistake
the
and
to
of
caracterise
whereas
attitudes,
the
the
dancing
in
of
different
existence
face
his
those,
the
especially
ingenious
joy,
must
gestures,
expression
who
affections
rage,
ofhave
human-kind
imagine
or
treatise
included.
and
existed
affection,
of
of
motions
itthe
the
should
on
from
itself.
soul.
art
this
in
derive
of
the
be
the
art,
Adancing
consideration
pantomimically
primeval
bodily
has
alsovery
their
solely
expression
times;
justly
principle
confined
this,
diffused
that
observed,
which
respectively
from
isto
tothrough
clearly
the
say,
nature,
that
legs,
52
engaging
in
â which
looks,
piercing
sentiment
and
Observe,
that their
smile,
dancing reason
their
âpleasure.
manifests
in cries,
all
of
says
their unfolds
sparkling
proceeding
when
he,
herself âtender
motions.
the
their
in
You itself,
âMark
soul
from
thewilleyes,
sound
is and
their
children,
the
then
affected
their you
beginning
of
be rapid
sudden
their
from will
clearly
by see
motions,
voice,
atheir
of inthat
paleness,
sensation
persuaded
the
entry
world itfeatures
when
thetheir
into
of is
downprimitive
pain.
oftheitto
quick
the âis moved
world, nature
principles
Observe
of
us.â by
ofherself,
amusic
contortions,
their
to face,
the
again,
moment
in
their
their
53
Certain
their
excellence
The
purest.
caricature,
those
its
steps,
agility.
excellence
cultivation
infantine
who
without
it is,
wish
in
unless
that
no
in
graces
meaning
of
to
capers,
way
even
the
in
make
comic
more
natural
are
inor
in
any
children,
not
significance,
brilliant
obtainable
orfigure
graces,
unworthy
grotesque
the
motions
in and
this
than
motions
which
the
dances,
aart.
by
remarks
particular
of require
It
the
aand
is
rational
cannot
legs,
doing
gesture,
ofcare
little
an
or
be
a
study
artist,
in
great
to
more
too
strongly
the
shun
of
much
injustice
who
execution
than
her,
allpaint
will
recommended
affectation,
where
strength
be
tonature;
ofit,
sure
she
difficult
to
and
is
place
to
all
and
the
find
to
54
I have
most
with
That
rank
neatness
movements,
into
so
attention
sensibility,
actual
instantaneous.
precedent,
the
This
serious
comic
gesture,
necessary
one,
one
the
each
in
levity
others,
dance,
already
feeling
their
stile;
Greeks
another,
and
attitude,
of
to
other,
of
from
nor
motion,
significance
opinion.
or
which
which,
prepares
avoidance
capering,
admits
at
observed,
the
The
steps,
could
being
a
studied
so
or
time;
immediately
is
movement
having
of
step.
as
of
They
no
the
is,
or
actuated
which
that
more
when
of
and
especially
wonder,
for
that
introduces
better
were
puzzled
so
one
nimbleness
every
justness
they
attention
the
that
much
itby
following
inconsistent
should
effectuate,
gives,
since
Greeks,
principally
one
is
or
feelings.
grace
the
less
expressed
ambiguous
ofof
to
all
neither
begin
of
other.
of
and
them
55one,
the
who
the
the
action.
quickness
from
No
with
made
neat
dignity
before
arts
legs,
though
were
interferes
to
one
clearly,
motion,
their
that
be
This
have
expressiveness
ahas
which
so
the
distinct;
in
point.
or
it
clearness
preference
famous
simplicity
the
the
more
so
is
rapidity
precedent
with
can
we
prepared
acknowledged
execution
The
effect
not
than
only
so
the
for
great
of
much
of
will
huddled
immediately
is
of
this
be
of
one
expression,
execution,
one
or
as
the
every
arise
compassed
beauty
of
art,
introduced
admire,
sure
predominant
istheir
sublime,
an
finished.
and
from
as
motion,
as
affinity
of
indeed
dances.
than
running
and
it
held
isby
or
by
This
the
no
an
for
56
As what
to
fallen
dances
among
fertile,
by
their
decoration,
to
performers
part
the
short
itthe
to
I will
have
great
in
produce
antients.
of
which
the
be
their
well
before
nicety
impossible
dance;
itthem
versed
perfection
is
Let
said,
of
so
not
his
the
in
requisite
in
for
that
to
talent
Greeks,
the
mention
in
its
him
masterly
it,
art,
being
for
to
to
and
in
and
adapt
do
invention
the
the
to
how
itmanner
especially
be
justice
collateral
ordering
to
difficult
observed,
the
orthey
in
subject.
composition
expert
and
the
it
aids
must
were
how
display,
disposing
ofinmusic,
be
used
much
giving
be
for
unless
to
never
their
aat
machinery,
the
be
composer
present
performed
he
dances,
expression
soisrich
seconded
this
and
of
or
I refer
art
ofis
57 G
anclose
dances
and
theatrical
perfection
scene,
which
Every
vague
required,
positions
masterly
negligence,
constraint,
must
to
the
But
requisites
description,
Many
those
their
power
all
without
The
attitude:
meant
a
ease
forced,
wrist,
graceful
the
its
this
expletive
Greeks
performance.
head
where
in
Romans
motion
carried
nature.
and
constantly
brilliancy,
who
is
of
step
is
this
steps;
unmeaning
to
in
requires
or
observation
might
60the
surely
at
agility,
and
dancer,
to
exhibited
pantomime
express.
and
expertness.
dances,
improper,
towards
suppleness
pretend
observation
as
all
in
present
or
and
of
them
other;
be
in
please
or
between
seem
It
while
both
is
dancing
these
affectation,
in
recover
the
any
even
no
is
in
even
Romans,
both
mistaking
it
harmony
preserve
the
and
concert
up
Every
grace.
would
arms
upon
which
manner.
receive
The
of
the
to
and
with
commonly
points
of
by
cannot
to
the
spring
hard
these
expression,
have
understand
in
Any
the
has
their
in
nature
execution:
motion
passions
Ichoregraphy
the
surprize.
is
the
step
ease,
their
pretend
be
the
makes
theory
who
with
is
with
acts,
its
as
its
strength
thing
to
their
so
followed
highest
points,
former
All
no
pantomime
of
fail
instinctively
limbs,
proper
essential,
or
conceive.
name
necessary
union,
furnishes
made
delicacy,
of
received.
the
one
longer
just
of
motion
justness
that,
of
excellence
are
to
the
The
give
the
having
body,
whole.
movements
the
lustre,
is
another.
a
no
for
pitch
and
to
the
of
position,
give
or
arms,
certain
immediately
same
on
art
particulars,
looked
afford
an
more
art,
them
slight,
at
Whole
that
dances
the
and
value.
plan,
Greeks,
springs
are
the
in
from
perceived
of
to
idea
aleast,
and
and
harmony
must
art
it
bad
in
taste
dancing,
his
is
above
duly
The
than
stage
one
strength,
the
upon,
is
without
or
were
it
the
tragedies
give
not
of
But
of
should
the
in
execution
with
effect.
so
which
as
slight
in
steps
singers
be
of
this
supplied,
and
giving
just
score.
it
nature
natural,
felt,
especially,
not
rare.
this
all,
that
practice
in
the
especially
their
is
59agreeable
the
with
confound
the
Rome
excellence.
furnishing
impossible,
58be
for
must
with
address,
regular,
one
and
A
public
passion
G2of
to
art,
plaid,
management
amost
frivolous,
by
of
conformable
least
sense,
strength;
its
the
little
or
and
those
should
detracts
propriety,
the
of
pushed
actuate
the
very
due
has
the
has
legs,
at
it.
act
favorite
to
motions
contortion,
and
dancing
for
breathing
passions
and
spectator.
a
that
the
One
motions
beauty.
different
that
any
same
to
the
by
be
general
affected
dancing;
for
properly
thoâ
to
agility;
from
the
give
Opera,
act,
gives
employed
will
caracterise
thing
air
of
of
to
such
an
entertainments,
of
pleasure
is
machine,
the
so
they
the
of
the
in
The
hardly
scene
the
time.
expressive
executed
strength,
well
from
idea
The
the
just
different
of
turn
being
verbal
a
and
as
varied,
legs,
arms;
expression
merit
grace
degree
least
are
stiffness,
merely
adjusted
great
body
of
The
that
in
by
of
the
suffice
as
the
and
the
while
athe
but
of
of
with
to
in
in
of
61
One
management
dance.
nature,
this
indistinctly
sure
character
Nothing
it
There
a
may
more
Great
were
delicate,
dances
that
purer
nature
fashion,
justly,
the
architecture,
greater
gives
true
performer;
performance
appropriation
it
of
be
to
full
of
principles
is
are
for
is
are
the
In
fall,
from
which
to
as
art
the
then
and
rules
to
the
of
this
security,
surely
an
some
the
bad
the
most
be
employed
sublime
than
who
difference
to
which
graceful,
appropriate
if
has
and
many
rising
would
eye,
questioned
only
the
to
adopt
of
who
deviate
the
nice
just
can
ashow
of
display
the
consequently
performance
foundation
nature
worse
true
62simplicity.
out
are
plainest
not
gesture
move
what
and
be
in
the
and
art.
between
too
of
too
practice
the
ones,
carried
fail
from
strain
difficult
same
of
effect,
whether
is
nature
serves
Myself
even
their
much
arbitrary
representation
of
the
banished,
imitation
and
the
is
have
suggesting
But
of
pain
up
the
arms;
arms
cannot
not
those
a
than
attitude,
art,
knowing
into
unerring
to
points
motion
greater
that
they
to
been
antient
brilliant.
grace
right,
that
in
as
any
with
any
art:
of
the
florishings
and
simplicity
forming
but
would
of
to
nature
discordance
sometimes
and
degree
but
to
the
impropriety
adapting
nature,
better,
ease
principles
athe
have
false
of
and
meet
tolerably
The
them
another.
gesture.
where
superstructure
movements
relish
art
rules
and
the
must
too
refinements
moderns
with
was
of
and
of
but
the
their
modern
excellence.
a
art,
little.
the
dancing
the
of
forced
to
be
natural
in
far
nobler
sensible
never
fuller
in
justest
And
nature;
themselves,
which
returning
music
advantage
the
motion
The
are
fit
63into
to
approbation.
dances.
from
to
grounds
management
freedom
substituted
for
is,
will
grace,
movements.
so
point
yield
in
does
that
hide
which
this
It
certainly,
one
to
theory
accustomed
be
excluding
is
inthe
the
to
of
error
or
is
with
to
wrong.
The
without
practice
character
from
has
to
to
the
theory
obscure
the
character
principles
Ithe
antient
employ
in
our
And
despised;
those
for
the
torrent
which
of
ear.
For
her
the
motions
knowing
consulting
art,
every
the
to
gives
yet
to
want
are
her.
room,
will
the
ones
those
no
alone
as
arms:
of
it
ofyet
and
be
the
in
ofof
64
This
follow
many
origin,
To
The
more
being
distinctness
motions,
If
observation.
the
agility
arms,
perspective
generally
perfection
imitation
Nor
intended
him
of
constitute
plainest
the
dances
extravagant
succeed,
best
most
motions
should
greater
more
primitive
merit
attention
in
performers,
and
the
of
nature.
and
the
guide
in
the
to
of
delightful.
looked
pains,
any
art
the
especially
in
it
their
of
beautiful
produce,
gives
the
for
we
of
the
body,
it,
65be
blindly,
source
a
merit.
trouble
to
the
decoration,
in
there
Hhis
must
theatrical
simplicity
imagined
most
more
confusion
upon
character
perfection;
the
him
who
legs,
examination:
inItIt
in
then
nature;
by
abandon
and
vigorous
performer
has
of
striking,
66the
exertion
to
is
mind
being
in
means
are
invention:
with
be,
without
dancer
all
of
that
greatest
must
cutting
and
ofmany
steps
nothing
but
an
the
and
well
simplicity,
the
springs,
the
are
of
hurry,
of
be
art
to
when
whereas
advantages
that
were
composition
genius,
mere
certainty.
lively
acquainted
its
other
in
false
simplicity
ever
exactness
studied,
advantage;
on
easily
more
a
adherence
allow
especially
the
rendered
dance,
to
in
agility
the
taste,
or
points
afford
vaulting,
than
consist,
dances
acquired.
contrary,
brilliant
than
most
no
known,
Thence
Ithat
and
with
recommend,
the
and
without
of
clearness,
those
the
required,
ato
familiar,
in
dances,
difficult
of
rote
truth
as
delicacy;
more
embrace
those
capers,
spectator
in
art
nature,
its
and
Whereas,
that
the
intricate
many
dances
agreatest
of
meaning
tolerable
has
common
well
beautiful
sort
but
parts
the
dancing
by
to
as
orin
the
imagine,
tends
for
over
the
time
with
much
attended
of
none
art,
both
of
evolutions,
surprizing
for
of
greatest
slowness
simplicity.
which
simplicity
composer.
or
true;
falshood.
management
without
the
that
indifference
for
it
to
might
leisure
so
the
expression,
is;
save
in
particular
stage
attaining
much
which
the
of
to;
and
most
nothing
steps,
effect,
be,
and
music,
or
tracing
and
the
or
false
ofrequires
quick
where
as
as
is
easy
we
execution
neatness
composer
of
not
in
the
it
to
will
of
brilliants
but
the
only
so
is
it
the
the
a
and
only
the
close
cost
to
in
just
the
its
67 H2
The comic,
otherwise
masters.
commonly
gestures,
laugh.
which
comedy.
painting.
they
consists
And
They
But
grimaces,
as
chuse
certainly
or
are
well
as
grottesque
are
in
dispensed
their
moving
to
acquainted
inthrow
and
this
this
success
contortions,
has
art
the
dancers,
from
their
of
its
nobler
with
depends
dancing,
exhibiting
whole
merit;
the
indeed
passions,
which
powers
fundamental
but
chiefly
what
the
are
inare
no
serious
Hemskirk
of
in
on
than
fittest
other
possession
execution
awakening
as
principles
or
to
proportion
farce
and
pathetic;
give
into
is
of
Teniers
the
pleasure
of
to
athose
the
branch
risible
tragedy
to
however,
the
are
art,
motions,
by
faculty,
truth
of
in
as
or
the
this
that
the
they
toof
raising
genteel
art,
best
of
they
the
mayin
art,
abe
68
The
personage
a
Thus
single
representation
succession
liveliness,
succession
painter,
aexpression
painter
convey
that
ofcan
of
motions
who
of
he
attitudes,
only
that
of
the
paints:
should
his
in
idea
character,
and
countenance
his
all
but
paint
attitudes,
of
draught
like
that
it is
Orestes
those
can,
character,
the
present
that
and
seconded
duty
ofagitated
the
will
posture:
ofone
with
painter,
more
theby
single
all
by
dancer,
but
a
strongly
its
the
well-adapted
taken
aunvaried
transports
dancer,
furies,
to and
from
give,
can
attitude
surely
charged
nature.
in
of
music,
only
his
fury
with
own
give
in
with
and
execute
each
more
person,
him
disorder.
the one
a
69
It is
should
as
animating
A
meaning;
How
is
connection;
expression;
to
have;
delicate
be
knees
formed;
springs
these,
constitute
much
arts
executing
Those
study
of
keep
As
art.
the
but
principles
manner
But
an
it thorough
was
not
nature,
the
nothing
to
artist,
free,
neither
same
execution,
characters
for
as
that
and
many
most
the
enough
justness
let
more
in
character
well
who
accompanied
one
express
executing
he
genteel,
in
his
turn
he
sciences,
this
even
different
than
person.
or
of
than
well
but
spirit;
all
too
makes;
the
but
articulated,
72requisites
of
would
master
instep
is
required,
that
nor
rather
the
light,
either
of
the
these
the
that
aanother,
full
the
and
of
great
an
with
of
to
which
small
he
serious
his
or
and
70action.
dances:
rest.
any
make
They
the
most
art
nor
if
furnished
characters
motions
his
that
the
propriety
of
be
at
upon
represents;
the
divisions
eyes
not
with
original,
easy;
must
that
in
dancing,
acquisition
of
eye
the
feet
part
too
all
head
and
expected,
the
fit.
his
he
body,
any
that
genius
dance,
them
They
the
expression
should
athe
grace
best,
narrow;
had
the
should,
in
of
countenance
concur
of
antients
regularity
let
supple;
considerable
should
with
sensibility
to
may
stage,
just
the
Nature,
of
serious,
his
what
sensations
cannot
with
left
the
should,
itself,
the
carrying
which
that
is
dances,
give
of
arms
talent.
the
proportion
on
be
his
nature
attitudes
to
so
ifgrace,
his
is
looks,
play
art;
or
required
his
he
or
the
form
more
strength
sensible;
forth
in
not
an
of
therefore
sides
will
the
in
legs
in
be
of
pantomime,
aims
shoulders
and
view,
motion;
on
Towards
with
should
there
indispensable
theatre
life.
every
of
duly
progress
behind
soul,
motions
give
the
true;
half
an
the
adapted
the
neither
clean
of
the
is
to
at
the
it
Iaccomplished
will
artist
felt
necessary
serious,
the
perhaps
cannot
are,
just
let
him
the
which
a
shoulders
let
motion
excellence,
too
be
soul:
and
especially,
union
it;
character
the
made,
ever
the
have
by
bending
and
his
in
enlivened
support
language
properly
too
what
closely
a
should
to
to
yet
without
this
the
perfection
mere
has
movement
too
elbows
the
his
be
the
gestures.
foundation
large,
of
in
the
strong,
all
may
to
soul:
art,
with
every
this,
the
in
often
very
humor,
comic,
attend
be
turn
of
corpse
examine
easy
these,
execute
possession
dances
speaking,
itof
with
which,
nor
should,
actor
and
be
falsity
the
greatest
well
so
all
what
sentiment
fingers
the
repeat
be
limb,
and
of
fall
called
much
of
too
the
whole
and
wrists
to
significance
genius,
however
of
without
it,
grounded
agreeable;
passions
and
of
the
it
and
they
well
or
carefully
the
genius.
small,
there
grace
convey
above
is
character,
the
four
ends.
it;
masters
tastelessness.
more
a
of
whole
of
frame;
in
have
representation
maintain
turned;
delicacy
gives
those
considered
ought
this
or
grottesque;
the
most
the
divisions
is
essential,
of
but
all
belonging
powers
There
in
of
some
yet
for
that
a
talent!
dancer
person
his
and
life
things,
the
all
of
who
the
finely
to
fine
other
his
that
more,
which
chest
of
this
the
to
is
71gift
of
of
itIt
noin
73 I
After
about
him
Happy
but
However
cultivate
endowments,
improve
The
to
Whoever
principles
which
plodding
with
boldness
the
where
helps
to
itdetermining
correcting,
may
highest
always
subdue,
indeed
where
on
the
well
of
shall
and
of
the
appear
originality,
in
atalent
a
but
something
is
perfection.
sufficient
first
lively
flatter
a74
by
beginner
beaten
that
as
who
which,
deficient.
an
infallible
is
duly,
imagination,
well
artist,
not
himself
unshaken
shall
ortrack,
grounds
he
as
grossly
whatever
may
of
of
But
in
the
have
to
he
will
The
the
with
practice
whom
be
will
him.
can,
stiffness
resolution,
be
strokes
experience
deficient,
of
qualified
taken
joined
forming
never
surpassed
imperfections
the
But
by
both
will
art.
art,
this
pains
of
to
of
lead
the
give
himself
for
genius.
it
great
Nothing
and
acan
adoption
of
may
copy,
to
requisites
this
by
all
no
an
only
any
acquire
and
another,
he
be
ages
profession
by
eminent
intense
without
will
thing
may
proceed
supplemented
assiduous
of
practice
attests
hardly
unexamined
of
what
have
inferior
great
application.
nature
any
distinction
by
upon
was
alone,
be
this.
from
thing
practice,
nature,
orfound
to
and
wanting
eminent.
aby
nature,
him
rote
without
rules,
ofwithout
art
the
the
impossible
ifin
carry
of
are
hesecond.
to
and
natural
graceful
tradition,
he
Itthe
does
him,
united:
study.
carries
the
must
this
true
not
or
art
forset
to
75 I2
Vanity
less
Imust
ground-work
regular
accompanied
dexterity,
every
Every
The
model,
and
nature
advantages
has
work.
represent
his
is
with
apprehended
himself
In
steadiness
more
have
by
the
attitudes,
subject
the
painter
the
should
clearness;
the
be
general
The
motion
step
half-serious
before
should
is
all
motion
the
assistance
dancer
the
expressiveness
not
constitute
a
dancerâs
from
should
and
be
an
meaning
draws,
succession
of
general
of
less
but
observed
of
by
with
theatrical
never
heroic
artist
which
of
that
command
the
may
the
the
the
his
all
have
stile
aof
or
truth
art.
effect
whatever
body,
mislead
resort
good
well
approbation
the
spectator,
of
or
duty
the
dancer
speech,
ought
we
of
that
one
It
pastoral,
its
subjects.
merit
parts,
of
dancer
presume
is
motions
of
air,
than
and
is
observe
beauty.
to
his
nature.
also
step,
the
to
the
not
a
must
the
and
he
of
man
express
draw
dumb
suppleness,
theirs;
who
grave
only
the
body.
isor
this
aims
that
while
It
meanness
the
managed
be
to
and
destitute.
vigor,
They
also
in
must
most
his
take
that
show
kind
exactly
must
the
statuary
whatever
with
or
at
It
something
the
77copy,
pleases
is
are
serious
representing
lightness,
not
attitudes,
difficult.
of
judgment
rank
of
the
to
dancer
this
easy
seal
of
with
aall
dancing.
The
bound
be
supplement
the
moment,
best
depending
has
among
difference,
respectively
kind
more
his
bendings
perplexed
stile
the
Painter
actor
naturally
shall
Firmness
all
kind
agility,
patent
adapted
he
to
of
greatest
of
The
generally.
the
may
them,
the
forms
his
dancing
have
but
dancing,
of
has
time
in
the
soul
and
that
time
of
action,
dancing
brilliant
with
be
noble,
he
of
professors
the
to
time
since
already
merit.
of
want
ease
instantaneously
risings,
step,
itself
must
requisite
they
his
of
he
his
hammering
support
isto
and
the
character,
the
exhibits
springs,
of
the
for
own
should
a
have
every
settle
begun
expertness
speech,
graceful
music.
the
even
imitation
expressing
great
oftalents:
to
ofimitative
some
whole
statuary
moment
and
model
cabals:
be
himself.
with
out
another.
The
76whether
and
seen
and
heroic.
correct
to
of
much
aand
actor
his
the
that
itarts;
his
in
He
78
allimpossible
springs
commonly
greatest
judges;
them
avoid
is
called
mechanics
branch.
they
serious
movements;
The
invention;
not
oneself
imitating,
consequently
shocks.
fittest
the
their
from
flowers
Even
dances,
simmetrically
instance
serviceable
are
only
serious
animal
grand
comic
will
celebration
any
contrasting
entirely
confounding
to
nature
pleased
stile
of
upon
who
Even
The
might
upon
excellence:
be
that
give
circumstances
or
life,
the
and
pathetic
dancer
dance
stile,
preferred
joy
or
stile,
and
to
sure
more
aims
are
improper
a
to
in
served
80satisfaction;
artificers
uninteresting;
in
coupled.
body.
the
one
not
of
that
with
close
by
half
the
have
high
however
that
rarely
to
but
of
mechanics
characters,
has
more
execution,
his
is
present
have
another.
the
of
the
festivals,
please.
lowest
aserious
A
not
but
to
imitation
life.
stile.
too
for
motions,
brilliant
the
pastoral
to
grace
two
numerous
Of
will
mirth
give
the
confirm
at
atied
of
it
object
represent;
The
its
much
serious
bad
the
soothing
All
and
the
is
classes
unjoyous
different
supply
more
stiles.
aim
them
or
up
an
and
that
which
but
it
81that
rural
first
execution,
effect;
of
roots
omit
steps,
dance,
disgustful
creates
Kagility
the
that
to
excellence
may
nature,
or
on
serious
dignity
enough
stile
the
another
he
him
IHe
the
of
sports,
and
are
exciting
once
peasants
that
whatever
stiles
the
with
affinity
poverty
life,
whereas
can
and
be
artist
is
and
represented
of
same
with
should
so
captivating
not
choice
is
laughter,
if
of
dancing
stile,
saw
in
the
and
do
the
to
attitudes
of
and
seldom
turn
briskness.
the
to
of
its
will
the
ideas
so
between
mirth;
encourage
rules
serious
is
or
soil
in
composer
say,
unpleasing.
which
can
most
though
steps;
not
subject
exercises;
much
to
of
and
select
quick
loathsome
their
Germany
and
take
for
is
the
or
either
attempted
excite
requires
even
whereas,
in
are
by
air
not
of
few
and
observations
the
obliged
by
cessations
the
dirt
motion
all
subject.
his
this
chosen
the
a
the
in
taken
the
what
must
be
the
great
but
the
trivial,
half-serious.
execution
disagreeable
arts
matter
sticking
the
a
The
last
figures
harmony
distress.
without
taste,
composer
striking
pathos
the
on
pantomime
of
to
every
composition;
gestures
on
seize
from
which
It
for
one
part
requires
the
study
indifferent,
is
from
connoisseurs
the
of
delicacy,
imitation
to
in
as
not
tires,
nature,
of
of
wit.
only
composition;
legs,
one
of
contrary,
instance;
He
renders
and
them
stage,
them.
are
labor,
his
For
charracters
what
of
the
enough
ideas.
of
must
doubtless
This
enters
what
the
dances
art,
justness
and
necessary
attitudes
various
this
execution.
are
that
the
and
is
in
may
or
depends
other
them
will
cull
It
the
not
an
theatrical
is
last,
are
to
from
more
into.
is
he
the
to
be
be
not
the
value
high
worth
from
of
the
in
so
may
from
form
79to
But
its
this
it
82
Passing
assembled
odly
youngest
woman,
strange
was
this
contrasted
the
Inot
pleasing
simmetry,
am
The
its
natural
execution,
should
some
As
height
and
something
of
youth,
Whereas
principles
those
in
bottom
with
further,
which
advantage,
They
making
grace
But
must
imitation,
very
entertainment
figure
to
action.
contortions,
have
the
art.
object,
to
as
be
impropriety
though
contrast;
rustic
comic
flight.
preparing
paired
the
certain
will
ever
the
pretty
who
dancers
over
grottesque
keeps
of
creation
But
far
mentioned
or
of
duly
be
not
Every
genius,
of
a
and
through
awas
applause
variety
the
such
not
the
grotesque
rather
girl
figure
from
groupe
however
of
always
their
should
company,
the
bear
or
It
dance,
have
may
be
of
every
to
on
the
that
admonished.
respected.
and
remain
that
or
is
their
grotesque
them
led
otherwise
uniformity,
springs.
in
thing
the
and
the
very
a
worst
as
who
a
in
more
of
meaning
brilliant
but
grotesque
art,
a
promise
the
of
in
convenient
decrease
trusted
the
into
picture
the
by
extravagancies
this
the
shall
other
tumblerâs,
preserve
due
of
observed.
branch,
weakness
the
art;
this
that
having
their
those
the
always
deep
exagerated.
must
have
especially
and
the
company,
in
stile
figures,
most
Electorate
of
calculated
in
the
way,
kind
laugh.
There
relation
that
purely
ignorance
serious,
have
in
it
the
kind
steps
dancer,
most
performances
get
acquiring
solely
for
himself
that
matches,
in
composition
either
from
of
appear
is,
order
then
ugly
do
in
superficial,
may
of
iftalent
a
design
the
at
dance,
the
spot,
that
and
is
joined
of
Iproportion
He
moderately
dancing,
or
not
87to
handsome
that
to
was
by
the
nature
to
while,
more
to
the
old
dancing,
and
grounds
to
be
what
of
gallery
wire-dancerâs
to
his
point
must
But
vary
to
infirmities
as
this
of
the
chuse
of
throwing
that
will
and
take
Cologne,
dress
its
simmetry
truth
told
surprize
a
of
man,
diversion
in
the
to
amuse
gestures,
the
half-serious
natural
the
in
caricature
of
may
objects
on
vigor
exhibiting
perfection.
which
the
still
eminently
also
out
that
of
vigor
disposed,
well
actually
this
that
86effect
his
bodily
at
character.
to
rest
as
of
of
or
the
however
had
dances;
and
they
buffoon
dance.
remain
a
Dusseldorp,
be
give
their
avoid
vigor
draught
age
his
and
as
figure,
executed,
it
the
of
it
Ias
new
the
and
contrary,
of
should
of
observed
for
is
of
vigorous
called
dress,
of
was
strength
cannot
old
art;
possible,
84merit
do
their
advances,
eye,
the
for
please
of
themselves
agility
which
objection
art,
at
stiles,
it
agility
his
and
those
in
resource
much
any
Content
The
and
as
simplicity,
different
age,
nature,
chiefly
in
receive
the
provided
one
genius
couples,
spectator,
from
be
partner
broad
like
then
and
a
duty.
the
of
agility,
thing
spectators
save
be
affords
the
humor
it
resource
last
youth.
the
which
gifts
a
in
nature
view,
always
required
deprived
difficulty
even
attempts
him
pairing
nature,
the
number
too
a
depends
to
with
of
it
of
most
to
and,
Against
from
mirth;
no
spectator;
subject
them
studied
from
the
which
is
in
the
83he
entertain
aand
invention,
who
decorations,
direct
much,
the
also
of
to
Inquiring
longer
amidst
in
never
proper
disparity
as
their
order
neglected,
K2by
has
the
trouble
for
decrepid,
an
most
the
in
them.
require
the
he
of
and
from
floridness
moral
the
especially
possible
of
qualifies
contribute
to
enable
this
of
on
it
or
them.
eminent
the
their
apublic,
for
bodily
had
persons
public,
dancers:
way
for
to
exhibit
than
dancer,
which
danger,
the
good
even
study
beautiful
affected
the
it.
too
dissipation
the
their
artist.
lose
that
light,
85of
dancing;
given
no
essential
Itgrimaces,
of
means,
Commonly
them
all
deformed
leaps
as
the
even
constant
going
into
years
powers,
himself
has
they
reason
though
ear,
of
great
more.
was
of
laughing,
where
sight
may
painter,
the
own
of
contribute
that
to
of
aided
by
rather
And
youth
season
the
a
his
in
all
and
diffuse
of
and
to
exposing
and
look
to
treat
should
which
throw
his
but
it
of
leave
ages,
agility
it
then,
merit.
shine
of
for
the
he
be
the
and
by
ait.
is
old
than
who
no
so
so
of
to
for
aIt
aIa
89 L

