DANCING AND GRACE
Among the ancients dancing included graceful gestures and poses of all parts of the body, as well as facial expression. In Oriental dancing of the present day, likewise, graceful movements of the arms and upper part of the body play a more important rôle than the lower limbs. Modern dancing, on the contrary, is chiefly an affair of the lower extremities. It is pre-eminently an exercise of the toes; and herein lies its hygienic and beautifying value, for, as we have seen, grace of gait depends chiefly on the firm litheness and springiness of the toes, especially the great toe. By their grace of gait one can almost always distinguish persons who have enjoyed the privilege of dancing-lessons, which have strengthened their toes and, by implication, many other muscles, not forgetting those of the arm, which has to hold the partner.
There are thousands of young women who have no opportunities for prolonged and exhilarating exercise except in ballrooms. In the majority of cases, unfortunately, Fashion, the handmaid of Ugliness and Disease, frustrates the advantages which would result from dancing by prescribing for ballrooms not only the smallest shoes, but the tightest corsets and the lowest dresses, which render it impossible or imprudent to breathe fresh air, without which exercise is of no hygienic value, and may even be injurious. But what are such trifling sacrifices as Health, Beauty, and Grace compared to the glorious consciousness of being fashionable!