All the imitative arts acknowledge this principle.
In Poetry, a happy choice of the most proper words for expressing the sentiments and images drawn from the observation of nature, constitutes the principal object of the poet.
In Painting, the disposition of the subject, the resemblance of the coloring to that of the original, in short the greatest possible adherence to nature, is the merit of that art.
In Music, that expression of the passions which should raise the same in the hearer, whether of joy, affliction, tenderness, or pity, can never have its effect without marking and adopting the respective sounds of each passion as they are furnished by nature.
In Dancing, the attitudes, gestures, and motions derive also their principle from nature, whether they caracterise joy, rage, or affection, in the bodily expression respectively appropriated to the different affections of the soul. A consideration this, which clearly proves the mistake of those, who imagine the art of dancing solely confined to the legs, or even arms; whereas the expression of it should be pantomimically diffused through the whole body, the face especially included.
Monsieur Cahusac, in his ingenious treatise on this art, has very justly observed, that both singing and dancing must have existed from the primeval times; that is to say, from the first of the existence of human-kind itself.
“Observe, says he, the tender children, from their entry into the world, to the moment in which their reason unfolds itself, and you will see that it is primitive nature herself, “that manifests herself in the sound of their voice, in the features of their face, in their looks, in all their motions. “Mark their sudden paleness, their quick contortions, their piercing cries, when their soul is affected by a sensation of pain. “Observe again, their engaging smile, their sparkling eyes, their rapid motions, when it is moved by a sentiment of pleasure. “You will then be clearly persuaded of the principles of music and dancing “proceeding from the beginning of the world down to us.”
Certain it is, that even in children, the motions and gesture, strongly paint nature; and their infantine graces are not unworthy the remarks of an artist, who will be sure to find excellence in no way more obtainable than by a rational study of her, where she is the purest.
The cultivation of the natural graces, and a particular care to shun all affectation, all caricature, unless in comic or grotesque dances, cannot be too much recommended to those who wish to make any figure in this art. It is doing a great injustice to it, to place its excellence in capers, in brilliant motions of the legs, or in the execution of difficult steps, without meaning or significance, which require little more than strength and agility.
I have already observed, that the Greeks, who were so famous for this art, as indeed for most others, which is no wonder, since all the arts have so acknowledged an affinity with each other, studied especially grace and dignity in the execution of their dances. That levity of capering, that nimbleness of the legs, which we so much admire, held no rank in their opinion. They were inconsistent with that clearness of expression, and neatness of motion, of which they principally made a point. The great beauty of movements, or steps, is, for every one of them to be distinct; not huddled and running into one another, so as that one should begin before the precedent one is finished. This so necessary avoidance of puzzled or ambiguous motion, can only be compassed by an attention to significance and justness of