In General. 24
OF

OF 25
 SUNDRY REQUISITES,

SUNDRY REQUISITES, 26
FOR

FOR 27
 PERFECTION OF THE

PERFECTION OF THE 28
ART

ART 29
OF

OF 30
 DANCING.

I have already observed how necessary it is that all the steps, in the theatrical
dances,
the
have
The
dancing,
beauties
Looks,
meaning;
without
a foreign
eye.
adjustment
allmovements,
giving
which
a90
the
of
language
so
different
This
these
plainly
serious,
have
him
of
cannot
different
the
the
for
expression,
attitudes,
expressed
imitation
the
motions
which
trouble
behalf-serious,
too
kinds
an
for
gestures,
much
of
as
to
which
interpretor
of
their
unriddling
to
the
dances,
be
inculcated.
character
cannot
the
object,
instantaneously
should
comic,
is
all
them:
be
should
needed.
center
in
must
The
presented
and
the
otherwise,
passions
be
the
dancer,
be
in understood
intelligible
the
observed
grotesque.
too
propriety
it
all
and
plain,
ishave
like
manners
through
at
by
The
and
the
talking
or
an
the
truth
various
appropriate
too
first
spectator,
every
ofto
obvious.
of
glance
mankind,
them
nature.
stileof
in
of
91 L2
possessed
more
character;
tall
himself
may
art,
principles
assist
Where
plan
most
This
pieces,
And
If
representation
ought
absurd
That
Those
pantomime
entertainments,
hearing
displeased
Ought
grudge
a
Nor
under
dancing,
guide.
merit,
her
and
and,
person.
The
of
however
in
his
is
distinction:
moved
receives
There
enter
as
expected
considered
its
difficulties,
notion;
not
mediocrity.
those
the
ordinary,
their
which
having
no
Certainly
for
both
But
practice.
unexamining
rules;
present
custom,
by
A
to
attaining
much
good
love
any
young
man
master
itself
which
his
view.
an
joy
it,
him
they
exacting
a
idea
obvious
arms
commonly
bound
objections
decorations,
eloquence
bottom
productions,
to
the
he
is
theatre
very
painter
art,
manners.
colors
here,
was
knowledge
of
himself
instead
indeed
the
of
vanity
strikingly
art
majestic
being
on
and
professors
without
the
one
his
are
there
to
others
her
but
subjects,
of
give
he
All
the
who
a
must
executed
comedy,
by
performance
than
either
both
far
theory
to
up
theory
advance,
of
A
the
an
viewed
will
dancer
it
from
exclude
agility
the
rather
unmeaningly.
which
necessary
variety?
doubtless
For
same
to
uninteresting
the
does
soaring
therefore
to
the
dance
illusion
and
many
upon
beyond
others
immediate
festivity,
in
wires,
should
any
to
and
can
necessity
of
to
the
at
object
a
of
this
he
reasons,
has
It
art.
strain,
will
presents
taught
noble
excellence,
thought
shows
perhaps,
soon
find,
would
such
tragic
break
proceed
rudiments
their
of
though
sentiment,
can
admit,
best
the
glance,
motions,
is
seeing,
which,
treats
it.
the
grounds
made
want
is
and
thing
of
on
most
not
only
should
give
may
in
pictures,
person
painting
has
of
art
calculated
not
mentioning
lay
whether
well
It
in
who
of
undertakes
young
finely
without
in
all
In
is
a
than
of
in
a
the
mind,
that
towards
power
see
and
will
tragedy
pretend
upon
be
ait;
was
of
sensibility
faithful
and
the
his
season
this
body
the
do
are
be
to
the
and
pleasure,
ever
practice.
action,
as
vain
the
it
their
it,
the
no
proposition.
either
contribute
sufficient
97claim
that
to
make
the
or
essential
these
beyond
but
and
comparison.
if
a
the
on
of
discovered
to
displays
in
tongue,
man
appear
on
not
in
advantage
no
at
command,
reach.
his
find
of
purely
rejecting
legs
especially
who
Mhe
on
his
dancer,
pathetic
represented,
principles
light,
chiefly
relation
who
shackles
all
in
beginners,
But
of
great
the
studying
performance:
comic,
his
it,
theatrical
the
of
the
which
to
graces
does
the
with
another
of
without
those
also
the
prospects,
a
speaking
time
original.
disputing
reason
serious
little
reflection,
duty
be
the
does
this
a
imitation
his
the
of
figure:
or
their
by
that
it,
to
up
in
there
man
is
great
shake
nature;
and
stick
false
wings
if
94expression
shall
subordinate
the
selecting
world,
subject
to
shows
public:
life,
their
lasting;
actor
And
comedy,
of
not
one
with
call
which
a
as
the
is.
he
those
secret
art,
despair
in
the
it
for
share
a
of
gestures,
choice
manner,
intended
gift,
if
by
to
of
executed
the
mechanical
represent
not
to
body,
genius.
arrival
sentiments
to
substitutes
must
one
dawn
pantomime
gracefulness
well
We
for
of
at
it
oneâs
has
is
conception
essentially
a
essentials
or
those
only
time,
be
have
for
than
his
a
the
of
brush,
fixed
the
to
a
his
If
public
which
He
of
his
great
the
branch
an
short
be
characters;
is
soul:
giving
who,
any
more
he
an
so
pantomime
a
well
the
rail
middling
how
he
comic,
of
who
nature
his
bestowing
and
for
of
they
say
might
attended
which
of
may,
his
the
own
not
in
it
servile
legs
relaxation
whose
assiduous
of
dancer
pupil,
happy
seen
have
of
contributes
all
a
rather
theatre,
that
will
art
Nature:
or
the
genius
at
would
the
a
will
Pilades,
at,
attitude,
surface,
principles;
honors
youth.
the
of
art.
which
moving
proportioned
for
situations,
reach.
ardor.
own
his
looking
all
will
the
paints,
acquiring
comparatively
consequently,
refuse
study
genius,
consider
share.
subject
itself
a
study
the
in
that
never
one
any
that
taste
a
more
acknowledges
in
it
make
without
art
or
genius,
soon
acquiring
most
the
which
in
itself
it
the
little
eyes
one,
dances,
subject
that
of
performance
in
is
inferior
art,
be
truth,
imitation,
motions
cadence,
of
diversification
than
stature
most
genius.
exhibits
attempt
first:
hope
those
what
such
tolerable
time,
of
their
to,
to
tragedy,
this
diffused
the
life
genius,
It
while
nothing
and
But
of
on
things,
and
attitudes,
throwing
art
to
so
its
the
96refuse
surely
and
picture,
practice,
of
on
form
be
no
of
with
is
dancing.
they
noble
cannot
justifies,
attempt
executed
of
without
this
rank.
are
dancer
it
to
an
allow
them.
art,
and
far
any
where
them,
proper
applause
the
art,
susceptible
is
this
the
that
which
an
the
they
ideas
this
founder,
dissipated,
progress
on
pains
it
genuine
taken
of
92only
entirely
to
want
man
the
are
asuperior
are
account
no
executed
dancer.
allowed
aare
know
him
art,
from
to
to
entertainment
the
as
it
art
mind
he
and
more
best
the
particular
if
sort
themselves
improvements
him
of
whole
could
over
ardor
producing
public,
or
degree
dancer,
little
art
the
be
but
is
more
want
turn
accomplishment
character,
he
They
arrive
under
her
a
ballance
sits
dirrected
will
innovations,
paints
kindling
a
of
may,
the
all
himself,
however
surprised
required
is
in
has
For
situations
is,
the
has
pleasure
in
more
certain
theatre,
variety
in
preserve
fettering
as
whose
pathetic
of
too
or
time
fails
fault
her
it
the
his
depends.
than
an
offspring
the
93to
at
a
for
as
99towards
be
down
soon
have
dances,
into
vanquishing
body.
to
A
for
inconsistence,
his
spirit
had
formed
me
ridicule
to
in
a
not
are
of
succession
generally
as
understanding
of
at
especially
of
much
the
least
a
by
animated
for
if
having
tall
principal
good
M2whole
its
through
general
more
say
looks,
of
size.
merely
the
of
life
manner
to
partial
his
cultivation,
entertainment.
for
he
the
to
ridicule,
any
in
his
the
greater
perfectly
man,
98capable
practice
that
to
not
into
dances,
abates,
100from
more
only
neglecting
that
strongly
life,
great
contented
he
in
laying
which
person
at
necessary
be
sentiment
for
him
nothing
defend
him,
actorâs
perfection.
than
who
in
being
the
their
exhorted
of
body,
art
way
the
while
The
seeing
to
of
greatest
ridiculous
eminence
and
the
prepared
must
body.
theatrical
in
can
no
given
Rome,
with
approbation
furnishing
by
of
the
dumb
them
or
mechanical
standard.
himself
Nature,
nature,
fit
human
of
all
that
instruction
consisted
and
demonstrations
themselves,
possesses
of
desirable
that
one:
first
where
of
the
himself
of
remarkably
the
genius
enemies
discovery
these
indifferent,
of
most
perfections
such
in
of;
rote
vulgar
or
pleased,
is
appears
have
the
for
the
his
or
satisfied
noblest
inculcating
his
it
ground
his
the
attitudes,
power
of
not
but
livelihood,
and
proportion,
governed
to
ardor
capital
in
draught
whole
than
with
they
foundation
the
against
they
of
to
show
every
while
is
effect.
to
poppet
passions
that
music,
and
own,
own
as
mankind
others,
them.
Having
the
follies
dancer;
no
in
or
there
more
in
no
be
the
go
move
well
will
which
deliver
point
the
95he
his
favor
have
the
they
only
than
will
of
for
the
of
his
or
of
to
the
part
of
to
with
he
do
is
is
it;
in
to
101
let
Invention
study,
The
to
expence,
instead
fashion,
their
sometimes
give
and
envied
As
strive
depths
Many,
indolence,
others,
they
another.
perhaps
tiring
superficially
It
of
companion
not
he
down
*â is
sendother
his
many
for
will
us
invitehave
this
trouble
broad
will
Forthemselves
prejudices
when
on
plays,
dance.
to
those
103
twirling
corn,
it
will
part sendbesides
we
take
will
ahim
or nor
of
to
come
himof
barrenness
peoples
and
some
be
too
Thence
flatter
his
seen
when
is
springtheir
give
often
cultivating
road
and
example,
it,
with applauded.
serves
will
too
originals;
it
of
also
scamper
you
about
to
or in
who
knees
or
great
stick
ainto
soon
a thinking
of
you,
those
the
stale
art,
by
slightly
come
often
they
themselves
of
borrow
dance.
with
from are,
as
invention;
the
it
pipeborrow
them
to
the
his
mediocrity,
a
them
following
is
to
packing.
his
you,
to than
at
much
away
a of
fatigue:
youor
in
the
have
trouble
âwho
that
repeated;
their
next
nothing
you;
head
hope
first;
invention
diversified.
very
fact,
hackneyed
necessary
and
business.this
for
âold
from
are
a
a-smoaking;
be
pail
as
He to
from
106to
themade
peace
perhaps
talent,
and
that
to
requisite
of
they
also
the
Youtheir
copy
pretty
the
tracks,
speech,
of
scheme
drawthis
incapable
audience
â
filledcan
make
others,
but
not
acting
or
they
principles
is
female
you, free
that
may
â
other
will
will
Youengages
excuse;
will
from
chuse
to
more
being
without
the
when
compositions,
at
driving
without
water;
with peace;
the
addressed
appear
in
of
with
be
answer
and
tap
and
will
side
104 the
their
content
palm
up
rule;
one
is
our
subsisting
of
obstruct
made;
discovered
indolently
the
invention
to
ingenious
rustics
him
you since
cloyed
though
run
or the
them
by
any
invention,
dancer
ofyoufirst
a
another.
art
upon
for
with
on he
their
daring
will
thesame
to
wheel-barrow,
which
productions
from
or reputation
will
new
as
thethemselves
appearance,
they
then,
to
to
with
the
takewith
their
knowledge.
which
in
stage.
a on
a
grounds
and
appropriate
sue
to
being
Goldoni
and
they
sailors.
will
him, or
Indolence
any
young
know
are
shaking
strike
the
follow
repetitions
â
shoulder
105scene
his
come
pet
N progress
minded
to
composition
you
having
original
other.
âat
and tempted
are
copies,
feet,
spade
You merit
you,
or
Yourof
man.
or
well
out
or
102
should
upon
he
it.has
will
the
but
name.
withgoverned,
others.
Thus
â
will
as your
subject
better,
with
and
is
in
to
seen
But
of
in
after
for any
make
provided
so
great
upon
which
the
when
of
their
themselves
the
others.
at
they
footsies,
you
companion
When
much
the
run
one
be well
to
They
pantomime
of
thing
in
Some
bane
once
sickle
digging.
you. but
the
of
save
discoveries
up
torrent
dances,
borrowing
cannot
one
they
stage,
a
after
hand,
he
as in
exposed
plod
and
âaction
are
to
at
â
saloon,
to your
new,
do
public
seesby
of
him;
He again,
the
country,
to
you
withhim,
ought
which
a
say,
and in
not
neither
our
Your
betheir
of
the
small
mow
will
no fail
youappears
turn
he,the
so
pains
is
aâ
hedances;
will
the
in
in
care
art.
and
surefrom
only
fruits
of
that
of
to
safe,
one
matter,
be
come, will
the
distaff,
angry,
on
will of
he
to
will
his
107 N2
hurts
together,
and
neck,
Nothing
self
repetition
public
And
variety.
upon
must
composer,
exercise
cultivation:
nature.
capable
of
in
â another.
time,
âwith
out
of
be
a
as
which
109 novelty,
nice
Pas-de-deux,
jig.
servant,
same
falling
especially
Then
and You
let These
Among
of
place
then,however
of
possessed
you
of
adopting
the
that
actions
in occasions,
time,
handing
a
your
a producing
as
Propriety
the
willitear;
is
pass
scene,
refines
that
and
he
can
smirkingalways
art
the
these
shaking
aever
granadierâs
passion,
hey have
or
for must
would
close
the
of
manners;
be
false
can
abeauties
character
you
for
Duet of
and
itself
is
the
bring
the
taken
andimagined.
it
taste,
productions
fond
makingadd
incessantly
the
is
under
attitude
more
legs
theatrically
backwards
fine
dance.graces
most
the
by
on
great
to
repeated;
trull,
ogling
incareof
which
otherwise
of
âand
aobstruct
curtesy
the the
business
novelty.
the
peace
or topleasing
nature
judicious
The are
You
or
ârule
natural
arms,
decline
lights,
of
study,
is
motion
to
will
adapted
a
others.
of
Pas-de-deux,
a
to
108procure
statue;
at
the
such
again,
first
round
thefurnish
him
the
qualification
what
topof
effect.
this
the
execute
observation
nor
â
part
as graces,
in
end
sixprogress
in
as
you;head,
order
this
art,
would
It
to
dancing
to
artist
an
a
bringing
of
the
running
will
be
the
of
or âeven
He
make
performer.
stepsthe
as
entertainment,
theinexhaustible
all
taste
seven
that
not
be to
the
must
please
stage,of
to
theas
of
the
execution
would,
transplant
afterof
pretty
equally
all
chuse
body,
this
necessary
dance!â
lively,does
the
steps
particularly
others.
forgetting
will
ofof
arms
ayou
be
one
thein
art,
Both
in
beauties
the
faces
not
country
the one
such
offends
the
that
always
will
over
bestof
than
fund,
into
in
shoulders,
are
stand
A
dance
another,
secondhis
to
gentle
begindisgust
as
to
discordance
you
the
consult
wench,
the
airs
thehis
thus
him,
gifts.
art.
in
can
and
the
the
opinion
less
are
their
art
head,might
But
audience,
contenting
as
be
delicacies
judicious
which
But
mistress
such
in
and
â
inflexions
grave;
dodging,
for
gaily
same;
aa the
abrought
infinite
for
need
if
displease
of
in
fitness
a
gardenerâs
dance,
a the
jumping
and this
as
amusic
due
crying,
of
third
theeye.
are
of
the
putof
of;
one
he
in
a
110
The
Their
should
cannot
in
expression,
And
dancer
intirely
to
under
degree
situation
agitation,
the
manner,
other
expressible,
looks,
A
action.
of
There
care
have
notmask
France;
contortions
draw
without
gradations
external
looks
itshould
it
expression
passions,
are
respectively
the
isspeak.
It
but
perfectly
can
to
of
then
aby
in
in
can
character.
languor,
of
one
that
however
influence
when
be
time
express
which
these
reason,
which
be
by
the
simptoms
cannot
only
Thence
of
passion,
more
passion,
of
taken
the
whether
the
and
dancer
natural
the
should
love;
changes
he
be
the
desire,
adapted
some
quick
curious
of
the
advantageous
passions
but
For
face
cadence,
shall
favorable
to
it
dancer
the
such
of
that
suitable
gradations
are
model
is
be
hide
example,
of
to
characters
shift
while
that
ardor,
that
have
passion
of
fear,
the
strictly
in
far
of
to
as
a
countenance,
can
should
this
passion.
and
to
the
each
and
the
character
great
surprize
from
to
they
placed
to
revenge,
eagerness,
anever
those
particular
a
point.
of
the
succession
conformable
Italian
correspondent
than
of
fit
gradation.
painter,
perform.
insignificant
in
throw
part
love,
the
itcircumstances
which
All
her.
at
as
be
that
who
represented.
passions;
custom
joy,
of
these
first
can
exactly
so
into
as
But
impatience,
the
moment
who
of
have
ahatred,
well
well
only
sight,
mask
dancing
a
his
to
necessary
112may
to
means
dancer
of
music
of
contracted
his
represented
as
as
countenance.
whereas
aim
the
dancing
steps,
admiration,
is
be
in
possible
of
which
subject.
The
even
character
masked,
which
at
the
attitude
executed
or
to
tumultous
may
expressing
French
expression,
simphany.
represent
gestures,
rest
have
the
with
necessary:
ill
successively
to
he
The
as
habits
painter
of
and
the
as
timidity,
will
uncovered
all
he
by
in
are
eye
his
transports,
istheir
the
face,
is
attitudes,
gesture,
the
have
acommonly
some
And
particularly,
picture,
of
or
especially
representing.
country-maid,
is
but
most
changes
grimacing
justness
subdivisions
perplexity,
as
confined
so
chosen
represent
particular
then
faces,
well
of
that
lively
or
with
and
all
done
great
to
as
of
of
the
and
the
all
or
the
111to
all
113 O
planning
pliable
motions
are
faults.
independently
that
instinctively
without
one
certainly
The
conceal
sex,
the
At
suffered
suffers
clumsiness
justness
men
worse
But
coxcombs;
acquainted
recommendable,
expertness
enemy
composition
Education
graceful
observed,
stick
best
talents,
sure
them,
In
narrative
attempt
which
brought
morning
very
Curiosity
she
swallowed
her
dancing.
himself
compassion
As
figure
should
clear,
meaning
stile
expression
so
Clearness
represented.
in
drama,
character
when
To
dance
grounds
He
complete
insufficient
manager,
all
taking
for
this
be
A
withheld.
invention;
of
with
chosen,
formation
â woman,
glass
celebrated
good
view;
support
the
the
as
andthese,
to
be
in
must
what
besides
power
correspondent
journey,
however
got
sort
female
might
might
These,did
in
which
a
chance
of
much
in
effeminated
at
a
the
Ithat
carried
as
well
she
composition
without
it
than
Italian
or
clear
While
all
be
such
in
by
expectedgreat
to
the
encouragement;
ballet-master
does
is
mediocrity;
upon
up,
attention
those
many
if
and
not
is
nothing
to
at
and
without
of
positions,
the
to
he
and
also,
Nor
their
fail
of
ballet-master,
carried
composition
their
of
or
imaginable
execution.
to
the
is
who,
of
a
then
promise
saidhe
this
are
who
has
had
his
something
of
surprize
assured
up
be
in
execute
instruction.
she
his
it
dresses
in
perform
number
will
give
a
with
dancers
and
the
could
prepossessed
kind
exposition,
an
only
to
any
soon
compositions,
them,
then,
and
sprightly
for
well
the
of
on
actions
honor
the
obtaining
female
this
is
breakfast
was
measure
theatres
carrying
masculine
will
into
fashion.â
the
graces
them,
aim
all
effect,
