Invention is also as much a requisite in our art as in any other. But to save the pains of study, we often borrow and copy from one another. Indolence is the bane of our art. The trouble of thinking necessary to the invention and composition of dances, appears to many too great a fatigue: this engages them to appropriate to themselves the fruits of other peoples invention; and they appear to themselves well provided at a small expence, when they have made free with the productions of others. Some again, instead of cultivating their talent, chuse indolently to follow the great torrent of the fashion, and stick to the old tracks, without daring to strike out any thing new, so that their prejudices are, in fact, the principles by which they are governed, and which sometimes serves them for their excuse; since they know
better, but do not care to give themselves the trouble of acting up to their knowledge. Thus they plod in the safe, and broad road of mediocrity, but without any reputation or name. They are neither envied nor applauded.
As for those who borrow from others, content with being copies, when they ought to strive to be originals; nothing can more obstruct their progress in the discoveries of the depths of their art, than this scheme of subsisting on the merit of others.
Many, besides those who are incapable of invention, are tempted at once by their indolence, and by the hope of not being discovered or minded in their borrowing from others, to give stale or hackneyed compositions, which having seen in one country, they
flatter themselves they may palm for new and original upon the public in another. Thence it is that the audience is cloyed with repetitions of pantomime dances; perhaps some of them very pretty at their first appearance, but which cannot fail of tiring when too often repeated; or when the same grounds or subject of action is only superficially or slightly diversified.
It is this barrenness of invention that the ingenious Goldoni has so well exposed in one of his plays, in the following speech, addressed to a young man.
[*] “For example, you, as the female
dancer will come upon the stage, with a distaff, twirling it, or with a pail to draw water; or with a
spade for digging. “Your companion will come next perhaps driving a wheel-barrow, or with a sickle to mow corn, or with a pipe a-smoaking; “and though the scene should be a saloon, no matter, it will come soon to be
filled with rustics or sailors. “Your companion to be sure will not have seen you, at first; that is the rule; upon which you will make up to him, and he will send you a packing. “You will tap him on the shoulder with one hand, and he will give a spring from you to the other side of the stage. “You will run after him; he, on his part will scamper away from you, and you will take pet at it. “When he sees you angry, he will take it into his head to make peace; he will sue to you, and you in your turn will send him about his business. “You will run from him, and he after you. “He will be down on his knees to you; peace will be made; then, shaking your footsies, you will invite him to dance. “He also will answer you with his feet, as much as to say, “come, let us dance.