disagreeable,
which
in
the
defects
evolutions;
a
doubtless
expedient.
art.
of
always
limbs,
be
she,should
adventure
bore
pleasing.
to
is
through
give
herwhole,
not
the
danced
competent
to
their
of
with
his
steps,
having
youa
of
the
consulting
performance.
make
expressed.
not
their
admonition,
one
by
motions,
to
enabled
she
not
execution.
performed,
those
principal
being
one
116number
especially
there
what
the
being
these,
of
the
to
regular
of
but
abeing
of
other
the
composition,
have
the
expression,
which
her
are
dancer
such
rest.â
merchandize
Otherwise
resulting
as
easily
pains
that
must
with
her,
dance,
this,
more
defects,
help.
deceived,
graces
of
his
baggage.women,
of
his
made
at
in
only
performers,
perfect
(pointing
it ismay
profession,
or
understanding
applause.
great
public,
with
attitudes,
to
and
should
dances,
a
stiffness
before
who
woman.
grace
misfortunes,
reflexion
calculated
to
it
the
more
dances,
their
a
to
Rome,
necessary
inventiveness
of
122all
naturally
also
misplaced
hand,
However
might
all
a
but
practice
confounded
in
aim
more
her
is
it
great
worthas
it
gestures,
especially
unite
early
The
depend
dramatic
to
There
grounds
provide
than
say,
recover
stock
dress,
a
proceed
any
all
me,
atin
and
principal
cannot
real
in
also
about
their
The
is
Shewould
where
for
allowances,
and
for
in
is
looking-glass
her
please,
Iexecution;
to
or
and
from
tenderly
an
by
of
at
Italy,
life.
impossible
the
be
them
am
truth
decorations
115not
in
that
sensibility
writing.
for
and
yourmake
the
part
ruin
you,
consequently
share
an
the
to
both
appear
imperfect
life,
or
ease,
picturesque
it
an
equally
114gestures,
be
the
advantage
delicacy
of
is
own
favor,
himself
makes
on
the
invincibly
will
to
or
necessary
here
him,
is
a
well
On
on
O2for
the
make
her
affectation.
the
answered,tender
ordinary
less
no
to
but
of
original
designing
greatest
excellence
would
economy,
pre-assured
grand
where
legs,)so
unfolding
poem
or
the
in
of
was,
greater
that
impossible
correct
masculine
their
and
in
which
whileit
have
points
find
those
of
Carnaval,
the
with
a
person
furnish
give
the
pleasing,
her
in
which
exhibiting
rendezvous,
pathetic,
a
inimitable
looks,
appears
choice
an
it.
natural
clue
they
or
the
be
made
tempted
It
point
essential
and
thinking
in
the
composition,
areeven,
true,
giving
most
but
them
a
whoever
may
a
his
All
she
is
for
exertion
of
taste;
art.
apartment
being
arrival,
in
expressions
possess
her
to
necessary
and
regard
in
the
looks,
gives
figure
spirit
either
good
arts
ideas,
of
even
spectator
or
disgusts.
degree
less
over
may
the
them.
ease
and
the
give
is
119
seeing,
with part
labor
them
performers
proportion
be
may
of
and
a
had
her
to
that
any
120
all and
And
itself
surprizingly
serve
merit
former
would
thread
croud.
studiously
parts
if
advantage
desire
serious
in
invaluable;
This
she
early
well-composed
vigor
plainly,
are
the
awhere
for
the
under
more
executed
female
bad
the
delicacy
of
perform
the
person;
to
disposed
ambiguity
of
performer,
justest
with
âgrouping
to
the
be
in
harder
performance,
to
is
many
her
deficient
of
two
been
reducible
contortion
confuse
you
disposition
once
of
for
abortive,
but
to
To
all
enliven
a
men,
the
now
where,
to
not
is
dancing
also
of
most
the
justness,
the
smile,
beingwhich
expression
both
disguised,
to
of
indulgence
ones;
not
to
men,
strength
professor
that
suitable
of
art,
An
If
shake
they
and
acquaintance
state.
of
baggagesuccess
no
practice
a
any
interesting
the
servants,
the
merit
one
dances,
the
will
a
are
the
break
old
it
how
the
really
sex.
success
her
general
friends,
more,
least
as
âdepended,
effect.
the
highly
very
to
117
aeffeminate
it
and
allow
in
trouble
at
of
is
that
avoid
graceful
poetical
the
necessaries
of
by
to
conclusion,
âIfdependence
charming
female
bring
nothing
have
requisite,
the
serves
or,
and
exhibition.
in
women
after
Philosopher,
they
or
this
be
being
general,
body
those
true,
Isprings;
sorta
their
off,
into
much
or
fable
and
in
a
The
expertness,
remark
of
accompaniments.
dancing,
that
the
agreeable
certain
defective
with
younot
to
composer
of
robbed
in
may
point
in
any
repaired;
the
havecomposer
performers,
then
them
at
piece
which,
ofbewilder
there
of
essential
essay
joined
any
the
than
so
whose
rule
are
due
of
an
the
with
short,
practice.
himself
her
very
in
that,
118a
frame;
too
than
least
as
well
that
this
intended
to
the
dancers
and
willexpression.
great
the
which
requisite
entertainment
pleasing,
his
are
as
being
command
give
making
elegant
was
face.
seeing
motion
before
of
asked
supplied
man
ground-work
but
genteel
the
great
to
make
both
manner.
or
that
legs
she
the
that
is
long
capital,
you,
of
to
with
idea
petticoat
The
in
art,
as
to
production,
adapted;
among
for
execution
in
are
necessity.
picturesque
merchandize
left;
comein
performâd
the
understand
generous
that
âto
cavil
an
talent.
who
at
her
for
steps
should
air
the
might,
point
all
represent
situations
condemned
for
the
a
would
men.
and
Ievery
our
such
should
They,
appears
is
or
121shall
their
for
A
be
to
a
have
shall
poetical
the
a
inherent
her
least
are
the
manner
them
of
fault
it
and
she
to
out
their
or
of
a
required.
breakfast,
amiable
dance
expences;
line
talent
limbs,
the
baggage
spectator
Pfault
figure
at
valued
make
vivacity
is
sex.
had
or
wrote
seeing
false
of
of
the
be
fops
is
gesture
least
in
an
when
not
More
Such
begin
even
their
had
the
after
she
can
see
to-morrow
Alps It
before
an
of
the
of
not
have
the
thatthem,
of
on
will
We
by
even
at
awith
an
well
part
or
any
the
so
to
it,
have
ishis
an
toin
123 P2
Hemore
second,
have
avoided,
and
a
these
particularly
pursue
claim
abundant
she
where
so
dance,
There
dances
ones:
connecting
always
correspondence
intervals
A
absurd
abruptly
hurt;
especially
be
serious.
preserved
this
different
One
nothing
certainly
which
fail
means
The
painter,
arts,
even
or
magnificence,
circumstances.
in
ornament.
indifferent
use
As
excuse
to
perfection
shifts
attempted
skill
And
assistence
an
latitude
fairy-hood,
sight
allowed
probability
reserved
imaginary
the
distinctly
answerable
for
being
method
man
dance
long
making
give
the
bear
in
well
to
established
so
should
those
to
eye,
greater
Virtues
furnishes
the
defect,
public
composer,
arrangement
projecting.
and
it
great
a
towards
the
finished
are
the
to
and
suddenly
satisfied
critical
so.
restore
is
only
it
motley
a
custom
more
of
of
the
be
know
to
and
a
for
than
will
expression,
better
of
power
and
the
was
In
nothing
that
superficial
the
without
in
depth
by
130eye
dramas,
in
of
justifiable
abruptness
thought,
dresses
even
in
airy
decorations
true
marked,
improvement.
128their
spring
justly
deceptions
them
himself
strictly
source
beings,
in
that
introducing
short,
complains,
in
Itheir
this
most
serves
must
inchanters,
127or
those
the
avoid
any
by
the
an
pleasure
to
way
do
mechanic,
fault
so
and
general
ordinary
antiently
that
title
how
it;
from
moments,
the
many
ideal
for
his
it.
mixture
the
genius
of
improve,
that
expectation,
has
adapting
in
than
unnatural
with
of
tacit
in
not
performance,
point
who
is
part
on
There
tossed
The
acts,
composition
but,
suspicion
exploded
being
fine
The
to
of
meaning
disgusts
trite
even
of
the
incapable
such
observation.
the
effects
composition,
harmony
such
not
of
are
them
mechanics
moments,
kind
than
of
whether
connected
to
Vices.
to
or
be
such
and
methodically
those
made
mean
diversion,
one
is
characters
all
beholder
by
other
the
French
in
must
agreement
the
of
this
the
for
and
render
tragic
managers
term,
obstruct
the
a
of
precisely
order
the
in
known
no
thoroughly
subject
disposition
and
in
are
with
carried,
in
there
deficient
objects
an
the
her
of
superhuman
the
from
characters
hint
and
are
as
another.
the
as
more
any
example,
with
performers
the
parts
Unless
inconsiderable
disorder,
from
who
tragi-comedy,
subject
showy,
justly
patchwork,
the
great
a
124heterogeneous
so
parts;
even
few
of
by
is
machines
studiously
light
holy-day-cloaths.
great
the
actor
serious,
application
art
propriety,
essentially
and
great
of
fable,
simplicity
are
the
public,
transition
especially
those
which
the
subjects
pantomime
of
a
be
when
flattery
of
much
in
as
sees
the
to
want
spirit,
will
a
have
mechanical
natural
and
speaking
a
artists
the
very
shall
of
He
is
allegorical
and
that
the
he
those
any
exploded
have
notoriously
point,
like,
comic
of
perfection
observed.
would
the
little
in
between
thought,
the
serious
but
until
with
degeneracy
where
And,
not
of
imitation,
dancing,
best
struck
reason,
or
assume
is
will
in
may
merely
theatrical
to
differences
nothing
is
them
infrigidate
the
may
imitative
of
as
not
to
no
comic,
insipid
a
it
other
appear
dances,
and
invention
unpleasingly
artists
aptitude,
not
personages,
the
those
rural
probably
in
especially,
very
operate
something
diversion
between
who
of
as
composer
dances,
the
this
it,
should
that
consequences,
discover
which
repetitions
is
but
where
masters,
dance.
then
intention
on
necessary
imagination
very
to
the
then
without
their
otherwise
to
the
giving
with
to
part
intolerable
which
persons
than
animation.
painters
entertainments
from
dramatic
the
whole
that
adulteration
afford
part
the
impersonation
attention
characters,
a
their
part
high,
have
the
Nor
sensible
should
the
of
or
transformations
botch.
but
the
here,
attributing
considers
faulty
the
see
mechanical
just
dances
so
the
coolly
arts,
illusion.
have,
of
a
have
his
simplicity
composition,
audience
of
farcical!
them.
the
in
audiences
By
for
grounded
air
is
the
dances
discernible,
of
mind.
is
the
its
sameness;
however
mirthful,
of
themselves
dance
from
essential
as
being
best
that
not,
and
their
this
any
Iis
London,
of
and
to
very
129encouragement
of
initial
it
there
cannot
this
Europe.
either
this
know
of
do
dancing,
broken.
fire
to
first
The
and
have
in
managers
that
concluded,
be
acts
the
dances
availing
amiss
this
composition.
the
review
at
is
that
to
pass
novelty
the
At
Qperhaps
at
art,
thing
over-dressing
of
them
to
in
obvious;
And
interest
contrast
interesting
of
irretrievable,
the
from
at
operation
her
well
is
least,
the
subject
are
there
crudity
the
it
direction
has
idea,
the
times,
they
employed,
choregraphy
their
poet
him.
and
of
art,
would
any
of
expletively
same
nature
composition.
and
execution
is
contribution
its
on
from
to
come
of
differences
where
are
unnoticed.
of
to
entertainment.
in
The
and
The
no
simplicity
a
frequently
of
and
assorted
as
audience;
indispensably
it,
the
different
may
that
they
in
all
same
the
them,
this
highest
themselves
and
the
performers,
thing
deep
this
an
be
with
some
should
in
is
Every
pieces,
which
from
that
performed
considering
not
place
and
possible.
atoo
their
the
experienced
quickness
to
without
be
all
of
thing;
spectators
both
heathen
not
in
him;
up
pre-supposed
trouble
entertainment,
very
fine
in
is
requisite
introduction
country.
moral
be
they
never
deceptions
of
mistake
How
its
the
the
time
indeed,
of
her
his
their
make
connection
clearly
tragedy,
mean,
the
executed
pitch
absurdity
the
to
affinity
not
one
the
interruption
for
them.
furnished
their
will
where
effect
they
pitch
be
entertainments
dramatic
introduced
the
to
utmost
exigences
or
of
sparing
It
or
them
composition
between
imitation
and
are
and
grace
worse
of
effects
void
varied
When
easy
composition
mirthful
Beings,
the
having
think
character
is
mind;
greatest
in
nature,
They
that
writers
lead
to
noting
deities,
of
public
their
what
musician,
here,
characters,
there
ought
The
with
low
surely
too
necessary
cultivation
in
they
of
equal
a
the
It
dances
The
cannot
is
study
to
there
perfection
amusement
of
rules
the
in
to
composer
in
too
of
is
consulting
maturity.
has
for
inventing
to
rarely
him
reproached
of
he
of
131should
and
the
with
action,
manifestly,
or
and
with
taste
respective
this
characters
which
thread,
dance;
and
disposition
bring
themselves
which
not
the
costume,
recourse
variety.
have
objects,
whether
are
matter
dances,
is
he
could
a
tautology.
to
of
if
to
purely
where
not
in
is
shall
or
an
a
of
just
is
to
Q2such
piece.
Iand
bear
in
the
point.
it
to
a
should
avoid
same
juster
the
great
may
the
of
less
125of
here
the
on,
is
far
been
are
is
the
be
and
not
to
the
his
126will
of
a
by
to
of
to
132
most
Among
regrettable,
Greeks,
bodies.
occasions
their
them,
loud,
imagine
afforded,
delight
actually
all
necessary
They
for
keep
These
with
exercise,
the
The
dance,
so
than
lies
music
Where
and
chosen.
must
diminished
new
decorations,
endeavour
production;
he
least
preserving
imitative
manifestly
correspondent
accompaniments
machinery,
poem,
to
rather
of
something
difficulty
making
feeling
proceed
becoming
the
need
obvious
martial
can
asame
action,
upon
composition
fatigue,
genius
theatrical
aa
some
few
daily
bad.
up
were
would
neat
be
military
common
spectator,
was
and
martial
surprising
a
thrown
performerâs
dances
neglect,
procure
is
what
they
the
Sometimes
the
which
But
going
pleasure
this
towards
strictly
138or
days,
arts,
a
like
in
133perfection,
they
an
But
and
training.
to
degree
performed
persuaded
to
left
and
to
point
dancer,
so
many
of
makes
ambiguity.
a
if
else
the
aid
then
even
took
a
essential
kind
he
or
keep
the
impertinence;
be
the
right
his
not
make
each
dances,
as
more
especially
into
in
exercise,
to
they
are
subjects,
various
for
intelligible
and
consequently
they
performed
so
requisite
for
paths,
of
without
brilliancy
aims
preserved.
have
marked
the
of
to
exactness
meet
not
the
art
character:
the
in
Greeks,
of
with
losses
than
for
words,
its
well
of
well
up
the
that,
it.
choice
well
nation
in
they
In
the
which
used
dancing
it,
the
proper
sublime,
exercise,
observed
its
expression
success:
to
embellishing
our
or
own
at
truth
Where
that
his
by
time
to
then
drowned
and,
inspired
all
have,
most
manly
matter
known.
the
Nothing
composed,
music,
please
power
most
color
expressing;
adapted
falling
that
a
or
which
had
the
accompaniments
a
by
theatres,
being
for
the
of
it
manner
making
well
it
among
and
in
suppleness
composer
of
enemy.
numerous
produce
of
that
Objects
decorations
sensible
was
and
is
motion,
can
their
which
way
lively
out
military
the
in
conveying
none
panoply,
only
to
splendid
advantage
the
of
exercises,
peace,
in
but
scarce
a
of
of
and
composed
into
Nothing
each
this
or
them
some
the
of
at
qualify
the
life.
numbness
what
dexterity.
of
not
never
the
especially
best
of
regret;
music.
competition,
costume,
arms,
affect.
the
bucklers
135as
out,
which
action
once
that
nature,
could
forms
they
was
nature;
the
And
art
unpardonable
diversion
tune
must
varied
best
of
to
form
age,
gestures,
profession.
the
this
with
operas
of
needful
cannot
band
most
he
136or
and
has
always
be
knowing
time.
suiting
can
them
can
that
indeed
and
its
obliged
of
dances
may
While
that
from
they
be
A
is
or
of
can
complete
performers
way
a
imaginable;
in
be
kind
of
dance,
but
as
expected
and
painting,
The
real
are
combinations
all
meaning;
sustained,
picturesque
athletic
impossible
double
and
of
insensibly
and
pleasing
be
of
which
airs
produce
admitted
conformity
of
diversion.
the
neither
And
of
much
give
for
get,
inventiveness
be
and
were
to
agreeably
of
its
the
an
music;
provided
of
all
and
the
as
desired.
not
the
where
martial
this
genius
Italy,
javelins
of
should
how
to
variety
preserving
insist
obtained,
the
If
exercising,
dance
agreeable
may
here
well
this
towards
of
passions
errors.
it
athe
natural
airs
incumbence,
adapt
the
supplied
dances
attitudes,
suits
disposition
enabled
martial
diversion
picture,
is
and,
that
exercise
exagerated
most
objects
a
far
had
but
been
for
who
into
aided
it
diffuse
one
as
susceptible,
very
on
musicians.
to
more
will
practice
it
to
simphony
never
to
sight
was
should
in
that
of
it
of
disposing
may
the
its
of
an
to
his
where
not
the
the
is
heroic
an
and
their
surely,
were
the
their
he
not
in
attempted
armour.
fire,
and
justly
old
their
make
is
entertainment,
as
to
and
affinity
to
artist
considered
disagreeable
allowable
of
without
there
motions
clash
representation
armour,
than
to
been
action
itself
intended
importance,
was
for
lose
be
must
a
subject
exhibition
be
execute
historical
of
he
the
nature;
stop
ones.
had
sentiments
hands:
as
the
evolutions;
merit,
necessary,
not
neither
set
beyond
observed,
invigorating
enterprizes,
health,
body,
that
be
affraid
It
not
could
so
the
who
sight
what
of
if
his
be
life,
over
trained
at
be
Strengthened
is
with
time
been
thoroughly
to
off,
so
they
deemed
fatiguing,
much
their
exactly
And
least
practised
the
no
want
impossible
respectively
to
accompanied
subject,
he
for
content
avoid
has
execution
of
but,
expressive
these
to
of
these
point
the
wish,
as
by
representation
the
be
and
probability,
of
perplexing
neglected,
sufficiently
had
least
will
the
his
where
discordance
from
bear
his
arms
up
even
with
the
of
how
striking
being
of
while
his
to
on
imitated,
whole
should
other
its
137to
a
art,
their
dances,
create
was
manners
the
of
he
duty
to
been
them
134dances
have
in
certain
with
the
talent
small
action
its
expert
by
Rthe
all
being
much
which
such
the
must
the
fitness
to
a
of
the
to
nature
by
to
being
body.
as
the
mind
those
in
out
have
the
abut
nor
not
of
an
so
in
* 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. 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, lâinvitarete a ballar: anche ello, menando
I piedi, a segni dira, âballiamo,â 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 sâabbiano 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.

139 R2

DANCING. 31
 SOME

SOME 32
THOUGHTS

THOUGHTS 33
 On the Utility of

On the Utility of 34
Learning to Dance,

Learning to Dance, 35
 And Especially upon the

And Especially upon the 36

 MINUE T.

W
weight,
artist
availing
favor
After
view.
treatise
The
young
ought
And
skill,
never
There
rest
much
â man
is
dancing.
learning
not
as I, in quality of a dancing-master, to offer even the strongest reasons of
inducement
understanding,
behaviour,
master,
worse
perfect
Quintilian
most
orators
pleases.
grace.
often
In
surmountable?
presence,
this
a
appearance,
and
breeding,
unconsequential
Such
designed
ease,
stiffness,
rusticity,
natural
wrong
more
ingratitude
themselves,
acknowledged
sensible
As
practice
it
expected
surest
It
than
sex.
some
carried
yielded
extreme:
allowed,
education
body,
country
beauty,
plight
that
caracterized
figure,
or
antiquity.
training
Grecians,
composed
equally
idea,
at
exercise;
habits
diseased
was
observed,
liberty
Considering
among
eligible
dancing,
of
being
degree
purely
dissipate
active
motion
seat,
entertainment,
such
Certainly
depraved
firmness
delicacy
their
all
far-fetched
But
good
clean-limbed,
prevents
disagreeable
constitution
whose
be
exercise
one
contribute
giving
limbs,
itself
any
place
Nothing
hunting,
would
another
assemblies
this
some
a
the
Greece,
diversion,
Paris,
in
their
to
called,
while
of
as
omitting
even
that
in
country.
thing
Chevalier
would
easy.
vicious
of
that
most
this
delicacy
The
or
the
among
gait,
constitution,
stomach,
sedentary
not
are
this
one
as
effects.
pliable,
the
of
manliness,
too
freedom
postures:
honest
jigging,
antients
what
theNothing
Dancing
To has
conspicuously
and
it
in
which
as
susceptible
to
give
are
not
Grecian
than
all
and
history
kind
early,
how, a
of
way
art,
Prince,
for
To
from
the
necks
of
which
a
is
this
of
graceful
gesture:
graces,
at
to
the
among
from
of
which
pleasures,
in
passions.
house
the
is that
an
for
the
either
myself
is
a
however
more
wonderful
of
vehemently
men
and
that
which
branch
of
representations
various
consider
and
he
of
body,
among
very
certainly
the
constitution,
circulation.
ladies,
obstructions,
independent
as
those
âfrom
but
to
introduction,
more
of
they
whom
for
we
so
or
certainly
not
motion,
indeed
rather
the
to
freedom,
greater
as
least
he
cultivate
lowers
that
âImore
war.
which
education.
best
much
the
not,
but
place,
world.
no
144preventing
that
this
and
its
art
of
the
âto
consequences.
both
none
their
parent
to
extreme
the
highest
condemned
correct
occasion
to
the
it
might
such
in
deficient
if
and
foolishly
be
knows
the
to
which
At
sloth,
disdaining
the
my
gathering
his
are
people
and
for
find
we
attracts
which
the
Such
then
a
in
preserving,
maxim
laying
dances,
receive
a
has
or
sake
Nature,
âfree
De
being
few,
is
perhaps
luxury
not
amusement
women,
who
only
in
should
which
avoid,
those
their
learn
acquiring
country-gentleman,
necessary
and
study
represented
it;
regard
(says
after
being
ofitthink
gives
for
Lordsof
exercise
at
art
their
not
art,
mincing,
so
insist
equitably
and
of
Ihabit
tincture
air
court,
amusements
settled
neglected,
croud,
their
greatest
efficacy
of
carriage.â
certain
153
easiness
ofWe can
observing
to
there
art.
places
sexes,
procuring
Grecian
the
provinces
to
make,
supposed
weaker
clumsy
they
he)
a its
games
of
short,
at
riding,
all
Spartan
he
the
Hellen
who,
exceed
Ramsay,
suppleness,
inconvenient
that
people
the
at
thoughthis
the
find
recommended
degree,
(page
up
to
that,
much
it
of
figures
that
we
think circulation
breeding
enable
to
and
as
effects
the
looseness
to
in
of
poetry,
they they
hold
besides
this
the
imagined
and
that,
healthy
Tall;
at
in
defects,
not
purity
possessor
advantage;
pale
ages,
the
highly
says,
a
pale
pleasure,
was
least
in
it
this
becomingof
raise
one
declaimed
of
the
dancing,
of
spirits,
and
on
ever
diseases
own.
to
male
as
be
a
partial,
this
our
which
first
children
have
or the
are
appetite,
still
authority
be
fair
who
even
advantage
the
can
which
great
once
is
themselves
of
be
appears
have
are than
from
Imore
which
give the
an
least
who
point,
negligence,
even
natural
of
kind
cure,
shoulders
either
in
and
a
of
day
to
body
than
encourage
that
of
can
need
or
brought
merit
the
of
they
abandon
was
tripping,
figures;
14.)
of
one
acquired
mistaken,
sex.
a
an
Commons,
should
it
to art,
beauties,
sickly
in
physicians
ladies,
indifferent
that
as
would
thisthe
diffused,
color,
high
sloth
or
blessed
power
unknown
women
sex
last
those
greater
diseases,
the
accumulation
gesture
excess,
and
them
public
sight,
chace,
of
smother
more
in
them
hardly
be
the
contempt
145
once
now
much any
author
has
springs
dexterity,
that
withall,
world,
because
in
and
interest
serviceable
of
exercise,
should
all
a
to some
that
a
exercise.
unites
were
admire
the
accomplishment,
to
encouraged
so
indolence
highest
of
teach
Spartan
enough
qualifies
even
using
should
efficacious
thickens
of
they
robust
dance,
143 endanger
making
the
morals,
a
light
they
that
or
the
manlybounds
as
is
imagine,
frivolous,
His
laboriousness
graceful
of
that
obliged
S
gives
than the
not
consideration,
to
yet
advantages
who
sex,
and
of
allegation
of
not
is
opinion
art,
in
take
Spartan.
heavy
done
handsomemany,
other
awkwardness
are
corpulence.
regard
hue,
the
governments
in
so
ever
with
of
at
imagine,
richest
against
and
to
carriage,
gross
confidence
consists
the
lost those
that
especially
practically
to
of
imagine
the
of
and
figure
these
susceptible,
Grecian
resort,
every
passions,
be
capable
more
mebe all
following
the
views
it,
ânot
that
among
over-soft
young
measure
be
owed
remain
the
to
exercises
round,
necessarily
âgiving
by
only
ease
of
in
could
others,
since
149beauty
only
least
and
oneself
necessary
to
what
in
the
not
motionsand
produce
that
use
mere
Iand
the
sure
an
if
most
internal
like
taught them
in
that
which
in
leave
the
methods
especially
where
graceful
the upon
countries,
about,
now
rank
and
itself
blood,
that
stress
which
all
thoughtsCyrusâs
so
inseparable
and
ashamed
austerity,
nothing
exercise
of
and
body,
nature
method
preserved
they
itself
their
keep
prescribed
answer
commands
joinedpersons
As
themselves
proportion,
the
to
British
freshness
otherwise
the
and
foot-races,
art,
address,
of
or
countand
Chevalier
ill
practice
the
gait.
conversation
by
will
exercise,
concussion
suffers
agitations
to
and
as
modification,
for
distinguished
cloaths
where
were
the
others.
much
milder
to
means.
Yet
this
is
the
when
to
a
not
154
passable,
only
an
give of
any
ladies
to
and
it
that
of
diversion
violent
repaid
chest
cards,
in
themselves,
the
compatible
that
with
self-sufficiency,
preferable,
dances,
in
to
who
perfection
action
by
to humors,
and
the
so
offering
their
who
under
was
education.
proves
favorable
description
it
imagine
graceful
too
it
to
so
every
the
foggy
to
want
affectation
passage
up
debase.
it
of
greatly
gross
liking,
perhaps
compensated
their
on
this
manner.
a
prevailed,
advantage
as
principles
Europe,
On
a
person;
âgrace
the
in
and
On
training
us
but
will
false
that
with
part
capital
nothing
would
prevails
cultivated
their
ends
for
power
habit
but
the
travels,
accomplishment,
of
their
being
in
it
languid
race
of
external
intail
for
the
fashion
aair.
appearances
we
of
much
yet
this
that
general,
152
ill-fashioned
qualities
it.
that
motions
young
children
gests,
that
dance
the
and extenuation
in
no
three
and
methods
were
of
outward
But
and of
in
and
narrow,
the
health,
that
the
of
tovery
last
the
of
and
public
legislator
amusement,
Greece,
the
point
for
conveyance.
justly
give
or
of
activity.
fatigue.
lives.
fine
the
giving
beauty,
to
will,
Ramsay,
motion,
vices
humors
humors,
early
beauty
from
same
dancing
them,
aquoting
whose
higher
innocent
presenting
of
nothing
their
and
that
whether
littleheld,
where
see
delicacy
checks
of
utility
natural
It
dancing
did
from
shape,
numbs
of
proposed
part
or
find
whole
resulting
in
considering
of
that
other
is
especially
graceful
and
modesty
140conquering
certainly
on
contrary,
especially
much
to
especially,
they
females,
and
the
carriage
142 colors
you of
money
equally
an
their
the
prepossession
Its
not
the
notion
of
naturally
to
great
young
for
is
with
of
men
in
not
improvement
the
to
sprightliness
state
141of
a
not
has
of
with
than
especially
how
lose
of
155
children,
the
put
as
airs them;
These
country;
this
opinion
the
first
their
of
figure
years,
150
attention
that
to
so
body.
or
soon to
statues,
and
the
their
air
coaches
one
them
more
diversions,
in
purpose,
chief
of
and
it;
becoming,
being
an
exercise,
person
not
their
celebrated
his
an
like.
of
only
female
it
bodily
many
all
weakness,
muscular
rank
their
more
of
Be
in
over-nicety,
it
would
hand,
And
that
the
which
becoming,
person.
glow
or
education,
be
by
them
T2affect
Mr.
standard
in
of
that
but
disdain
could
and
better
education;
their
the
âhas
abolished
while
the
would
of
greatest
he
ends,
âand
purpose.
exercise
which
is
being
art,
much,
what
they
children
impressions
those
excess.
which
that
of
to
agreed,
dancing-master.
gracefulness
three
off
must
all
much
to
nothing
art;
and
mind.
our
the
more
a as plan
may
subsisting
to
them
of
ladies,
who,
Iinnocent
this
reprobates
shape
partiality
the
from
that
account
its
obtained
young
One
arts
beallin
itself,
be
themselves
besides
aim
are
ease,
attended
gave
exemption
mind.
far
it
that
generally
and
At
Locke,
when
where
of
by
be
such
historians,
graceful
health
carried
nerves,
what
its
followed,
on
fittest
not
especially
study
do
florishing,
point,
for
of
reasons,
146which
it
frame,
aversion
prescribing
can
is
in
so
of
figure,
â
becoming
sounds.
lives,
hat,
they
thinkwhere,
any
for
those
being
or
not
in
sure
a education.
sloth
operate
the
a
or
moved
at
goodness
life,
least,
confessed
that
thanof
is
from
purchase;
dancing,
than
of
especially
the
a
in
not
has
being
the
people,
in
their
has
is
above
as
especially
aappearance,
the
to
it,
they
if
either
a
sort
health
solidity
better
of
that
A
whole
andagreeable
time
exagerated
other
texture
also
and
not
chairs,
the
foreigner
that
were
such
owe
education
will
at
bodily
Tronchin,
of
Not
them
little
hardly
Agreeable
freedom
of
it
do
to
perfection
and
the
a
not
ill-habit
short
some
genteel
of
in
most
to
great
give
or
nothing
riding
derived
and
in
for
to
greatest
strained
âwhich
preferable
best
in
this
the
since
children.
been
is
they
or
can
just
whose
formation
from
universally
the
strength
being
apish
and
by
their
bring
â
gentleman.
are use
in
that
such
of
as
but
color,
imitation.
graceful
and
of
it
to
remains,
any gimnastic
at
amiss
same
agility
with
excelled
in
prevent
more
his
teaches
cannotare
at
confessed,
what
natural,
agility
form
serve
to
nymph-stile
that
limbs
a
all,
and
an
principally
the
that
to
is
of
their
motion,
make as
inactivity
monuments
against
a
Iall
from
more
the
capable
have and
of
carelessness
art.
nor
with
a
partiality
did
their
be
all
the
that
competent
advantage,
are,
to
never
first
least
of
and
in
defects,
principally
improvement,
their
which,
not
deficiency
an
is
not
in
may
147
Xenophon
than cramps
among
a
judicious
run
ungainly
148is
so
the
competent
keeping
sex,
that
to
The
none
but
confidence
above
assembly.â
For
thing.âof
must
this;
as
deportment:
fat,
their
disorders
obviously
an
of
affected
carriage
expressed
forth
in
professors
Ineglect
a
puny
the
or
not
and
make
more
a
else
their
in
time,
gives
as
general
distinguish
ânot
less
prescribed
to
great
vigor
external
here
enemy
age,
which
their
are
for
excess
nor
be
their
and
ahardy
easily
of
what
to
less,
inlarged
sort
the
sight
be
to
its
for
of
false
â
151
S2the
opinion
into
Thence
depends
gentlest
and
can
the
one
confined
shape,
or
Spartans
which
free,
that
of
hardly
view
good
the
to
of
behaviour,
a
a be
isgood
yet,
all
leg
The
it be
in
but
good
distinct,
want
have
the
poets,
so
an
a
which
ease
poison
only
Thishe
while
utility.
hardly
the
rare,
Iwas
bad
the
to
most
fair
learned
tendsas
the
by
it
than
mean
a
the
every
of
and
of
that
days
things,
tells
this,
like
andof
may
the
rest
is
of
an
only
of
or
of
to
the
of
knowits
of
is
an
usof
in
it
is
to
156
Dancing
confined
displaying
improvements
But
purposes.
greatest
either
Yet
attainment.
that
on
be
forth;
defects
sometimes
such
of
mechanical
carriage
vain
neglected,
children,
and
impressions,
worst,
consequence
in
afterwards
Those
practice
which,
sensible
Ithe
with
graces
have
the
itsome
strictly
Itraces
where
their
can
almost
silly
all
speak
thing
in
world,
in
masters
mentioned
myself
and
though
in
the
are
others
with
only
influence
furnishes
of
private
effect;
particular
than
at
hint
minds
him
forbidden
of
their
only
as
who,
against
easily
the
even
not
agility
uncurable,
the
part
every
Such
contract,
under
their
their
be
then
of
learning
seen
had
that
it
have
who
of
the
age
and
native
the
self-recomdation;
instead
or
conveyed
may
158of
converted
curable.
an
this
the
individual
and
braved
former
on
then
knowledge,
of
parents,
public
dancer
it;
motion
the
destroying
gentlest
such
possess
when
most
when
also
to
attempt
such
the
their
deprive
but
distinction
dance
under
a
sprightliness
graces.
the
celebrated
another.
to
of
minuet,
pretended
doubtless
men,
ductile,
excellence.
the
assemblies,
superannuation.
their
the
elegantly
a
can
manner
by
teacher
or
teaching,
into
or
exercise
the
learner
bad
here
air
spirit
them
the
fair-sex,
them
159
157those
But
resources
only
at
muscles
graces.
real
In
or
which
of
choice,
such
would
once
and
noting
with
but
Dupré,
as
some,
must
of
their
indeed
a
of
be
masters
of
executed,
requires
by
charged
grounds
stand
is
good
to
performance.
it
who
somewhat
or,
teachers,
purely
youth,
practically
whose
any
a
may
requisite,
affectation
in
be
It
are
men,
is,
respective
show
or
salutary
even
occasionally,
their
will
the
any
are
master,
themselves
vain
purpose
description
that
at
most
be
of
different
for
with
and
of
sphere
fencing,
easily
graces
how
near
against
forms
consequently
natural
this
dance
proper
and
their
young
bad,
the
of
the
flexible,
amusement,
taught
with
the
is
most
they
art,
their
merit,
the
There
of
impracticable.
then
sake
to
one
awkward
minuet
art,
of
merely
education
instructions?
specifying
graces
to
riding
the
such
even
people
in
of
who
age
be
exercise
the
may
assuredly
youthful
by
be
of
find
be
need
the
of
their
will
and
usual
carefully
air
the
of
powers
a
can
recommended
giving
on
granted
susceptible
and
offers
be
by
figure
need
in
good
still
of
sixty,
answer
habits,
and
and
of
limbs
the
most
their
only
palliated
book.
depredations
of
the
is
rules
many
being
vigor,
long
not
a
naturally
Who
an
youth,
its
only
theatre
gesture,
master.
The
of
checked.
and
dance
finest
caution,
that
give
the
agreeable
uniting
that
services,
opportunity
pleasing,
very
The
for
in
remain
other
taught.
laying
has
does
to
of
of
most
the
and
there
them
its
placing
are
be
dead-letter
disposition
the
the
at
itself.
to
valuable
scarce
and
more
their
way
too
not
Where
Paris,
called
one,
of
a
not
to
supple,
best
with
is
The
the
as
fights
stress
the
age;
them
often
know
of
no
of
if
must
aathe
the
160
Such
or
But
and
doing
graces
For
performers.
admonished
air
management
manner,
modesty
ease,
It
Nothing
follow,
freedom.
minuet,
removed
There
ever
the
point
effect
enter
poking
on
considering
than
Certainly
set,
without
might
with
the
of
example,
feet.
strict
other
though
and
principles
strictly
that
is
sinking
a
and
justice
of
isMamaâs
than
of
the
a
the
room,
affectation,
when
be
has
another
turning
their
to
of
mere
by
regard
nothing
On
of
graces
air,
of
161neck,
too
the
advantage
there
the
easy
that
the
which
recommended
even
ato
natural
the
Uto
and
instead
position,
of
beauty,
or
auckwardly
better
of
A
rote
trite
turn
inflections
eye;
oneâs
perpetually
bow
gracefully,
the
to
merely
due
a
point
contrary,
and
of
the
or
is
can
rising;
apublic
she
be
that
no
of
stooping
good
or
to
their
arms,
gracefulness.
in
or
art,
effect,
attention
noble
of
give
and
imitation,
scholars
paid
of
stifly
mention
and
will
necessity
short,
curtsy
being
dance,
bridling,
to
as
great
assembly,
not
knees
performance
executed.
of
nothing
and
of
have
agesture;
the
to
in
with
port
teizing
those
nor
pointing
more
the
the
having
to
the
at
so
should
particularly
position
importance
to
extends
here
out,
the
more
of
been
every
without
neck
for
the
head,
signal
without
often
teaching
give
keeping
who
noble
is
the
remonstrance,
diffusing
by
without
most
which
been
It
what
opening
the
more
prepossessing
corrected.
also
and
natural
head.
gives
them
are
in
told
aor
of
to
an
air
chin,
vulgar
163the
in
learners
the
content
is
head,
time
to
be
other
disgustful
will
to
of
to
aim
to
which
U2the
so
such
those
Many
easy
over
remaining
make
the
all,
given
hips,
turn
as
occasion
power
the
consequently
indispensable
with
or
at
other
and
occasions
if
but
dance,
giving
minuet;
an
the
of
whole
grace
with
improper
they
excellence
to
essential
their
very
to
shoulders,
itto
the
in
âhold
ill
especially
than
of
to
enter
their
show
whole
extreme,
the
favor
impression
acan
for
the
part
pretty
toes
the
music.
of
made
person
superficial
but
that
motion
profession,
up
turning
of
a
so
which
first
ladies
never
hand
carriage
instructions
execution,
of
give
of
out,
free
appearance
and
which
or
deep
your
and
ladies
with
initial
the
the
to
of
impressions,
than
originality.
they
the
play,
with
way
so
of
be
the
especially,
holding
body;
as
it,
dance.
head,
into
an
tincture
in
the
162much
of
step
lose
but
the
and
true
is
so
it
the
a
should
fact,
air
is
performance
the
an
not
the
is
genteel
instep,
as
to
captivating
indifferent
a
head
Miss,â
much
especially
of
in
direction
it
wind
at
air
in
worse
to
head,
the
like
easily
grounds
up
of
life.
the
dignity
least
as
which
course,
be
of
the
finely
this
too
graceful
sits.
most
to
of
they
without
noble
This
either
fault
the
but
stiff,
art;
to
is
and
toof
164
Butof
air
their
inclined
capital
true
rise
elegant
Nothing
it
and
to
manner.
dignity,
must
instruction
time,
an
to
can
fallthis
air
be
from
more
to
or
Nothing
to
impossible
defect,
turn
grace
the
the
than
in out
learning
execution
graceful
then
of
to
that,
their
politeness.
endeavor
forisset
those
knees,
the
more
bending
either
off
minuet.
the
who
or
recommendable
They
and
of
show
of
avoiding
stoop
the
to
the
It
must
slide
is
the
minuet,
instep,
also
their
always
beauty
ittheir
by
not
heads
or
than
isastep
enough
not
of
retain
particular
of the
for
the
down,
attended
neatly,
those
serious
something
steps.
to to
take
attention
ifwho
give
to,
that
theatrical
the
which
are
their
of
flexibility,
minuet-steps
to
ignoble
naturally
figure
this
gives
dances.
in
or
so
any
165
expression
an
displeasing,
openness
may
low
But
naturally
the
but
art,
It
should,
pleased;
transient
power
There
is
natural
some
that
with
is,
to
The
spontaneous,
them
should
is
that
frustrate
that
amiable
rules,
to
breeding,
illustrated
especially
simplicity
intention;
affectation.
be
up.
acquaintance,
falsity,
is
make
execute
to
of
it
and
from
aaand
also
please.
affectation.
genteel
never
and
captivating
any
in
vice
of
and
its
so
than
the
ahis
mistaken
thus
be
accidental
that
when
wrong
one
of
distinguished
incumbent
by
there
own
consistent
in
abut
even
face,
knowledge
They
recommended
nature
minuet
dancing,
a
proper
by
sort
almost
froward
design.
lets
166unchecked
at
is
breeding,
It
building
a
person,
modesty,
without
vanish
not
for
of
least,
is
noble
itself
is
in
advantages
practice,
essentially
gaity
even
on
may
the
aagainst
an
aor
of
means
figure,
very
an
be
with
at
frankness.
aaxiom
upon
the
great
too
the
soon
or
and
with
by
superficial
without
to
the
artist,
seen,
no
least
superior
pensive
the
are
grounds
affectation,
which
the
some
of
chearfulness
solid
first
the
fountain
be
more
breeding
different
ofpleasing,
principles
required.
and
dancers
not
tincture
made
form
any
greatest
appearance
Nothing
principles,
pupils
notion
knowledge
to
true
amanner,
wherever
of
of
look.
or
of
rest
to
his
from
at
that
which
of
than
manner,
cannot
all
though
of
acquit
of
in
all.
can
modesty,
art,
satisfied
the
There
any
the
the
bashfulness
that
the
preferably
itthat
it
of
at
be
minuet,
of
isgraces;
indecent
serious
is
depths
be
himself
countenance,
nothing
it:
once
desire
recommendable
may
more
the
able
insure
the
seen,
and
too
with
insteps,
graces
poisons
be
to
that
ever
carefully
out
and
from
the
or
to
of
tolerably
it
the
having
which
can
air
tell
ais
grave
pleasing,
mere
of
it
sprightly
curse
refinements
and
to
of
permanency
sure
himself
which
more
always
are
character,
and
which
have
levity:
arises
pleased:
lucky
adances,
incompatible
to
of
167to
smattering
dries
surely
they
offend,
which
affectation
a
an
guarded;
vacancy,
builds
enter
why
will
as
either
minuet;
hits,
flow
there
or
of
give
he
with
he
of
defeat
is
into
or
the
even
on
and
his
from
has
so
to
of
it
a
it
an
168
Nature
nobly
want
been
last
unpoisoned
rural
design
country-maids,
but,
affectation;
constitute
be
themselves
who
justly
before
but
is
engaging
It
nature.
bring
Imperfection
unpleasing
the
chosen
may,
place
The
a
excellence
temporary
sometimes
But
manner
polishing
helps
itself
performing
This
whom
in
his
those
superior
utmost
contrary,
general
of minuet
is
more
this
his
poisonous
the
more
method
dancing-master
foundation
minuet
wretched
how
besides
then
case,
truth
even
admirable
secret
dances
dances,
into
of
in
spoiled
with
famous
to
her
reproached
modest
of
serious
his
dance
he
but
does
perfection.
in
On
this,
strongly
opportunities
knowledge
in
wear
other
shall
air
essentially
no
gracefully
and
he
of
in
otherwise
and
the
own
nature
can
the
it,
which
advantage
that
in
the
and
faulteringness
derives
an
them.
of
of
but
notoriously
by
the
this
like
paradox
those
confessed
not
as
give
exotics,
or
especially
where
the
substitutes
book
masterâs
fashioning
those
off
display
stile.
171noble
teaching
well
generality,
easy-genteelness
masters,
advantage
merit
contrary,
affectation,
of
prerogative
those
in
of
relative
then
perverted,
effect
most
a
will
refuse
inculcated
we
and
any
performance
a
to
many
innocent
X2dancing-master.
rural
give
Not
De
its
of
proverbial
executed
of
is
masters
different.
the
simplicity
be
the
should
in
in
to
and
thing
well
inimitable
advantageous
those
or
all
over
not
merit
of
theory
LâEsprit,
that
his
himself
cultivation,
the
it.
easily
infected
lessons
business
contributes
say
not
assemblies,
influence
most
other
generality
of
natural
it
the
the
to
who
of
to
His
to
combined
profession,
will,
by
education
is
of
a
country
mirth,
than
he
only
present
that
latent
the
from
which
make
air
guard
give
moment
the
other
much
in
and
indifferent
by
scholars
clownishness
granted,
pleasing,
wrong
remark,
objects
of
are
confined
of
in
obliged
for
nothing
true
and
have
graces
with
the
by
at
the
air,
a
manners,
nature.
is
it,
an
graces,
the
of
practice
give
so
ones
way
couple
the
dances,
avoiding
of
but
other
a
Those
rather
superior
they
their
greatly
has
ourselves.
there
the
deportment
more
point
steps,
grounds
total
by
observation
instruction,
scholar
apt
it?
made
to
noble
teachers,
in
of
and
were
impression
that
to
by
she
for
for
ainseparable
art,
in
more
his
minuet,
break
given
Nay,
pleasing
actions,
imitative
are
excellence
times.
to
greater
for
the
false
neglect
who
to
numbers
may
his
of
deep
his
the
cramps
ever
a
which
and
will
no
to
practice
in
assurance
so
mistake
there
one
generally
them
exceptions,
extirpate
light.
sufficiently
sprightly
that
and
this
young
scholars,
strongly
form
greatest
the
to
forth
gentleman
humorous
pleasing
well
understood
It
be
refinements,
not
gestures,
ayou
unknown
He
Marcel,
in
or
has
an
in
of
the
172freedom
master
is
he
principles
of
carriage
to
skill,
found
has
the
bear
all
known,
himself
the
by
a
who
the
impossible,
in
from
so
no
indifferent
in
are
to
airs
and
them,
in
his
had
a
spectators;
genteel
occasions
known
ease,
than
their
been
bad
which
faculties;
actual
exemplified,
common
that
sensible
point
skill
inconsistence
which
essentially
gait,
productions
most
in
pupils.
being
have
my
against
for
some
whereas
handsome
practised,
should
mention
the
or
toand
the
this
of
models
and
constantly
danced
to
dance
in
170native
graces,
more
of
ever
wrong
and
artifice
that
of
a
natural
agreeable
and
the
dancing,
and
may
felt
can
that,
plant;
art,
forced.
the
characters
ease
competent
dance
figure,
person
the
And,
influence
but
to
and
correct
affectation,
of
an
address,
the
finical,
respected
person,
distinguished
in
the
permanent.
agreeable
of
be
alone;
assist
lustre,
art,
the
have
of
them,
execution.
appearance
the
reliance
to
but
to
exemption
and
villagers,
though
of
town
to
in
169him
gives
graces,
being
said
imitations.
in
perfectly.
pleasure
his
The
kept
at
call
less
nature.
in
but
only;
display.
truth,
minuet
clear
especially
avering
steps,
in
Xbeen
affectation.
affected
nature,
least
by
on
which
that
than
and
having
or
in
they
as
tainted
to
skill
great
forth
himself
by
either
will
well
in
nothing
on
the
Helvetius,
which
the
and
who
dance
manner
the
well
they
or
173view,
a
buried
breathes
it
And
ain
well
to
is
it
the
of
from
certain
nothing
in
from
versed
Nay,
master,
into
is
that
art
In
and
ground
a
stifle
the
sure
an
are
air
as
its
seeing
with
life.
even
those
are
have
as
this
well,
in
of
can
Not
the
a
all
so
art
for
ofto
It
174
But
the
of
and
favor.
The
from
with
easy;
insensibly
body,
defined.
a
striking
first
merit
will
forced
as
free,
effect.
caricature.
would
Eolian
forever
Among
possibility
tune
unalterable.
graceful
great
the
minuet,
hardly
certainly
shoulders
gait,
of
adoes
and
sight,
in
aPersons
even
harp,
free
very
or
Atheir
the
to
certain
portliness,
the
short,
service
To
very
and
easy,
affected
displease,
not
on
of
mien
despise,
play;
Too
or
many
best
the
be
with
rest
appearance
sometimes
dancing
it
all
gives
little
as
please
so
all
of
worse
is
will
liberty
stiff
actor,
and
on
other
things
of
the
the
grace
every
drawn
not
the
reasons
in
that
matter
their
the
undoubtedly,
especially
him
apresence;
air
his
French
as
only
a
graces
it
than
regulation
in
occasions,
and
theatre,
and
performer,
may
size
to
majestic
of
it
an
suffer
back
air
all
part.
so
is
for
to
so
of
the
abandoning
agreeableness
air
characters,
or
ease,
happily
or
not
express
be
the
that
excess
many
this
as
An
with
steps,
shape
of
lucky
shape
but,
even
even
to
not
of
tread
professed
presenting
influence
distribute
characterise
is
dance
escape
176he
due
his
different
dispose
in
essential.
hits
will,
to
it
from
noble
pernicious
on
to
are
may
serious
motions
of
bien
protuberate
every
it
precaution
an
the
of
to
from
the
gives,
susceptible
his
of
the
call
of
actor.
the
and
dancer,
escape
effacées,
through
the
stage,
himself,
airs,
motion
stage,
the
thing
attention
characters,
The
being
his
afor
minuet
or
disengaged;
public
as
by
good
first
though
The
aim
gestures,
another;
possessing
Iagainst
him;
as
a
to
that
before,
have
for
easier
seen
that
misuse.
of
effect
175every
impression,
chance;
execution
at
to
having
which
to
the
grace
whereas
dancing
every
athe
just
is
it
where
his
grace,
his
favorable
to
the
but
knees
especially
sure
by
where
of
the
steps
Whatever
improvement
be
before
some
this
and
become
contracting
which
limb
it
measure
minuet
asturns
of
in
it
steals
to
conceived
affectation
produce
well
which
branch
it
improvement
exists.
else,
the
are
prepossess
and
actors
were,
observed,
reception
might,
and
suggests
turning
general,
still
minuet,
invariable.
serious
into
is
part
have
and
aof
not
any
to
agood
movements
from
remaining
by
than
his
like
ridiculous
dancing
is
of
cadence,
retreat
natural,
aoutwards,
thing
dancing,
as
stile,
of
the
manner,
in
will,
is
bad
that
the
actor
from
their
sure
his
the
If very
one
or
isit.
177 Y
There
rather
dances,
do,
in
Minuet
Roland
is
occasion
composed
principles
variation.
Louvre
probability,
performers,
Youth
before
much
particularly
toes.
them
the
that
Frequent
recommendable
plant
truth
strength;
spring,
weight
held
the
to
Bretagne
scholar
necessary
proper
isIis,
his
to
attention
performance
being
perfect
is
have
be
to
observed,
by
of
du
and
not
at
which
that
acquire
no
steps
for
say,
practice
while
encouraged,
the
It
Paris.
many
of
Dauphin
of
turn
only
occasion
has
the
continue
with
is
already
in
as
for
a
the
in
the
the
body,
one
from
generally
graceful
instructions
a
are
so
well
dancing,
on
minuet,
but
of
to
learning
aSome
the
a
just
art.
regard
for
most
too
Furlana,
tottering,
as
also
habit
the
in
of
the
the
and
as
common
will
obtaining
most
mentioned
This
concert
the
to
however
so,
the
knee,
availing
of
contrary,
to
select
of
or
179display
foot
Louvre,
afford
naturally
are
to
of
followed
sprightliness
this
from
minuet;
these
more
the
dance
dancing,
have
pleasing
Y2the
turning
that
the
for
at
to
but
obvious
chiefly
art
of
docility.
spectators,
ones
their
a
for
Passepied,
preparing
present
the
sight.
himself
tender
of
a
are
propensity
La
motions;
the
a
pleasing
firmness
is
weakness,
undoubtedly
curiosity
independently
or
make
them,
aheavy
executed
the
Mariée,
hip.
or
from
of
performed
being
learner
expediency
depend
terminated
to
The
of
them
and
or
knees
of
the
need
itany
or
theatrical
air.
and
serious
no
and
execution.
dances
the
both
seem
the
be
agility
innate
most
ato
or
all,
180the
dance
salutary
in
The
more
which
insisting
outward,
well-disposing
pliancy
excited
of
from
Folie
the
be
infirmity,
solo,
pleasing
most
especially
the
by
graces
of
body;
of
universally
character,
legs
the
confined
are
best
to
curing
dances,
delicate
the
a
their
affording
dâEspagne,
is
lightest.
others
It
most
countries
minuet;
most
exercise,
principally
of
in
always
that
on,
may
for
to
season,
pleasure
of
that
must
beyond
him,
not
which
this
the
a
when
the
persons
bear
to
in
are
and
regularity
sound
tottering
contributing,
their
in
being
age,
to
danced
this
and
request
give
master
defect,
under
178fashion,
of
duet-dances.
is
for
the
formed
with
learn
Iwell
all
they
produced
the
have
also
Europe
limbs.
dance.
to
these
adifficult
reasons
every
of
others,
Rigaudon,
little
give
part
the
executed
arms
dancer
at
turning
besides
cannot
by
especially
are,
of
highly
to
and
upon
two
the
This
the
most
the
step
He
without
odd,
of
his
add,
as
the
more
by
to
as
will,
the
Opera
dances,
steps;
they
should
directing
The
can
scholars
holds
pay
the
in
learn,
the
bodily
give
and
ISaraband,
ease
the
but,
that
by
have
their
figure,
those
in
never
Louvre
truest
any
too
greatly
both
both
of
all
the
good,
being
on
the
ifthe
181

MINUET. 37
 A

A 38
Summary Account

Summary Account 39
 Of various kinds of

Of various kinds of 40
 DANCES

DANCES 41
 In different Parts of the WORLD.

Cantatur et saltatur apud omnes gentes, aliquo saltem modo, Quint.

In different Parts of the WORLD. 42

IN

IN 43
 EUROPE.

A
very
in
great
the
or
cause
s almost every country has dances particular to it, or, at least, so naturalized by
adoption
of
entertaining
Some
kind
Europe,
other
adapted,
on
hornpipe,
foreign
executed.
when
But
manager,
novelty
imagined
Scotch
composer
assemblage
well
I185
dance
It
Morris-dancing,
with
exploded,
counties.
sure,
enough
through
descended
unworthy,
refinement,
In
one
do
is
was
other
Britain,
Spain,
the
by
their
comic
they
Zto
not
or
adapted
a
of
pleasing
there
three.
could
countries.
loss,
the
of
most
originally
once
great
the
by
dances.
dance
countries,
took
of
know
where
coming
places.
its
the
its
had
they
from
and
What
theatre
more
two,
and
presented
you
vein,
of
being
There
for
Highlanders
soon
among
being
was
hardly
introduction
remarkable
popular
but
186When
of
deal
steps
to
comic
so,
dresses,
not
the
effect,
executed
whether
have
by
have
improvement,
others,
with
they
such
some,
the
There
agreeable,
called
They
or
not
it
adapted
here,
saw
Nor
and
entirely
was
the
of
constant
chiefly
steps
was
Pirrhic
did
where
well
of
fail
Moresc-dance.
them
reason
dances,
castanets.
a
only
antic
the
are
in
steps
is
made
himself
himself,
as
it
good
an
are
dance,
not,
is
apply
and
of
correspondent
as
the
England,
it
Iare
danced,
in
182in
well
with
hornpipe,
also
of
shall
a
instance
among
without
a
from
or
confined
in
it
from
well
no
rural
North-Britain,
great
general
that
Scotch
perhaps,
as
both
great
them
practice
may
fortune
always
or
used
such
use
military
might,
themselves
as
where
imitatively
repaired,
more
called,
he
to
not
who
more
provided
the
the
There
merriment:
in
the
among
entertaining
be
it
rescue
variety
but
so
might
full
may
in
deal
success
reason
stand
length
of
Reel,
has
It
higher
to
adanced
Moors,
meets
variety
to
with
of
the
martial
dance
so
lively
acquire
deserve
air
183is
dance
to
this,
houses,
Les
the
is
please
music,
of
serve
its
a
danced
well
are
and
which
pick
country-dances
it
the
it
with
a
executed
in
of
great
very
performed,
that
natural
Folies
they
with
of
going
lower
carries
sometime
ranks.
upon
dress
from
with
and
and
need
itself.
the
very
and
which
it
executed.
a
was
vulgar;
time
out
to
the
good
to
that
and
Ithe
people.
is
pleasing
the
great
obtain,
advantage
brilliant,
am
is
with
hornpipe
the
throw
the
dâEspagne,
agreeableness
classes
out
the
become
true
peculiarly
natural
pleasing.
of
ability
mirth
For
they
still
with
public.
184useful
figures
idea
is
the
generally,
told
singers
their
highest
an
contempt
though
of
theatre.
swords,
attention
held
aago
as
certainly
that
known
a
Rude,
here
manager,
use,
pass
it,
gainer
apology
The
in
effect:
of
we
of
light
in
of
than
here,
and
dances,
to
in
quite
A
and
at
it,
an
this
low
capable
performing
Italy,
Some
to
life,
are
and
adapted
music
dancer
Iapplause,
its
the
others.
most
for
Venice,
but
which
as
cannot
by
original
very
upon
by
himself,
the
and
which
when
is
it
diversion
which
to
and
of
due
obsolete.
and
indebted
originals;
for
than
dancers,
it
preference
persons
Germany
the
may
now
that
foreign
who
the
them
form
steps
probably
was,
Iis
pleasing
of
this
mentioning
luckily
indeed
is
believe
perfection.
only
he
extremely
to
name
at
probably
say;
in
are
true
it
of
currently
a
performed
have
had
upon
when
ita
it,
it
an
little
it
just
subject,
is
any
in
this
is
with
kept
odly
dance
for
comic
themselves
might
as
was
but
a
susceptible
which
many
study
for
opera
and
begun
now
nothing
of
incurred,
it
always
slight
ones.
over
performance,
part
aany
a
country.
masterly
expected
may
am
success
the
disguised,
up
judicious
not
was
dance
in
This
here
annexed.
well
almost
dancers,
that,
require
has
of
other.
of
the
either
there,
in
very
several
with
And
sketch
quite
have
the
in
the
can
some
alike
in
with
trio,
ain
ait.
be
by
187 Z2
In France,
taste
imagined.
Provençals.
to
figures
especially,
At
extremely
But
attributed
opinion,
motion,
thing
copious
supposed,
practice
and
music,
formed
idea
The
from
be
Naples,
while
Flemish
castanets
uncommonness,
get
irregular
of
Naples
and
made
else,
or
such
and
to
upon
more
sweat,
money,
was
inairs
Idelicacy.
the
their
The
to
difficult
they
was
as
am
real
have
steps
for
dances
a
that
probably
it,
This
the
steps,
might
representation.
likely
adapted
dance,
the
steps
mentioning
afterwards
the
and
ones.
Contre-dances,
upon
have
either
formed
plan
we
are
dance
Neapolitans
to
dances,
Their
by
to
commonly
enable
run
seem
have
or
various
those
execute,
However,
generally
has
of
owing
be
by
other
torather
in
many
is
aProvençale
it,
kept
sham
not
taken
burlesque
abused
the
Naples,
to
commonly
who
and
him
might
benefits
to
grotesque
correspond
been
Several
diverting
up
most
not
singularity
most
used
are
that
very
some
bites,
the
to
are
the
in
and
afford
only
expel
Idrawn
already
dances
ought
bitten
may
the
droll
frequently
Punchinello
on
agreeable.
or
sensible
performed
eminent
dance,
or
turned
189for
this
mock-imitation:
dances,
patient,
by
the
abe,
vein
with
from
188of
from
not
with
the
good
carried
for
making
occasion,
pictures
them.
poison,
the
isinto
of
the
to
physician,
variety
such
painters
the
use,
the
most
No
which
by
subject
dance.
true
various
omit
tonatural
aperformers;
into
nation
Tarantula.
true
the
aare
mere
by
taken
delightfully
rural
kind
to
vehement
that
of
are
power
pipe
being
execution.
in
and
of
principles
for
be
grimaces
the
prescribing
vivacity
the
cultivates
trick,
of
the
originals
humor.
effect
from
executed
aIand
steps,
show
grotesque
am
thereby
grotesque
The
of
largest
so
to
life,
agitation.
music,
tabor.
sprightly,
of
not
well
and
of
The
or
original
assemble
of
but
dancing,
in
this
upon
such
the
contortions,
quite
this
to
size.
thrown
their
gaiety
assorted
performers
for
than
that
dance,
art
stile,
art,
method
a
this
the
of
This,
and
sure
It
kind,
violent
with
a
sort
which
and
by
this
is
of
into
Teniers
intricacy
croud
subject.
well
also
to
are
the
it
that
any
being
more
of
the
leaps
is
of
a
be
seem
is
the
the
190
At an
villages,
holding
for
manner,
any
by
ear,
hands,
other
imagined.
ribbons.
express
they
attached
of
regularity
ring.
inconceivable
when
themselves.
the
elegance
contribute
hardly
execute
considerably
steps,
For
The
from
solemnized
particular
Florence,
two
it,
her
a
course
most
interruption
woman
favorite
Peasants
Grisons
Hungarians
Germans
Polish
Cossacs,
Russians,
keep
would
Each
other
equal
grotesque
parts
they
and
fail
as
next
persons
out
ato
They
are
to
to
pleasing
of
time
if
whim
kind
of
They
of
man
nobility
to
the
often
turn,
of
countries.
the
any
not
of
size,
the
they
it,
holds
the
partner,
are
they
dance
When
very
dress
alarger,
produce
have,
which
of
have
wear
Italy.
rapidity:
afford
as
general
of
sound
with
exchange
holding
fatigue
dancing
nuptials
woman
perform
steps,
of
in
are
dance
but
Tirol,
194till
pull
and
were
to
have
rural
fond
in
sights
possession
have
his
in
oddity
this
of
a
wooden
amidst
the
the
they
their
very
so
and
her
nothing
who,
off
the
dressed
dance
The
of
the
have
own,
arowing
the
of
simplicity
there
a
applause.
they
dance
of
his
assembly
of
crossing
great
atheir
an
of
hand
it
193which
dance,
that
performers,
execute
noisy
it.
dress.
of
Venetians,
this
191dance
dance,
the
in
in
gracefulness
his
partner
all
192instrument,
than
one
AaThey
called
shoes,
the
dance
a-round
his
can
a
remarkable
shoes.
can
in
for
very
is
or
effect.
their
a
dance,
company
of
niece
sort
in
isof
handkerchief,
contortions
performed
their
turn
called,
tugging
a
of
their
an
and
hardly
the
to
highly
are
their
breaks
several
be
the
national
in
difficult
round
not
dwarfs
of
uncouth
old
which
to
The
with
is
imagined.
Were
has
politest
generally
a
frolic
uniforms,
render
for
holy-day
feet
most
Allemande,
dances,
the
uncuriously
what
grand
il
dance,
somewhat
of
he
be
diverting,
a
at
dance
up.
an
in
Treschone.
the
leaps,
the
with
behind;
long
it
Duke
mirth,
as
chuses.
imagined
usage.
by
an
their
pleasant
and
barbarism,
equal
they
them
performed
in
greatest
waist,
circle,
to
which
magnificence
aoar.
attitudes,
which
dress,
with
speaking,
which
the
Europe;
is
time.
numerous
and
grimaces,
appear
of
dances,
which
call
opened
from
in
right
resembling
not
and
painted;
This
Courland,
Thus
agility
makes
their
seeming
some
she
which
The
any
and
is
To
made
the
rapidity.
asome
not
a
the
to
dance
they
here
has
such
disagreeable
make
the
is
flings
country-women,
which
iron
sort
thing
very
grotesque
Furlana,
Czar
by
of
dispose
particularly
with
company,
the
her
the
without
extreme
and
of
a
of
fitness
their
being
aon
add
to
was,
even
heels,
of
very
arobust,
is
skins,
themselves
dance
Peter
couple,
to
their
men
whirl
more
Those
which
they
pursue
Mandoline,
the
dancing,
practiced
him
asteps,
which
of
probably
to
agreeable
as
motion
its
of
theatre,
and
dress,
dances
women
but
vivacity
round
the
now
and
entertaining.
itcarried
professed
sight.
whom
who
invariably
they
and
the
merit,
pleasing
one
in
furnishes
one
when
women
and
Great,
is
adorned
chiefly
the
which
in
music,
capable
have
more
in
and
of
with
performed
exhibit
but
another:
that
rather
especially
the
she
it
of
the
and
on
several
same
their
each
effect.
they
would
the
the
steps,
almost
they
dancers
a
without
form
light
can
take
chuses
one
all
which
good
with
it.
aof
sex.
arebe
in
of
a
195 Aa2

EUROPE. 44
IN

IN 45
 ASIA.

I n Turky, dances have been, as of old in Greece, and elsewhere instituted in form of a
down
religious
called
the hand,
in
the
heaps
ceremony.
they
Semaat
upon
turninround
The
one
a circle,
Dervishes
another.
withtosuch
a strange
who
rapidity,
arewild-simphony,
a that,
kind of
with
devotionists
pure
when
giddiness,
holding
execute
they
one
a dance,
another
often fallby
196
togreat
as
festivity
extremely
ballare
that
the
nor
properly
inhabitants
exquisite
by
dances,
which
others
fighting
most
In
of
historical,
They
a
have
dedication
the
their
at
too
female
like,
name,
more
from
have
sing
high
feasts,
frightful
Lacone
they
profession;
many
of
signifying
many
country.
rather
called
and
as
be
the
than
expressive,
these
in
but
gilt
resembling
among
also
of
sex,
use
well
of
called
this
weddings,
joy.
disadvantages
Asiatic
their
contortions
hideous
the
caps
purely
the
is
the
particularly
in
under
as
eastern
198The
dance,
the
They
to
performers
Turky,
and
southren
the
ballads,
the
Cone,
temples,
to
than
like
dance;
make.
attribute
Raban
gallant;
songs,
than
Romans,
eloquence
the
are
countenances
execute
ceremonies
sugar-loaves.
dancing.
which
kind
as
the
of
antient
always
name
the
which
Those
a
and
climates
well
is
when
to
body
being
Lacone,
of
in
string-instrument
sing
aof
is
gestures
be
their
of
dances,
which
mixed
ballata,
as
of
the
only
It
is
of
sent
and
who
envied
balatrones.
ones,
acommutually
adancing-girls,
is
India
a
of
new
the
dances
more
kind
constitutionally
of
and
true
a
The
athe
circumcision,
arms.
dance
for
dance,
kind
slow
wild-beasts,
body,
and
which
the
astatue
and
them.
of
the
dance
song,
dancers
to
word
northern
tympanum,
small
of
to
attitudes
Those
march
any
Persia,
are
Raban.
Nothing
in
of
are
Indian
ain
of
for
The
composed
stanzes
which
of
men
simphony
great
armed
who
the
dramatic
their
undoubtedly
have
a
the
who
without
people;
and,
Siamese,
or
professed
excel,
song
The
Pirrhic.
nature
and
of
are
can
demons,
indeed
entertainment,
Lacone
Sommona-codom
dance
the
all
of
and
those
in
Cone
bred
women,
at
be
verses
to
long
of
from
short,
compositions,
any
but
crotala,
masked,
of
once
Their
be
various
imagined
we
most
in
dancing-girls,
is
dancers,
up,
is
aa
high
false
that
a
danced.
197appropriated
the
violin,
are
a
sensibility
on
containing
sensibility
sung
not
masks
from
figure-dance,
very
of
the
fancy
all
Raban
motions,
told,
nails
instruments,
and
the
martial,
public
more
and
occasions
with
cimbals,
especially
their
antient,
Itis
represent
or
seem
have
Asiatics
of
can
isset
and
danced:
ballanced
what
some
which
more
the
copper.
or
graceful,
probable
childhood,
but
to
nor
invent.
up.
three
private,
Cone
to
came
and
history
the
inwith
may
of
of
and
be
may
the
a
199
dancing.
draw
leaping,
which
various
Considering
processionally
by
attended
priests,
religious
made,
especially
more
solemn
personages
not
But
procession,
exhibited
making
dance
copied
juster
public
In
Chinese
exhibited,
serious
procession
the
to
The
First
resembling
Follow
kettle-drum.
Mandarinâs
simbols
creatures
Six
are
folds,
kept.
with
files
of
a
Soldiers
Twogood
theatrical
crescent.
many
order
mixing
personages,
a
say
leaping
officers,
impossible
esteemed
written
bridegroomâs,
Pompa,
dance
huddled,
even,
print
hand,
others
archers
porters,
other
officers,
of
large
appear
the
life
one
notion,
they
processions,
in
nothing
on
the
from
men
composer
or
march
instruments
and
them
of
to
carrying
procession
dancing,
parts
dances;
Chinese
But,
triumphal
and
annexed
by
them,
on
the
of
where
above
burlesque.
in
and
hooks,
might
men,
or
his
ensign-bearers,
and
give
is
might
at
compose
in
Other
bear,
athough
imitation.
which
in
titles
bearing
Salian
withal
nature,
two
fancy,
minstrels
on
the
carrying
confused
armed
of
intermixed
hollow
in
of
introductory
animation
theatres,
first,
large
office,
an
of
various
armor,
can
executed,
of
what
to
of
by
a
horseback,
the
beating
men
burlesque
theatre,
it
the
naturally
three-edged
the
it
agreeable
adorned
characters
serpent:
of
and
be
more
would
whom
guards
Ifeats
represents
might
as
represent,
virgins,
that
would
emblematically
may
than
have
it
golden
car,
taken
religious
pleasure
people
honour.
and
with
was
a
of
dish
supposed
East,
improved,
other;
such
aone
pleasure
In
were
in
who
a
some
And
falling
staff
habits,
playing
manner
part;
music.
of
distinct
the
splendid
of
the
in
Persia
well
bear
from
each
the
from
any
fit
with
before
staves,
but
be
without
bearing
might
a
give
processional
from
as
at
take
which
with
certainly,
agility,
others,
strike
to
who
on
characters
but
headed
way.
at
large
the
to
Romans,
from
last
bearing
amusement
these
improper
habits,
Next
into
is
know
verbal
their
the
ceremonies
other
of
a
a
troops
walking
where
the
whose
be
halberds.
on
a
afforded
especially,
in
the
intended,
of
question
silk
other
place,
the
idea
and
proper
followed,
gongh,
be
those
case;
mentioned,
better
In
coffer,
each
to
which
the
dragon,
umbrella
dances
strange
left
burlesque,
a
the
sharp
grouping
fourteen
truth
head
represented
procession
equipped
weddings,
adapt
how
occasion.
gratified,
every
dances,
exhibited.
border,
fringe,
description
by
keep
charactures,
description,
reduced
maces
of
bringing
there
of
image
in
flags
out;
officer
flute
in
or
who
upon
the
an
203intermixture
this
opportunity
dances
which
dancers
the
their
of
to
containing
axes:
celebration
parade.
whether
to
ridiculous
their
of
off
a
in
tiger,
country,
of
antics,
oblong
especially
the
they
particular
make
in
are
and
is
of
delight
202
Bb2standards,
procession
which
hint,
representation
the
them,
with
in
of
their
a
the
with
in
the
carries
most
which
without
into
nothing
four
in
yellow
the
of
gives
copper
some,
even
chief
things,
masquerade,
gestures
eye
the
written
which
satirs,
properly
guitar;
of
make
eye;
phÅnix,
grandest
conducting
of
Gentoos,
acroud.
or
long
Iaas
Iand
order,
large
square
practice.
personages
not
rows
have
a
has
that
Chinese
only
deity
and
proper
solemn
by
both
in
even
the
must,
to
of
the
guard:
traveller
notice
the
of
and
silk
according
of
qualities
weapons
any
seeing
not
to
handles;
instrument
manners
an
use
and
the
think
pretty
observing
in
upon
besides
might
dances,
has
particularly
hammers
seal
one
the
mention
hereto
horses
flying
and
procession
sexes,
and
case
amuse
of
introduced,
(the
prints
unpleasing
board,
certainly
large
kind.
only
violence
Sileni,
procession
if
when,
choice
of
convey
processions,
the
of
Mandarin
then
was
been
festival,
above
the
at
of
by
steps
which
executed
processional
processions
much
into
imperial
be
in
the
of
on
tortoise,
the
all,
mixing
like
his
festival
characters
annexed
others,
For
which,
who,
might
as
or
than
men
but
bride
taken,
which
raised
the
this
previously
and
this
at
sometimes
their
of
in
called
and
Mandarinâs
that
pictures.
be
office.
to
the
they
another;
to
scythes,
example;
appear
in
the
stated
200moves
a
such
what
of
and
who,
proceed,
what
use
however
the
Mandarin.
of
Fauni,
the
propriety,
itself.
long
from
be
205this,
long
dances
there
dance
color)
dresses,
country;
Pirrhic
the
their
which,
maces
of
is
high,
and
effect
must
the
as
a
the
guards,
represented
spectator
might
connected,
faithfully
sounds
carried,
a
and
preferable
their
might
gongh,
music
in
aumbrella
times,
train
the
processions
in
along,
hatchets
her
regular
204After
other
first
brought
only
two
and
respective
mere
were
print
their
practised:
of
whereon
where
should
that
receive
dance
pageantry
of
the
approach.
with
in
as
in
the
proper
dress
house
three
than
by
not
by
of
be
other
order.
were
a
the
and
chorus,
armed
strait.
of
a
which,
they
the
of
winged
Salian
habits,
called
which
a
hint
abe
201a
is
a
was
in,
like
form
way
be,
in
and
to
by
Bb
206
justice,
others
Two
All
surrounded
large
He
sabres;
domestics
as
the
From
exhibition
all
much
pass
this,
for
which,
this
is
one
mace-bearers
standard-bearers,
as
in
followed
fan
the
as
example,
with
equipage
the
some
in
after
hethe
in
above,
nothing
every
of
on
has
countries
chains,
the
with
limitations
processions
whom
equiped
horseback,
by
on.
shape
aother
pages
it
precedes
guards,
particular
ismay
with
whips,
come
more
where
imitative
with
of
and
and
appear,
gilt
ofaand
every
some
several
recommendable
cutlasses,
the
hand-fire-screen.
the
bamboes,
the
maces
footmen,
Tartarian
the pageantry
theatre
Mandarin
captain
one
armed
branch,
scene
whatensigns
inbearing
and
the
having
scope
a
cap,
will
is
with
of
kind
strike
of
laid:
or
shape
hangers.
the
and
admit,
ifthan
other
Viceroy,
maces,
or
some
of
the
near
which
guard.
to
cornets,
range
flat
of
adhering,
weather
nature
nations,
to
his
necessary
dragons,
cudgels,
and
the
is
who
aperson
but,
composer
with
truth
others
asis
should
as
in
in
close
carried
and
to
awell
the
an
belonging
saying
ofgive
with
207 things,
officer
aoblige
as
representation,
as
may
great
number
in
the
possible.
long-handled
of
other
hishave
the
who
him
bastinado:
as
to
number
chair,
the
they
of
words,
Chinese;
to
carries
for
officers
Mandarin:
change
actually
the
of
asinainof
209 Cc

ASIA. 46
IN

IN 47
 AFRICA.

T he spirit of dancing prevails, almost beyond imagination, among both men and
cadence,
women,
countries
the
instrument
There
an
playing.
With
this
disposed
art.
upon
one
Upon
greater
of
before
come
little
much
drummers,
men
our
postures,
heads,
fingers,
quick,
Artus
fans;
dance
them
strangers,
After
countenance.
Their
honor
sometimes
town
both
solemnity
The
amidst
some
Europeanâs
Theythe
European
midst
country-dances,
But
country,
dance
would
and
fans
sexes
such
meet
are
have
also
in
an
any
dances
the
to
as
and
expressions
before
like
are
of
year,
and
round
bed-time.
as
all
Widaw,
part
sometimes
Ideath;
in
Such
hour
they
their
do
strangely
women,
by
and
Gold-coast
Gold-coast,
of
advancing
or
of
they
that
Villault
even
the
all
an
who
suppose
shaking
most
also
was
usually
from
plaid,
players
public
at
observation.
that
not
them,
nature,
rather
their
of
so
them;
the
playing
came
vary
innate
fall
or
striking
is
brushes
religious
uncouth
the
pass,
the
can
it
ridiculous
their
well
where
strong-made
the
remember
two
parts
all
men,
part
On
with
being
they
add,
hardest
who
dances
according
of
market-place
women,
by
about
inhabitants
their
whisks
delighted
dressed
on
and
scarce
speaking
parts
them
irresistible
attested
might,
fondness
and
spent
this
and
kind
especially,
to
joy,
on
there
of
some
on
their
of
the
annually,
compose
used
cannot
that
have
barbarism
festivals,
each
impossible
clicking
a
the
fans.
Africa.
forming
occasion,
their
retreating,
or
sunset.
of
susceptible
enough;
of
instituted
fiddle,
labor,
flute,
in
refrain
in
laying
they
to
if
long
hands.
in
of
the
master
to
globe.
a
Pirrhic
to
their
other,
loud,
stories
duly
with
this
and
have
number
for
refrain
the
targets
brush
of
passion
times,
It
country.
the
them
and
for
strike
if
existed
to
are
entreating
Their
a
this
kind
so
of
is
straw-ropes
laughing,
instructed,
these
best
hand
they
passions,
but
at
for
they
dance,
general
dances,
town
heard
and
capable
eight
inhabitants
by
even
dance,
their
leaping,
of
well-limbed
the
more
pictures;
from
other
of.
art,
up
with
occurrences,
them
it
of
each
music
order
some
manner,
for
hear
made
muttering
appear
and
gambols;
served
like;
This
or
exercise,
little
with
days
gestures
more
one
that
sing,
grave
dancing.
dancing
their
dance,
times
village
divide
which
and
him
anotherâs
to
of
that
a
probably
stamping
of
Negroes
being
consists
was
go
their
bells
would
of
in
only
person
the
giving
cease
together,
than
their
in
to
and
are
according
consequently
cutlasses.
to
great
as
circles
the
and
would
whispering,
called
they
their
but
into
keep
certain
experiment
they
to
fall
and
desist,
that
toes,
among
tinkling
placed
they
and
so
make
instinct,
tails
imagine
Kings,
dancing,
serious.
assemble
them
of
flinging
do
still
into
lengths
passionately
couples,
shoulders
on
execute
attitudes,
best
not
210retire
on
theirs
up
places.
the
horn-blowers
there
generally
cast
not
of
sing,
the
words;
unless
exists
merry
to
a-part
many
them.
their
such
be
at
as
elephants
213attire.
dancing-season.
care
it
their
that
them
moving
There
to
ground,
their
themselves
are
putting
while
at
unworthy
resorted
towards
the
is
or
together,
facing
Those
by
211agility
their
an
afor
wild
alternately
Abrambo,
he
a
then
by
nature
any
children
gilt
to
respective
custom,
are,
ground,
mock-skirmishing
The
rage,
feet.
in
improvement,
fond
Cc2have
he
had
an
themselves.
be
ridiculous
respective
now
the
at
them
musical
each
or
which
bowing
was
and
snapping
of
and
perfection
women,
continued
hour
aseen
both
The
of
breaks
aof
trumpeters,
in
most
multitude
been
body.
air,
at
slow,
mind
taken
horses,
ever
an
jump
for
it,
some
so
other,
out
with
or
are
men
the
214at
To
ability.
catching
that
their
finely
the
evenings
two,
212aof
who
And
them
out
made
to
now
their
this
in
homes.
into
feet
from
The
large
those
ends.
carry
in
as
in
tire
of
into
the
in
or
of
by
215
I have
what
however
people
a
Portugal
some
modesty,
King
scandal
authority.
Gaspar,
having
dance
of
is
of
already
used
who
Portugal,
somewhat
of
against
called
the
was
include
that
Nor
this
adopted,
motions
his
obliged
was
the
mentioned
by
dance
influence
whom
the
represented
them
celebrated
surprising,
this
higher
and
to
from
being
there
done
LasCheganças,
prohibit
gestures
to
that
the
ranks
any
procure
without
were
Frey
the
so
Caffrees,
it longer
itefficaciously
isPortugueze
of
by
lampoons
Gaspar,
had
from
life
occasioning
that
a so
suffered,
formal
in
Africa,
or
(Approaches)
prohibition.
lascivious
that
Negroes
a and
natural
themselves,
to
edict.
the
nation,
his
ballads
heavy
216Moresc-dances
Portugueze
of
an
The
that
son,
their
was
but,
air,
complaints
reason
publickly
it
ifamong
so
and
was
Iat
African
mistake
least,
great
were
Majesty,
put
ofwhom
sung,
originally
which
possessions,
against
down
that
the
not,
so number
contrary
upon
Ithe
was,
of
will
byFrey
the
came.
late
shame
royal
not
his
that
late
of
King
tothe
But
and
of
217 Dd

AFRICA. 48
IN

IN 49
 AMERICA.

I n this part of the world, so lately discovered, nothing is a stronger proof of the
the fondnessoffor
universality dancing,
dancingofevery
its being,
wherein diffused
short, rather
over an
thishuman
vast continent.
instinct, than an art, than
218
The
since
barbarian
kettle-drum,
grating
disagreeable
on
several
step
their
forwards
they
health.
in
different
secondly,
figure.
performance,
scream,
threatening
postures
executed
round
his
equipped,
the
In
stress
wrapped
and
aside
those
Brazil,
Mexico,
Virginia,
the
Peru,
each
bow
signs
circle.
reason
the
out
dance
will
lances
nothing
their
first
other
about
onTheir
to
hours,
and
the
activity
others
of
and
of
frequently
kinds
and
the
up
with
the
they
round
in
stile.
an
begin
they
kind
the
cloaks
according
the
of
manner
looks,
into
dance,
in
great
arrow
a
ring
with
dancers,
219women
soever
European
motion
grimaces.
can
the
great
this
fire,
till
make
amen.
of
ring,
shoulders.
For
one
have
of
stakes
the
kind
their
Dd2their
dancing;
they
arest,
or
be
numbers
is
stamp
the
in
which
their
consisting
kind
thirty
jump
person
agility.
to
of
air,
mantles,
not
the
with
have
of
also
more
his
of
to
dance.
whether
feet;
little
are
dancing
make
who
set
ear.
the
mantle,
the
catching
of
mentioned:
sound
simphony
hand.
into
their
they
or
the
their
They
their
heartily
the
in
pipe
comical
Then
only
arms,
are
bells.
together,
they
It
author
forty
sport
Sometimes
the
head
the
but
is
of
first,
light
feet
They
men
dances
is.
has
seated
dancing
stamp
or
dances,
so
observed
ahave
when
form
them
Sometimes
in
water,
the
They
flageolet,
more
for
weary.
they
to
that
upon
of
than
something
in
either
a
or
most
also
itbut
graces
each
the
circle,
athe
however
cannot
of
and
women,
round
they
again,
will
nothing
convenient
have
and
numerous
their
or
without
the
they
cover
awithout
history
of
rest,
they
And
single,
circle,
jump,
other.
music,
two,
also
are
their
stretching
made
music
ground,
they
them
the
wooden
gestures,
however
bending
set
one
very
love
by
themselves
make
many
in
is
or
hum
the
of
dancers
and
or
adorned
dances,
having
three
add,
seen
showing
but
athree
of
or
company
in
too
place.
that
particular.
every
at
violent
least
and
over
aa
two
use
figure-dances,
drums,
in
the
backwards,
by
are
be
out
hollow
point
ring,
but
their
young
country,
the
at
any
exhibit
themselves
the
of
their
bad
themselves;
Every
thing
thought
something
most
rather
their
feats
with
most.
the
sweat,
221the
most
sing
of
contortions
regard
something
most
cane
with
consequences
women
Instead
arms
performers,
bending
dancing
that
in
leaves,
hands,
company
one
of
a220
as
While
actions
uncouth
small
a
from
and
thousand
activity,
some
antic
or
loud
either
very
in
makes
has
hang
they
like
sing,
reed,
in
of
but
which
springing
and
during
and
this
bare-headed.
of
companies;
in
of
the
gestures
his
laying
as
sculpture,
than
serious
asometimes
have
down,
the
never
and
to
form
dart
body,
tune,
the
throwing
a
laying
they
but
thus
exercise,
little
antic
midst
to
they
time
noise
body,
gestures.
their
dance
any
two
their
terribly
very
of
or
mingle
can
when
one,
and
bell,
for
lay
them
or
of
ahow
are
or
or,
up
is
222
swords,
hinder
looks
They
because
and
Among
such
sacrifice-dance,
all
calumet
mean
commonly
distempers:
general,
demonstrations
occasions
affairs,
expected
The
enemies.
different
whole
given
certainly
up
shows
have
recovery;
innocent
the
toforegoing
Peruvian
Americans,
war-dance
coupeeing,
as
have
long
that
like
to
volumes,
it
wildness
them
when
the
that
the
is
man
to
their
honor,
in
parts
and
depends
that
kneeling.
which,
indeed,
fallen
pitch
esteemed
a
executed
dancing
have
savages
point
aof
from
dance
even
Creolians
the
motive
method
summary
that
of
the
is
or
as
of
in
may
of
all
short
been
that
the
also
instinct
of
rising,
they
on
some
their
excellence,
of
joy
they
useful
exercise
which,
calumet,
there,
they
224of
which
in
serve
ambassadors
globe,
the
for
itused
of
and
susceptible,
of
North-America,
their
an
make
dance
may
performance,
traverse
sketch
parts,
it.
or
dancing,
alternately
treatment,
finest;
nations
of
pleasure.
adopted
respectively
oval
welcome
they
to
There
in
by
and
dancing,
would
public
the
not
them
show
coupeeing,
after
of
them,
prescribe
figure.
of
contrive
this
which,
leaders
be
their
which
who
has
is
some
rouse
debates
from
to
among
part
the
that
frustrated,
to
the
not,
strike
isby
as
them
are
indeed
ground.
encourage
we
used
their
differ
the
same
to
of
well
same
way
the
nature
dance,
to
this
their
itwhich
not
are
describe
the
with
the
seems
keep
history
on
are
at
guests,
natives,
as
of
in
exercise
lately
manner,
without
told
mental
as
antients,
public
ceremony
various
the
is
the
preceded
proclamation
has,
of
the
isup
the
with
the
unknown
speaking,
sometimes
there
reception
of
universally
movements,
heels
appeared
war-dance,
before
or
in
which
interest
occasions.
polite
the
their
faculties,
the
by
without
dances,
to
all
however
are
way
at
divert
and
by
parts
rest
them
graces.
they
225arts,
to
their
various
or
dancing,
of
of
atoes,
to
of
Eethe
of
laying
and
which
of
strangers
the
of
and
dawning
themselves.
war
all
Greeks
call
This
phisic,
such
once
so
the
assemblies
singing.
223the
antients:
who
But
minutely,
taking
marriage-dance,
that
clear
against
dances
Zapatas,
and
world,
dance
moderns
aside
are
as
a
inhabited
more
the
in
and
wish
degree
it
if
hope
some,
practised
whom
their
their
some
But
may
they
dance
their
is
but,
to
to
Romans
practised,
their
On
well
upon
would
(shoes)
of
it
give
may
carry
heads.
that
not
amidst
world,
some
they
steps,
in
long
its
to
ofin
fill
an
it
the
it
the
227 Ee2

AMERICA. 50
OF

OF 51
 PANTOMIMES.

A
from
s this branch of the art of dancing is often mentioned, especially in this country,
second
without
theatre
entertainments;
him
historical
new
would
confess,
subject
That
so
dancing
understood
is
But
pantomimes.
art
certainly
exclaimed
recommend
We
against
peremptorily
their
this
theatres,
above
seems
because
may,
discussion,
To
strike
out;
barbarous
crimes
This
was
Themistocles
the
irreproachable
had
multitude
take
which
such
perfectly
blows
At
theatre.
And
of
whose
censure
Horace,
excellence
special
genius?
pleased
The
Augustus,
dancing,
equilibrium
springs
called
theatrical
and
forming
first
incontestably
capacity.
Athens,
Mecenas,
Rome,
another
extraordinary
these
totally
are
theatrical
authorities
most
none
too
chevalier
reproach
proofs
affright;
each
words
the
a
as,
upon
is
women
passage
upon
part
prodigious
opinion
own
violent
awith
the
among
genius;
they
private,
only
the
not
criticism
to
species
of
patron
too
is
Iof
here,
any
on
they
a
true
Would
could
letters.
with
in
nor
that
they
am
is
it
the
broke
famous
and
have
part
them
in
a
the
from
just
study
spectators
dances,
whom
was
different
it,
the
more
being
reach
the
deities
against
of
those
this
may
time
shown
in
betray
as
were
apt
every
character
in
by
the
Nothing
practice
with
their
of
the
impressions
indebted
men
beyond
grounds
are
case,
on
a
to
for
this
of
point
(not
earth.
was
each
of
who
are
sphere
Ramsay
idea
that
yet
body
the
any
of
dance
more
of
or
dancing.
sight
Lucullus,
more
witnesses,
Mecenas,
of
which
what
point,
to
a
out,
was
different
A
aver
history
best
sound
and
perfection
transmitted
justice,
they
that
incredulity
different
revival
it
incontestable,
were
the
of
it
struck.
to
seconded
times
a
child
chimera.
to
of
applause,
compositions
art.
thing
not
commissioned
grown
mere
pronounce
only
positions,
of
ato
or
me
may
thing
can
M.
nothing
with
than
being
kind
other,
of
what
from
the
in
the
hero;
assembly-dancing,
into
efforts
as
than
that
is
best
may
the
attempted
contributed
deficiency
what
mention
days
of
such
with
melted
of
establish
Monsieur
and
over-apt
of
Cahusac,
A
art
into
harmony
to
these
miscarried;
places
more
believe
in
as
severe
beyond
celebrated
not
is
pantomime
so
writing-master
of
the
dancing-master
Greeks
action.
be
some
truth,
pass
In
Augustus,
perfection
outcries;
that
old
his
they
the
emotions
from
affixed
was
its
and
from
and
deserve
once
furnished
as
that
irresistible
nature
something
the
of
it.
a
he
entertainment
much
a
the
to
could
oftenest
by
be
is
had
Eumenides,
where
practice
infancy.
to
production.
in
lively
fruitless
than
common
if
this
into
protector
upon
of
the
which
has
it
good
commonly
not
Sadlerâs
are
greatest
art
of
that
the
unacceptable
they
Socrates
nothing
as
representation
to
what
the
form
seen
us,
the
Cahusac,
for
which
that
233their
also
of
to
not
to
dancing,
235to
the
accuracy,
with
to
withstand
art,
of
tears
approbation
admit
of
their
a
furnished;
strange;
accustomed
stripped,
execution
on
impressions
acting-dancer
the
people
be
by
either
profession
his
possibilities
croud
Virgil,
presented
truth
taste?
it,
of
striking
had
execution.
establish
by
this
been
the
made
dancing
229
Ff even
steps
among
we
hurried
so
professors
Ff2own
To
being
terror.
affectation
all
wholly
the
established
history,
the
are
or
dancing
than
music,
attempts
it
abbot
the
approbation
of
beyond
part
is
wells)
at
are
great
any
antients
was
call
display
or
caught
diversion,
is
the
is
of
any
made
an
and
one
of
was
theatre,
Pollio;
able
Virgil,
that
narrow
vengeance
upon
the
imagined
sometimes
Would
with
to
an
it
Furies,
same
plain
that
impossible,
to
it,
little
as
the
imitation
of
the
superficial
a
The
sentiments
proposition
ingenious
different
away
the
and
produced
may
to
on
the
other
Du
the
a
all
artist
and
not
who
tender
he
hear
of
to
man
due.
of
had
what
it
to
at
The
produced?
what
to
a
from
power,
the
those
eloquence
their
the
of
231lost
it
the
and
upon
to
that
wisest
were,
arms,
Areopagus
more
them
these
the
of
carried
Ajax
Bos,
the
ignorant,
that
who
authors,
was
Augustus
lightness
procure
Athens,
conception.
opinion
merely
appear
was
men
for
go
the
had
by
teaches
which
been
or
give
How,
of
idea
men
originality,
steps
230reader,
who
arms
honorable;
modern
they
Iarts.
of
excellence
our
themselves
public,
rage
affliction
what
by
am
of
the
of
habituated
tempted
letters,
exhibited
not
from
that,
highly
represented
in
men
name
the
hardly
than
by
so
to
French
points,
trembled;
such
people
all
of
for
of
juster
beautiful
than
heaven,
which
without
of
a
teaches
the
deficient
own
especially
saw
now
once
an
improvement
Both,
and
fight,
of
gracefully,
illusion,
incredible,
expressive
the
them
and
to
who
the
men;
frenzy,
from
Upon
art
no
of
who
now
a
of
the
what
not
have
my
the
itself
the
unless
great
name
pathetic
make
of
theatres,
pantomime
improvement
privileged
profession
what
Demosthenes;
or
air;
possible
measure
the
animated
greatest
in
figures
other
themselves,
going
fine
under
notions,
sufficient
writer,
who
of
the
Imade
tell
to
principal
mechanical
being
laying
and
who
no
the
generally
passes
what
alphabet
after
and
am
pantomime
of
a
earnest
the
proof:
is
declared
pursue
to
have
Hecuba.
to
the
to
nature?
shuddered
most
consider
the
as
and
writer,
effects.
arts,
doubt,
the
us,
dancers
use
of
him,
is
at
under
frequent
attainment
form
actually
very
admire,
reason
unfold
never
cotemporaries
to
itthe
to
that
so
a
vulgarly
the
pantomime
energy,
was
able
are
has
present
spectators
compared
that
was
mechanically
to
antient
seen:
knowledge,
232of
offer
and
character,
but
for
refined
souls,
preserve
228probability
of
have
picture
declare
that
great
to
dancer.
and
those
reign
art,
ready
steps.
offer
play,
than
of
but
multitude
his
on
knowledge,
reject,
grounding
treated
the
passing
down
their
himself
to
the
spared
of
the
who
in
what
Sophocles
this
all
expressed,
part
to
than
the
art
upon
always
came
that
they
the
any
appeared
punish
with
researches
contradict
been
it,
the
that
in
seal
taken
eyes
a
the
of
the
any
art
on
art
taste,
to
of
reproach
art,
with
even
But
being
figure
as
loudly
before
of
sight
may
theatre
that
without
the
to
took
thing
time
letters
the
horror
it.
as
this
of
their
the
of
on
of
to
thing
was
and
of
what
and
the
ran
the
to
In
to
234the
be
of
or
an
in
of
236
Besides
have
exhibit,
admirable,
Speech
which
composes
countenance,
But,
Theatrical
march
only
Dancing
but
steps,
motions,
The
assistance
possibilities
Both
dance,
Some
scene
dancers,
with
In
naturally
they
certainly
that
required
merit.
is
capable
in
of allowed
their
Italy
a meaning:
history
painter.
as
a
imitated;
all
represent
here,
ayears
places
of
fine
But
itproceeds
attempted,
stile
especially
Iway.
the
is
express,
the
of
delineates
have
is,
the
than
one
to
the
expressed
scarce
to
dancing
it
them
history-piece
having
and
in
agreeable,
evidently,
energy
of
furnish
of
necessity
ago,
is
fourth
Picturesque
take
dance
before
of
the
it
and
mechanical
before
the
in
his
it
only
upon
in
moves
each
of
from
are
dancing,
and
more
the
world
France,
many
place
own,
art
its
of
nothing
which
can
and
to
figures.
act
for
in
by
our
in
their
all
Dutchess
observed,
Raphaels
paint
sex,
proves
picture
the
in
of
action
and
genius
all
expressive,
to
exhibit
of
dancing.
an
but
pathos
these
in
subjects
has
eyes
its
learning
composition
have
the
there
eye
times,
it
represented
nicety,
theatres,
the
original
useful.
with
but
this
nature,
There
is
over
that
has
to
right,
the
Horatii;
parts
a
to
always
Temple
been
of
too.
to
have
painting
elegance
theatrical
picture,
In
the
order,
237of
the
his
and,
which
most
Maine
cutting
the
attitudes,
is
express
stile:
all
short,
than
an
a
to
Pilades,
if
dancing
only
well
very
art
same
been
what
dancers
in
the
not
is
the
of
action
at
this
pathetic,
distribute
it
which
more
ordered
the
not
elementally,
to
can
Fame,
wanting
received
the
flowers
there
successive
reality
with
a
same.
was
left;
action
all
some
may
which,
superiority
action
greater
of
and
gestual
less
is
express
best,
upon
the
or
of
positions
perfection,
susceptible.
the
it
composed,
is
by
be
Bathillus
itself.
less
retrogrades,
or
the
simphonies
genius,
upon
of
in
human
hardly
and
to
at
motion
by
young
it
the
a
called
the
paper.
these
or
language.
all
duty
Sceaux;
affords
Virgil;
instants
valuable,
no
the
acompose,
lesser
over
any
theatres;
most
this
dancer,
of
more
any
had
passions,
Horatius
public.
were
low
of
dramatic
gives
at
as
the
In
subject
and
an
sheer
a
no
least
to
quantity
comic
gay
no
the
well
and
it
comedy,
composer
than
arms,
arrangement
The
according
painters,
be
great
like
chuses
the
advances,
life.
other
in
nothing
last
images
their
as
unmeaning
satisfactorily.
kills
composed
whatever.
the
art
and
pieces
an
action
art
aIn
painting.
expressions
there
pretention
writer,
of
means
of
instant
painting,
other.
Camilla.
dance
are
of
to
the
things
and
of
is
painting,
of
as
dancing
paint.
but
in
itvery
wanting
dances,
is
human
he
forms
of
should
action,
great
A
238for
or
little
painted
dancing,
ofthe
Raphael
239can
Two
life
And
Its
to
action.
the
of
is
what
more
ones,
life,
than
to
is
the
byitit
240
Among
expression,
instant,
was
But
born
who,
The
Bathillus
talents.
disposed
A
a
representation:
pathetic
to
heard
Their
an
And
Pilades
stage.
had
supplied
Athenæus
principles
Before
all
took
and
the
complete
theatre
241 them
the
the
ingenious
boldness
principal
charm
it
first
till
omitted
only
so
in
Ggcare
in
under
surprise
was
in
simphonies
pleasant
known
both
were
him,
prodigious
then
Cilicia,
the
especially,
Having
to
the
manner,
invented
Rome.
him
had
one
Mecenas
was
that
of
at
change
mentions
of
antients,
tragedy;
the
and
these
some
encouragement
in
appeared
nothing
his
action.
Rome
action,
and
the
with
been
of
instruments.
was
built
their
and
the
seen
reigns
the
strokes,
their
art.
by
theatrical
beauty
without
the
flutes
kinds,
new
that
his
who
not
lively,
in
Bathillus
the
for
the
that
242exposition,
steps
He
his
without
all
that
towards
Pilades
his
dancers,
solemn,
form.
the
of
on
to
them:
means
slave
she
employment
was
the
provided
the
having
composed
and
the
favor,
Augustus
of
gay,
end
Protheus,
the
and
any
best
He
appeared
illusion.
passions
the
at
Pantomime
The
of
executive
in
of
needing
humorous
the
producing,
theatre.
here.
other
figures,
and
of
added
grave
who,
the
Alexandria,
who,
Cilicia,
adapted,
the
plot,
Mecenas,
written
kind
celebrated
perfecting
them
Romans
head
sprightly
Cæsar,
Emperor.
the
To
of
by
means
catastrophe
becoming
of
painted
and
and
choruses
the
whom
His
he
should
this
talents
with
the
compositions
orchestra
apictures
art
of
and
keeping
book
pathetic
voice
engaged
who
vanished
flocked
fertile
displayed
this
where
arapidity
theatrical
or
received
his
Empusa
dresses
stile.
second
fabulous
with
far
always
assistence
had
of
much
of
project,
the
art
or
of
imagination
superior
expressed
Pilades
of
up,
dances
the
to
the
speech,
dances.
given
and
a
him
declared
of
like
the
in
was
it,
entertainment
good
its
esteemed
their
they
have
and
deceptions,
two
his
most
history
the
embellishing
and
was
to
ahighest
Romans.
him
and
abut
to
steps,
spirit.
pushing
most
come
had
talents
comedy.
presented
The
highest
some
female
saw,
vigorous
the
his
in
any
protector
his
Bathillus
that
records
243the
ventured
compositions
on
representations,
surprising
most
improvement.
by
to
that
with
freedom
relation
He
seemed
in
of
to
dancer,
clearest
Gg2the
taste
Rome,
the
succeeded;
their
his
dancing,
reinforced
strokes
the
constantly
had
all
singular
surprise,
such
of
corresponded
depths
strength
entertainments.
the
to
of
both,
highest
or
been
utmost
in
where
geniuses,
at
whose
bring
propriety,
and
wonders,
affinity
characters,
favor
of
every
executed
and
man
procured
Pilades
before
Bathillus
most
it
in
of
and
he
on
pitch,
lustre.
with
agility
of
which
his
that
to
had
the
his
to
244
Theexercise
nearly
Esopus
admiration
taste
began
Bathillus,
less
that
tragedy,
an
were
images
imagined
sweetness
actions
feel
which
substituted
for
to
answering
and
so
their
comedy,
dramatic
decline;
either
they
resembling,
of
was
of
Roscius
of
onthe
Rome.
loss
their
heard
the
declaimed;
by
to
voice,
to
and
and
of
poetry
Roman
their
understanding.
speech;
had
what
But
those
the
the
farce
aof
been,
novelty,
pathos
on
actions
which
we
theatrical
the
theatres
and
incomparable
their
or
and
understand
energy
from
grotesque.
produced
was
so
there
they
or
leaving
moving,
Steps,
were
by
their
dances
noof
saw.
resulted
their
longer
speech,
tragic,
no
by
excellence
actors.
regular
The
motions,
The
or
under
merit,
successors
grotesque
a
supported
from
gestures
comic,
pleasantry
245The
and
pieces
such
spectators
or
attitudes,
in
them
gestual
of
bydeclamation,
or
or
great
to
the
acted
both,
alone
by
farcical.
satirical;
their
an
so
charms
actors
language
grew
masters
expression
figures,
made
agreeable,
in
supplied
degree
the
these
pleased
equal
of
the
three
positions,
poetry.*
as
took
of
the
Romans
delight
so
Pilades
last
to
that
merit;
kinds
with
place
them,
natural,
pretty
people
and
now
such
the
of
and
the
of the
246
This
planned
Romans,
they
and
continual
their
remain
from
all-together
name
all
And,
number
It
prince,
even
excellence,
like
appears
the
its
not
kind
gave
in
arms,
which
primordially
of
actor.
other
and
fact,
idle;
at
of
and
pantomime,
was
of
picture
to
also
all
concurrent
were
result
who
than
entertainment,
of
but
this
sister
executed
the
called
exagerated
the
clearly
all,
also
art
the
but
actors
to
the
introduced
composition
arts,
with
the
was
the
spirit
so
made
that
harmony,
and
from
bymany
of
eyes
gradually
Italic
carried
propriety,
expression,
genius,
he
it,
of
authentic
some
so
history,
the
liberty
of
could
by
dance;
different
new,
and
the
and,
to
Bathillus,
title
use
and
decayed
a
were
be
spectators.
performance.
though
that
was
testimonies.
point
and
with
of
of
of
adopted
inparts
Pantomimes.
it,
the
not
this
to
no
in
pardon
aof
towards
and
concur
formed
the
esteem
slave)
truth
wholly
art,
of
perfection
with
Their
the
sunk
transports
in
for
A
of
could
to
upon
establishing
its
picture;
worn
dancer
a
in
their
the
under
motion,
the
This
passionate
origin,
Rome,
hard
no
expression,
a
out
formation
action,
was
of
ground-work
learned
the
none
longer
in
pleasures
to
their
(so
but
no
subsequent
the
believe;
his
favored
which
fondness
of
so
more
feet,
preserve
Roman
from
despotism,
of
them
far
the
that
it
was
as
than
their
already
but
happy
his
by
caused
were
he
by
assemblage,
breasts;
emperors.
one
for
its
an
a
hands,
should
the
247 lively,
nay
to
great
arbitrary
such
known,
very
them,
and,
be
a
248
Pilades
when,
even
pantomime
Bathillus,
in
But
us,
elegance,
could
Upon
Our
charms
wit.
present
attention,
Such
tragedies
but
In
with
them.
dramatic
Dancing,
situation
If
or
picturesque
others
it
Whereas,
being
last,
the
It
never
expression
This
ideas
composition,
that
One
and
buskins,
passed
steps,
full
attitudes
which
importance.
of
â a
cold
is
the
such
his,
which
so
theatrical
expressed,
of
composer
theatrical
one
in
what
that
The
tragedy
sobs
succinct
not
he
is
instance
dancer
was
which
all
the
commanded
from
coolly
âlet
upon expressive
must
those
considering
of
have
well
meaning,
lose
Roman
he
disturbances
Such
truth,
his
upon
to
and
not
are
more
thewell
gave
compositions,
was
this
of
new
unworthy
single
theatrical
action
utmost
which,
final
he
doubtless
is
represent
like
piece.
of
was
interrupted
is
in
or
if
arms
turning
the more
form
speech,
linked
to
defective
sight.
insipid.
have
must
that
nothing
done.
of
more
the
a
Plancus
we
profound
greatly
had
enough,
his
painting
peopleungrateful
situations.
The
the
and
comedies
subject,
situations,
than
a
whether
be
stage,painting,
of
effect,
piece
ladies.
effect
meditating,
of
the
seriousmotion
memorable
by
is
have
over
tothe
a-cross,
being
situations
in
can
clearness
his
the
rapidity:
slighted.
effect
such
been,
dances
a
clearly
spectators,
our
Successive
together
divided
surprising
all
spectators
dancing,
of
the
expression:
portraiture,
by
the
plot,
looks
but
over-topped
ought
251
amusethe
regard
played
will
or
of
attention.
this,
comedy
âtill
so
the
he
253
Hilas, often
pensiveness,
great
banished
the
then,
to
nature
may
represented
of
or
can
for
which,
No
great
useless,
greatness
Hh2
excellent
twenty
thoughts a
pantomime
and
little
his
and
be
result
should
lead
be
amours
Pilades
there
into
these
now
living
such
252
said one
interestingness
succeed
weighing,
to
and
speech.
conducts
the
other
instance
only
the
all
paint
sure.
shewn
motion
the
powers
declaimed,
made
yet,
these
must
strikingly
struck
pictures
be
of
themselves
kings:
to
on
250 the
secret
of
have
to
acts,
is
fixed
the
in
good
from
energy,
unanimously
this
must
representation
He
must
picture.
principal
pantomimes,
Rome,
undertake
stilts,
a
present
they
the
him,almost
Memphir,
parts
the
âappeared
several
of
least
close
of
begin
excellence
254
feet,
the to
by
situations
had
There
one
is,
an
sometimes
youpainted
each
art
with
in
by
Leda,
âon
parties
the
conclusion
of
his
them
and
be,
Agamemnon:
the
execution,
be
not
can
must
lossPilades
perhaps,
all
extent
unravel
beside
used
the
for
dancing;
than
the
been
of
withanother
or
crouded
power
tempted
impassioned
danced,
lively
âYoung
madeby
situations
(but
the
croud
ofcharacter.
act
comparing,
be
thoughts,
his
are
only
dancing!â
never
of
some
with
to
to
art
(as
aground,
ourbe
with
making
occasioned,
strongly
one
to
the
adjudged
justness,
narration,
their
legs,Pithagorean
into
tragedies,
publickly
keep
be
required
with
represent
and
to
in
himof
these
of
embarras,
exhibited,
yet)
received,
of
the
of
slow,
rapidity,
too
or
man,naturally,
general,
the
theatrical
most
as
an
executed
failed
time,
unmeaning
abstract
Pilades,
the
of
to
scenes,
the
actors
duration
more
unravelment,
up
whole;
melting
Hilas
to
gesture
unextinguished
quarrels?âfor
air,
and
now
an
say,
composer
can
philosophy
liberty.asometimes
admirable
tall:
we theatrical
with
tragedy
Imotions
the
the
eloquent
with
by
the
many
challenged
man
of
artificial
all
extract
by
stern
that
situations.
upon
â
hadprecision
he
from
lifted
enter
came
who
with
by
was
and
exciting
who
Augustus
perplex,
these
philosopher,
eye;
of
showedkinds
warmth
all
the
and
the
by
preference
propriety
the
which
mood.
told
is
taken
âWhy
tothe
some
he
entry,
words
the
and
surrounded
arms:dancing,
M.
the
prodigious.
animated
something
of
choice
to
so
of
variety
into
and
upon
from
in
energy
action
could
professor
height;
scenes
diversion
of
him
Glaucus,
and
Cahusac,
animated,
the
heaven,
dignity
highly
great
stage
are
first
majestic.
âthe
and
up
by
of
confound,
theatrical
excellent
Pithagoras,
represent
him
do his
every
performer
figure,
to
Cesar,
spirit
it,
notplainly
is
the
dance.
interest
prepare
whatwith
is
Hilas,
supported
draw
utmost
of
to
must
express
situation
markingness)
plan;
preserved
as
and
great.âof
anumber;
in
successively
complete,
any
excelled
with
astage
of
the
general
Pilades,
you,â
amore
of
all
truly
with
him.
of
Athenæus
to
consequence
in
great
or
upon
âWe
249real
kingly
tears
His
once
with
to
go
liberty,
kingall
great
philosophy
which
written
the
sallies
pityall
and
step
and
it.
sensibility
must
his
Hhwith
all
a
This
theatrical
forward
marking
saysthe
serious
ithave,
elevation
to
the
whothings,
account
most
Romans
if
pauses
by
Tears
thought,
in
rule
a
from
who,
to
render
the
face,
and
in
action
is,the
their
the
pupil
he,more
his
of
the
us,
tells
that
255
observer.
representation,
whether
shewn,
being
philosophy
of
or
undeceiving
conspicuous
simphony
steps,
them
spouse
it
The
Much
so
Rome,
action,
would
admirable
It
practice,
dancers.
an
faculties;
the
more
And
paint
one
external
for
which
is compleats
257was
would
consequence
at
true
infinite
borderers
afirst
strong
most
Iiwhole
orchestra
ought
surely
great
least
the
impression
people
not or
easy
to
about
forced
are
nothing
in
let
the
Cinic,
a and
and
aand
or
represent
time,
the
then
his
signs
the
Their
with
manner
rage
eminent
interesting
as
him
couldsuccessively
ceases,
whether
positions
number
interpreter
to
audience
impression
to
justness
there
who
very
charmed
her
pride
the
jealous
for
him.
reign
the
part
to
be
flatter
upon
surely
conceive
have
their
one
began:
of
but
execution,
approve
he
example,
formidable
had
same
representation;
outupon enough
naturally
piqued
revenge
is
Mars,
actions.
of
He
all
made
degree;
and
of
a
them.
of
could
naturally
my
an
arms,
with
of
husband
oneâs
understand,
of the
be
nice
never
gave
the
truths
these
was
himself,
him. Nero,
with
combinations
an
between
time
that
evident
understanding
the
the
kingdom,
the
than
represented
aenough,
âDohouse,
him
for
âany
different
actor
not
It
eye
great
All
once
of
their
had
without
it,
to
body,
self
but
representation
seen
has
arch
is
that
pantomime
gallant,
259
could
it
nora
of
the
Vulcan,
to
envious
asked
the
feel
that
thing
help
not,
is of
dancer
not
can
human
anecessity
their
with
opens
legs
attain.
Ii2
themore
been
error
us.â
without
managers
the
amirth
they
notgreater
such
especially
excellence
passions
the
for
some
a
till
saysextraordinary
perceive,
cinical
situations
expressing
doubt,
but
sort
with
verythe
which
characterising
and
goddess,
compositions
their
the
only
after
movements
represented
to
made
brought
helpand
the
a
nature.
learn
heto
of
his
Barbarian
compositions.
sight
quick
of
his
imagine,
great
feet,
amours
influence
seize;
for
mock-philosopher,
the
thing
to publishes
required
own
scene:
selfish,
a
have
shame
continues.
belong
own
of
cryinghaving
an
upon
and
profound
ours.of
studying
of
gods,
before,
the
Nero,were
the
effect
to
How
earnestness
attentive
honor,
the
âthey
that
singularities;
affinities
dancer,
which
their
of
âon
that
him:
dances
he
of
itself.â
out,snares
for
greatest
nations
intirely
the
Suchsupposed,
than
all
bebeen
performance
extensive
them
who
Mars
the
his
hero,
the
of
have
incould
easily
the
Without
these
to
examination
men,
theatre,
an
labors
Struck
as,
the
easily
shame,
only
the
came
arms,
moment
and
who
acquainted
and
purely
which
to
admiration
habitual
256to
that
shades
in
whose
treacherous
not
marks
surprised
a
a man of
before
real,
followed
take
each
advantages
talents
the
called
lay
that
judicious
of
he
transportand
Venus,
had
a
with
escape
asthe
any
to
the
a
and
bear
study
the
Hercules.
he
by
attributed
a
atmind,
king
its
this
enjoy
notice
language
reign,
of
other,
thisthat
indispensably
made
of
scheme
emperor,
dexterity,
the
piece
aid
sets
one
of
Demetrius,
seated
the
confusion
mydue
of
his
the
astonishment:
with
the
he
man
a
of
this
the
but
truth
discernment
these
distinguish
or
the
powers
superficial
can
entrance,
dancerfor
net,
a
of
cruel
Pontus,
had
applause,
which
of
is
Sun
thread
intellectual
their
passions,
false
He
258
delight; exacts,
that
was,
this
request.for
in
performed,
to
his
sight.
the
none
undertake
that
of
which,
such
involuntarily
a
pantomime
retraced
a
discovering
âthe
pain
of
daily
faithless
the
it
partiality,
intention.
wouldsaw,
of
body
âitof
âNo!then
implied
Venus,
Ihe
is
of
music
seems,
an
the
it
them,
but
of
the
only
havewhile
my
but
that
of
is
befor
in
at
thisin
to
anin
260
insuccession
passages,
others
In
composition.
aspire
know
conception
When
who
of
taste
fable
the
a
merit,
repetition
historical
the
serious
steps
understanding
required
or
for
any
course
M.
state
bear
to
perhaps
subject,
and
dances
Cahusac
little
pieces
thing
dancing,
of
which
of.
no
of
vignettes,
capers;
of
of
nothing
more
dancing
more
more
lively
beyond
his
has
after
of
are
wrote,
is
action,
where
life,
than
proportion
and
subjects
begun
exercised,
brilliant
steps,
more
aof
of
certain
that,
Raphael,
this
he
the
our
head-pieces
the
animated
to
than
and
observed
and
mechanical
is,
days,
in
proper
character
gain
marking
to
without
history,
in
cabriols,
aacannot
that
fact,
brilliant
Michael
ground.
the
with
for
that
and
of
dancers,
true
the
but
of
strokes,
in
part
a
meaning
however
a
this
execution
tail-pieces,
well-composed
Angelo,
course,
People
fatigue
which
stage,
of
hero
ofthe
was
their
and
certain
iswould
well
are
and
greater
cultivate
or
of
sufficient
to
even
from
art;
a
perplexity,
would
be
less
conveying
which
executed;
Correggio.
incidents
infrigidate
given,
and,
the
the
dance,
number
tired
what
do
for
must
composers
dancers
indeed,
to
there
with
the
than
which,
or
the
they
than
the
now.
be
a261
extraordinary
atheatrical
idea
are
separated
gravings
by
they
in
have
dance,
a But
spectators,
in
tiresome
the
merely
of
in
of
point
hardly
dances,
lately,
his
no
old
some
inof
actions,
which
track
of
from
seeing
the
262
As hitherto
height
any
made,
dances,
action
most
And
me
recommended.
with
composers
here
encouraging
has
that,
ofin
rules
perfection
the
the
been
the
for
ingenious
of
nature
composer
want
could
clearly
composition
applause
to
of
do,
ofwhich
aand
author
poemetti
proper
Iof
mean
intelligibly
by
the
the
for
to
the
dances
plan
the
with
antient
whom
orpublic.
small
dances
and
success,
executed,
of
Ipantomimes
amexecution,
action,
dramatic
of
so(for
action,
much
have
have
there
poems,
failed,)
carried
obliged
which
ever
not
have
been
which,
been
was
can
their
in
been
this
able
hardly
to
received
art;
where
furnish
some
chapter,
tothe
be
recover
the
attempts
most
with
too
certain
subject
furnishes
much
the
that
that of
263
Allany
By
introduced
subject
quality,
The
embroil
out
from
to
From
plot.
unexpected,
an
If
three
infallible.
essentially
exposition
more
But
work
dialogue
exposition,
are
So
constitute
perfect:
is
theatrical
Besides
of
which
As
nothing
admit;
laid
broke;
dances,
be
the
theatrical
ingenious
ought,
aof
the
this
hold
circumstances,
lively
whose
is
kept
this
or
in
of
are
the
theatrical
art
and,
commonly
parts.
that
and
it,
of
division
these
due
aless
these
of,
or
the
embarrasment,
merit.
also
fault
derived
actions
of
every
what
and
as
dialogue,
that
shall
constitutive
in
its
soliloquy.
consequentially,
even
distributed,
manners
is
proportion,
dancing
striking.
the
picture,
compositions
conclusion:
great
one
general
plot,
to
every
three
retard
in
are
be
would
is
thing
better.
dance
be
guess-work,
one
of
made
from
composed
not
more
to
and
athe
represented,
the
in
parts
representation
whatever
essentially
secret
of
its
Now
be
of
that
the
laws
be
aparts.
then
the
obstacles
its
They
and
the
for
characters,
those
march
piece
or
this
executed
rejected
one
only
is
every
unravelment,
ought
is
primitive
of
less
apersons
as
action
properly
defective,
is
every
is
action.
of
dance
unfold
Thus
the
sees
parts
made
a
possible:
beauty
one
what
without
five
clear,
consists
representation,
act,
to
and
which
theatre,
manner
by
is
on
thing
it
successively
that
have
in
which
or
will
the
of
Without
principles
is
to
complete,
will
every
placed
ait,
to
its
action,
dancing
it
fewer
the
called
painter
be
stopping
arise
should
have
action,
and
they
may
have
just
that
be
in
plot
three
how
which
perplexes
spoken,
drama:
theatrical
scene,
painting
more
in
this
as
acts;
their
such
have
our
more
are
the
asome
to
a
of
all
essential
be
and
bad
the
break
it
are
embarrasment
dance
it.
subjected
of
unravelment.
the
have
good
spectator
or
is
union,
known
and
should
must
a
this
in
or
or
A
total
the
effect
conduct
acquaintance
by
to
painter
less
in
the
merit
other
sort
art.
by
less
forth
an
be
is
those
common
taste,
gestures
of
charm
ground-work
be
parts.
curiosity
an
of
perfect,
there
what
and
have,
act
of
ultimately
action.
on
ingenious,
is
formed
respects,
the
to
is
incident
lights,
would
embarrasment
itimperfect.
three
the
that
is
practised.
to
other
by
is
of
is
piece
composed
subordinately,
is
to
and
be
called
no
the
according
insensible
of
of
the
what
the
chuse,
266of
those
parts,
prepared
particular
action
the
dextrously
unravelled
the
attitudes,
is
of
representation
has,
others;
its
these
dancer
more
without
the
the
is
Ifspectators,
unravelment
Acharacter,
compositions
which
ought
they
of
called
dramatic
of
that
exposition.
subject,
three
forms
degrees
which
the
scenes
265for
can
rules,
its
are
there
any
is
to
Kkthe
chain
itself
as
all
be
they
264 is
in
to
is
its
267 Kk2
Here,
let
imitating
the
Nature
there
could
pantomime
otherwise,
meaning,
situations
expression,
effect
attitudes
spectator
needed
impression
was,
of the
it.
nature,
theory,
by
is
not
on
and
eye,
then
that
no
one
this
or
nature:
but
artists
will
of
charm
a
in
false
into
depending
nor
branch;
injuriously
gestures
of
being
help
mere
human
point,
every
be
have
the
less
aconclusion,
formed
aarational
of
to
mechanical
always
great
greatest
rule
been
thing,
recurs
regarded
which,
the
understand
nature:
alone,
on
to
this,
moment
to
gainer
the
the
that
or
be
Nature,
that
paint
upon
judges
unseconded
Inor
sensible
than
greater
the
great
am
in
part
never
by
the
268straining
the
with
guide
is,
not
which
always
composition
aof
power
evidently,
practice.
meaning
revival
theatre,
for
afraid
entertainment,
too
that
bodily
the
of
there
the
by
often
most
inferences,
invariable
art;
of
art,
of
of
the
quickness
eloquence,
theatrical
converted
of
and
is
using
the
pronounced
repeated
pathetic
of
voice;
them.
not
feet,
let
more
taste
here
in
one
and
in
art,
for
And
her
of
declamation;
legs,
avering,
that
a
of
expression,
likely
more
rule,
made
his
the
in
that
transient
operations
the
to
this
every
and
even
apprehension
term
be
to
as
trite,
the
antients
is
ofthat
be
the
infallible
arms,
so
dancers,
in
thing,
pleasure
of
flashy
produced
more
the
because
true
oratory,
most
the
and
without
for
most
aim
most
art
of
hackneyed
as
amusement
productions;
essential
the
not
who
of
the
of
it
at
action
the
striking
by
the
pathetic
is
having
dancing
spirit
force
are
plain:
great
part
or
in
of
269
This
or
execution
painting,
For
contingents.
which
pathetic
point,
mithology
transactions
antiquity,
exploits,
in
domestic,
at
fable
the
often
manners
home
relax,
the
quickness
may
represented
of
aare
subjects
considerable
the
stile.
to
they
can
decoration,
be,
the
the
and
of
having
what
and
history
taken
anever
perhaps,
will
marvellous
This
most
of
even
dramatic
ways
of
their
they
hardly
lost
to
we
these
from
make
of
likely
religious
the
and
advantage,
of
saw
that
apprehension;
their
find
ancomposition,
thinking,
itthink
audience
poetical
of
to
machinery
the
exaggeration:
by
represented
was
effect,
own
their
please,
remembrancers.
their
same
their
the
country,
from
deities,
from
dances,
and
being
poets,
great
impression
pleasure
in
will
and
to
warmth
fabulous
which
those,
upon
the
but
have
generally
resource
procured
and
its
and
theperfection
when
being
tastelesly
their
the
the
to
brought
composer
all
of
The
on
history,
whom
interest,
moderns
contributed
histories
theatres;
people
the
of
part
foreknown,
it
spectators
the
the
moderns
upon
of
diversified
such
of
especially
will
more
antients,
which,
resort
their
which
are
ofthe
undoubtedly
exhibitions
their
of
excluded,
favorable
contributed
received
so
ground-work
theatre.
to
accompanied
those
poetry,
by
for
who
thoroughly
amours,
respective
a theatre
athe
times
had,
fine
were
music,
theology,
attention.
The
by
serious,
find
greatly
or
pantomime
the
in
to
were
heroes
of
aof
differing
those
that
unbend,
kind
antient
the
270their
or
to
more
all
andof
271
The greatest
among
have
into
poetical
justly
them,
make
universally
intelligible
arecourse,
pass
a
dance;
but
the
selection
fictions
purely
in
for
moderns;
the
part
the
by
afable
for
of
barrenness
which
execution.
to
with
of
want
Greek
point
these
is
and
judgment
Iforeknown,
of
doand
out
to
advantages
theatrical
not
of
which
aRoman
invention,
mean
treasure,
and
the
however
taste:
subjects
antiquity
tomore
are
exclude
ever
the
wanting
always
they
easy
being
striking
open
for
all
are,
will
aremembering,
reduced
in
subjects
to
basis;
in
the
enough
the
some
task
employment
artist
onconstantly
that
the
to
measure,
bewho
be
have
that
contrary,
of agreeably
rendering
shall
the
not
of
tocompelled
these
borrow
know
more
those
it might
thrown
itfictions
how
from
toto
272
There
known,
great
again
As
subject
current
nearer
andtotothe
aof
are,
have
they
that
novelty,
of
life;
which
pieces
them
doubtless,
and
will
any
a pleasing
all
seem
from
as
of
the
plan
the
composition
ifstronger
the
the
taken
some
interest
toeffect.
the
composer
most
parts
from
truth
they
isagreeable
in
entirely
them,
of
of
the
are
had
the
nature,
comic
ofwould,
himself
antient
antiquated
the
andand
vein,
manners
the
to
mithology
invented
the
the
most
there
and
surer
generality
and
marking
is
exploded.
the
so
nothing
practice
at subject.
obscure,
once
of
occurrences
like
the
to
of be
There
the
and
spectators,
taking
understood,
times,
so
are
in
the
little
real,
others
the
be as
273 Ll
And
dances;
as
models
hints
hereof
the
ofI them.
shall
the
oneimprovable
take
in the
the
serious,
liberty
nature
the
ofof
concluding
other
such in
compositions,
thewith
comic
offering
vein,
thantwo
which
in instances
theare
least
furnished
meant
of poetic
rather
for
The first has for title,

PANTOMIMES. 52
 Venus and Adonis.
The decoration
agreeable
there
colonnade,
is a grand
perspective
thatrepresents
forms
walk, terminated
the
of distances.
peristile
a woodby intersected
ofAt
aasmall
the
temple.
bottom
mount,
by several
ofon
thethe
theatre,
walks,
summitwhich
and
of in
which
form
the an
middle,
is seen a
274
Venus,
agreeable
their
agitation
the
The
forth
mount,
discomposure
Graces
sound
endeavour
in preceded
the
inand
of
and
eyes,
and
which
the
melodious
advances
the
to
by
chace
the
she
of
sooth
nimphs
the
her
gestures,
is,is
Graces
steps,
the
ought
imaginable,
to
heard,
open
the
impatience
and
marking
to
and
front
which
the
be
steps
several
painted
action,
of
tobetokens
her
the
announce
of
ofVenus
nimphs,
anxiety
Venus
wood;
and,
on her
the
by
on
the
and
and
countenance,
comes
their
approach
the
simphony
arrival
her
desire
absence
gestures
train.
out
ofof
of
the
to
Adonis.
seeing
of
the
and
and
be
goddess
Adonis.
temple,
the
expressed
steps,
her
Joy
most
The
lover.
breaks
ofdescends
express
love.
by
275 Ll2
Adonis,
Venus
shows
upon
homage
offering.
The
their
Soon
Mars.
uneasiness
Mars,
on
by
pursue
usual
dissipate
jealous.
which
the
his
hunters
harmony.
aarts
Venus,
followed
getting
runs
her
same
noisy
hunting-pole,
Adonis.
followed
to
These
Adonis
his
of
the
the
and
to
mix
appeasing
way
passion,
simphony,
Adonis,
out
meet
head
by
goddess,
Venus
two
terror.
and
with
by
as
several
oflovers
several
him,
of
he
the
the
by
the
but
stops
276acame.
and
of
one
stag,
way
who
hunters
and
the
Graces
to
warriors,
then
military
hunters,
him,
blinding
make
of
Graces,
of
is
seems
which
Mars,
the
express
presently
the
and
came.
him
instrumental
hunters;
enters
formidable
inraged
he
to
enters
athe
employs,
nimphs,
jealous
believe
chide
has
in
Venus
nimphs,
appeased,
precipitately
athrough
killed,
and
pas-de-deux,
with
him
and
lover.
himself
separates
god
inmusic,
offers
jealousy,
her
for
and
and
form
of
one
She
and
having
soothing
war.
hunters,
in
which
it,
through
gives
aof
prevails
graciously
the
from
as
dance
their
He
makes
the
the
been
wrong
is
warning
withdraws
Adonis,
and
side-walks
show
mutual
carried,
afruit
which
at
walk
so
acaresses,
for
receives
shew
length,
long
of
signs
of
having
characterises
satisfaction.
opposite
having
his
as
the
with
away.
of
in
of
chace,
not
going
arrival
the
his
triumph,
all
insisted
his
been
only
the
to
He
wood.
train
in
to
that
ofto
277
The
expressive
way
Venus,
distance
has
In
wild
their
know
boar
Adonis
Here
by
and
which
in it.
the
the
now
warriors
despair
boar,
as
gets
fright,
ithow
same
Venus
most
returns
is
the
they
nothing
from
nevertheless
that
him
that
to
Graces,
of
attempt
are
walk
plaintive
came.
address
is
avoid
athe
them,
himself
tries
alone:
plunged,
sort
strongly
to
from
music
him.
and
fear;
to
of
to
testify
themselves
mournful
Venus
down.
escape
reconciliation;
which
mortally
fly
the
Adonis
and
that
characterised,
from
their
nimphs,
springs
The
the
Adonis
Mars
just
sounds;
him:
runs
wounded,
dance
satisfaction
share
hunters
toby
will
the
see
to
but
hastily
came,
after
where
not
meet
the
are
the
ought
Graces
them
he
arrive
and
which
return
Graces,
the
to
is
other
to
the
him,
at
already
display
to
go,
pierce
expires.
hunters
having
and
at
Graces
express
Mars
by
in
and
that
the
nimphs,
haste.
gestures
the
their
so
gives
when
and
got
nimphs,
instant,
of
and
near
boar
the
his
so
his
respective
him
the
they
and
profound
train
well
and
them,
with
train
and
and
nimphs
to
form
are
steps
over
are
his
understand
return
kill
the
that
got
powers:
together
javelin;
seen
affection
the
this
hunters
in
they
a by
278which
little
boar;
interruption.
pursuing
are,
the
do
but
the
that
ainto
take
who,
but
grief
not
dance
same
the
one
heain
279
him
of
The
should
Venus
supply
invoke
a Graces
with
sudden
appears
herself
the
beher
yet
place
power
and
transformed
tears,
more
isto
the
not
of
of
implore
and
her
strongly
nimphs
the
somelover.
those
more
into
the
deity
express
marked.
an
She
precious
comforted
aid
inhabitant
anemony
of
turns
all
their
tears
the
then
by
surprise;
or
of
gods,
this
have
her
wind-flower.
its metamorphosis.
bowels.
eyes
tosuch
but
restore
towards
the
a virtue,
astonishment
herthe
lover
that
A earth,
flower
to
Adonis
her.
of
and
cannot
the
She
appears
seems
hunters
bathes
wellto
all
280
chariot
It
gestures,
Proserpine,
Venus.
one
most
re-union:
Adonis
Goddess
shoulder-belt,
him
The
the
concludes
is number
natural
flower
Graces,
Graces
another
apleasing
simbol
again;
Adrawn
takes
pas-de-trois
after
and
by
disappears;
getting
and
to
of
the
again
of
aVenus
steps
by
or
imagine
dance,
the
which,
off
general
immortality.
nimphs
nimphs,
as
black
her
demi-gods:
isout
now
of
and
to
or
while
she
girdle
Venus,
the
horses,
of
be
country-dance.
testify
trio-dance
the
and
Adonis
her
characterised
joy
earth
Proserpine
281ribbons
or
hunters,
chariot,
of
the
that
Mmto
and
cestus,
form
the
opens,
Adonis
gets
hunters
follows,
is
having
Graces,
ofat
aholding
express
into
testifies
and
most
pas-de-deux,
this
and
how
bypay
at
her
puts
in
all
to
Proserpine
orders
the
her
pleased
which
Adonis
how
their
be
the
chariot,
her
it
nimphs,
side
expressed,
upon
expression,
highly
satisfaction
of
homage
the
or
by
they
Adonis
knight-hood
and
rises
Adonis,
duet-dance,
joy
the
and
they
are
re-descends
of
hand,
to
out
restored
hunters.
by
the
and
to
are
at
him,
inthe
of
see
having
two
the
presents
are
charmed
all
it,
in
and
simphony,
him
way
sitting
the
lovers
to
worn,
which
into
the
life.
produced
received
graces
ofhim
at
whole
the
which
at
on
the
a seeing
by
seeing
ato
earth.
ofthe
is
into
the
the
to
282

The other specimen has for title,

Venus and Adonis. 53

 The Coquette Punished.
The
compartments,
prospect
In
pruning
some
others
curtain.
the
decoration
women
bottom
setting
the
of at
hedges,
at
of
roots
once
represents
separated
work,
thisain
others
perspective,
pleasure-garden,
vases.
tying
by
ain
up
delicious
canals
All
sowing
the
this
there
flowers,
and
forms
and
garden,
and
appear
jet-dâeaux.
planting:
the
a
orfruit-one.
in
cleaning
scenical
several
which
more
This
there
gardeners
them
picture
towards
scenery
are
from
atseveral
the
should
busied,
pernicious
front
drawing
exhibit
some
areleaves;
up
seen,
in
the
the
283 Mm2
A canal,
soothing
One
employed
attentive
a
in
by
her
whosimphony
the
stealth,
out
of
iswatery
too
the
to
she
airs.
to
the
upon
much
female
her
the
mixed
is,
mirror,
gardeners,
companions
when
some
admiring
taken
gardeners,
with
admiring
she
necessary
up
the
imagines
the
who
with
remark
most
flowers,
more
join
herself,
herself.
task
rural
the
none
her
showishly
about
than
laugh
instruments
and
coquettry,
areto
adjusting
the
at
taking
do
dressed
her,
flower-vases,
her
make
of
notice
without
work:
her
music,
than
signs
dress.
of
and
the
the
her,
begins
seems
to
as
Though
others,
coquetâs
each
looking
she
with
however
is
other,
and
she
standing
soft
at
perceiving
who
does
her
and
and
more
figure
isall
point
near
this
it,
284
bursts
not.
who
nosegay,
immediately
keeps
advance
the
not
nosegay;
gardeners,
and
Another
advancing
this
take
intervention
jealousy,
gardeners
It
pas-de-deux,
characterised
While
fruit,
gallantly
ribbons.
expressive
takes
arm.
has
coquette
that
other,
manner,
of
them.
forwards,
first
The
they
rival.
standing
any
which
to is
the
falling
prevent
to
coquette
a
easy
mark
coquet
gallant
simphony
coquette
false
return
swains,
In
no
is
the
286think
express
He
and
Just
mind
notice
the
at
she
flowers
Her
take
pressing
and
of
not
the
regard
pas-de-trois,
gardener
gives
fruit
threaten
the
once
little
dressed,
upon
laughter
is
and
to
but
coyness
the
in
being
of
gardener
interposes,
companions
of
do
one
moment
with
takes
their
to
of
shew
a
to
so
is
gardener
conceive,
the
and
coquettry
of
same
leaves
the
and
denial,
their
and
all
coquette,
or
their,
uses
not
accepts
briskness
sadly
signifies
by
in
have
her
catch
transported
should
his
him;
can
of
this
the
her
an
curious
instant
hurting
not.
this,
her
the
coquetteâs
by
little
the
those
her
quit
pas-de-trois,
him
now
of
defence,
from
plainly
that
indignation,
air
her
time
with-hold
flowers
rival,
to
work.
the
who
that
tempted
at
off
their
her
hair,
and
resentment
The
ribbons.
adance.
she
with
approaches
swain,
express
announce
here
of
receive
the
that
their
and
towards
who
which
most
to
in
best
enters,
the
and
her
ribbons.
the
that
are
employed
and
to
him,
only
eye,
brought
she
gaiety,
the
but
swain
her
a-fresh
signs,
to
and
otherâs
aplaces
see
with
the
coquette
express,
in
work;
has
work,
rest
comes
all
the
arts
bantering
understand
gay
engaging
they
form
is
game.
the
women
to
he
her:
discovers
looks
and
that
her
The
the
it.
by
seemingly
on
how
composer
them:
expressing
pay
and
given
of
gardeners
gather
the
that
of
puts
presents
the
to
These
gallantry.
Her
more
coquette
of
the
makes
the
and
hair
are
but
herself
she
the
give
two
a
rest
the
he
basket
at
the
in
pacify
or
attention
the
are
pleasure
dance,
by
arrival
opposes
they
want
companions,
nosegay,
work,
on
is
a
sounds,
preparing
the
they
side
coquette,
dress;
this
returns
and
nosegay
gardeners,
figure,
air:
in
gardeners.
her
betray
some
female
different
the
scene
come
gallant
determined
a
that
288her
between
of
gardeners
to
ribbons,
in
of
the
were
pas-de-deux
resolute
great
bosom,
opposite
at
leave
to
the
manages
a
give
begin
tender
and
in
of
this
good
the
fruit,
who,
violent
of
bosom.
she
length
engage
to
to
having
two
on
which
as
the
this
will
greatest
gardener,
and
gardener.
expresses
very
bedizening
the
to
who
to
the
and
coquette,
her
music
many
airs,
their
nearly
purpose
must
to
harmony,
who
which
flowers
mind
by
angry
end.
amiable
understand
and
regard
attack
the
look,
the
flowers
to
different
285express
longing
acceptance
the
follow
shews
makes
sure
so
in
the
Her
the
work,
that
curious
gallant
see
take
faces,
throw
will,
of
return
other
begins
well
his
mind
she
as
coquette
men
she
gardeners;
and
eager
amiable,
companions
coquette
resentment
the
she
him,
to
she
his
a
possible,
themselves
them;
gardener,
hands
on
herself
her
in
for
their
up
has
enters
that
and
for
small
offer
the
hangs
their
does
affections
who
themselves
about
for
seem
fruit-basket
vexation
would
all
the
has
gardener
which
to
by
and
her
to
those
and
them.
for
one,
of
advance
it,
she
this
revenge
see
and
shrewd
her,
it
some
accepts
all
resentment;
airs
presented
for
basket
not
lively,
with
own
to
the
that
a
upon
enters
to
it.
her.
whether
frightened
but
the
take
the
third
pacifies
to
how
and
by
glittering
receive
him.
of
all
The
This
excite
and
made
shows
seem
at
nosegay,
slighted
use,
that
those
he
pink-and-silver
his
and
it
mockery
The
the
an
little
first
surrounding
her
but
the
into
signs,
of
hung
some
the
upon
is
this
it,
gardener,
agardener
the
new-comer
is
rivals,
air
all
fine
gardener,
the
are
to
but
for
she
coquet
sticks
the
arm.
her
without
stoutly
came,
his
nosegay
the
289fruit
grimaces
attitudes
ribbons,
287will
but
all
air
fear
in
ribbons,
upon
their
in
steps
the
what
others,
to
dares
fruit.
but
Nnlover
will
the
aand
vain;
if
this
The
with
end,
to
the
fine
be
some
two
she
and
her
the
In
290
understand
the
protecting
At
less
snatches
approbation
before,
being
overwhelmed
companions
to
her
with
and
There
music,
The
dance
another
this
fruit
feet,
two
gay
gardeners,
to
pardons
for
an
now
is
becomes
laugh
the
should
so
that
air
others,
no
gardener,
to
and
next,
angry,
from
left
offended
woman,
so
the
need
that
make
and
of
him,
at
is
moving
with
express
without
other,
from
what
going
men
the
in
their
general.
the
the
of
burst
in
respect
the
vexed
confusion,
wants
coquette.
specifying
fair
sign
the
coquette
she
and
other
just
that
away
and
others
in
flowers,
out
one
coquette,
has
women,
this
of
at
resentment.
to
she
penetrated,
to
gardeners.
a-laughing
in
which
having
expresses
pass
done,
this
pas-de-deux;
sensible
At
and
has
amight
here
fruit,
passion.
first
charming
testify
it
been
with
she
the
even
been
what
off
or
get
she
that
gives
ribbons.
for
that,
the
to
ribbons;
sotheir
the
He
will
surprised
the
her
joy,
base
loud
she
itgirl,
little
stops
him
two
ribbons
is
not
dance
as
rejoicing
lover
toThe
will
too
laugh
as
dare
at
merely
her
see
gardeners,
hear
by
her,
to
not
obvious.
by
whole
her
in
little,
291hand.
the
from
not
return
and
him;
his
action,
which
and
suffer
at
indignation,
acoquette
proceed;
this
mistress,
she
company
scheme
the
rallying
entreats
she
who
the
she
them
accompanied
reconciliation,
gardener
istreads
flowers
disarmed
were,
withdraws,
so
to
gestures
but
to
in
round
but
her
well
amuse
hurt
an
the
they
the
whom
does
to
forgiveness
act
punished,
testify
of
ribbons
him.
the
moment
give
of
himself,
and
of
her
not
292her
she
one,
gallantry
She
by
her
anger,
the
their
under
is
the
and
to

FINIS.
* Hanc partem
loquitur,
scripturæettextu
quibusdam
Musicæ
possit agnosci.
gesticulationibus
disciplinæ Majores
facit
mutam
intelligi,
nominârunt,
quod vix narrante
quæ orelingua,
clausoaut
Cassiod, var. 1. 20.
Loquacissimas manus, linguosos digitos, silentium clamosum, expositionem tacitam.
Idem.

Spelling Notes
e-text.
given
A
mith,
The
number
word
form
simbol;
the
TheâHetruscansâ
âSaliiâ
standard
ofword
words
andâPræsulâ
was
names
spelling.
usually
consistently
issuch
used
was
spelled
as
printed
consistently.
Pilades,
printed
with in
âyâ
italics
Hilas.
aswere
Salü;
and
written
it
mayhaswith
have
beenâiâ
read
corrected
in this
âPrÅsulâ;
text:
for nimph,
the
it is here
Some Variations and Anomalies:
âcharacterâ is sometimes spelled âcharracterâ or âcaracterâ
âdirectâ and âdirrectâ both occur
âwithallâ is more common than âwithalâ
âembarrasâ is consistently spelled with one âsâ
âexagerateâ is almost always spelled with one g
âchoregraphyâ is always written without the second o
âgestualâ is not an error for "gestural" but a different word

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:
http://www.gutenberg.org/2/4/6/4/24643/

Produced by Louise Hope, David Starner, Chuck Greif and

the Online Distributed Proofreading Team at
http://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

The Coquette Punished. 54

 A Treatise on the Art of Dancing

(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.

*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free

distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.net/license).

Section 1. General Terms of Use and Redistributing Project Gutenberg-tm

electronic works

1.A. By reading or using any part of this Project Gutenberg-tm

electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. "Project Gutenberg" is a registered trademark. It may only be

used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement

Spelling Notes 55
 A Treatise on the Art of Dancing

and help preserve free future access to Project Gutenberg-tm electronic

works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"

or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

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.net

1.E.2. If an individual Project Gutenberg-tm electronic work is derived

from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the

Spelling Notes 56
 A Treatise on the Art of Dancing

Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or

1.E.9.

1.E.3. If an individual Project Gutenberg-tm electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm

License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to

Spelling Notes 57
 A Treatise on the Art of Dancing

the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any

money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.

- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable

effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right

of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

Spelling Notes 58
 A Treatise on the Art of Dancing

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a

defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of

electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project

Spelling Notes 59
 A Treatise on the Art of Dancing

Gutenberg Literary Archive Foundation was created to provide a secure

and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.

Section 3. Information about the Project Gutenberg Literary Archive

Foundation

The Project Gutenberg Literary Archive Foundation is a non profit

501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.

Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:

Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org

Section 4. Information about Donations to the Project Gutenberg

Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide

spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any

Spelling Notes 60
 A Treatise on the Art of Dancing

particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we

have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit: http://pglaf.org/donate

Section 5. General Information About Project Gutenberg-tm electronic

works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm

concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed

editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

http://www.gutenberg.net

This Web site includes information about Project Gutenberg-tm,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.

Spelling Notes 61