But the dancer has gained more than mastery of movement. Valuable as are strength and skill, even more so is the resultant balance and soundness of the nervous system that directly results from such rhythmical coördination, fitting one for meeting the complex and often disturbing demands of life. Now, too, in the process of acquiring such a splendid state of general physical well-being, the pupil has absorbed and acquired some understanding of the power and the wonder of a physical self, and will proudly treat this newly discovered self with respect and consideration.
The mental gains as the result of this work have a right to consideration, also. The handicap of self-consciousness is largely overcome by the complete mastery of the movements of the body; the mind becomes freed, the mental horizon enlarged, as the direct result of body and nerve control.
The delight of free and expressive movement with a body that responds joyously to the slightest impulse of thought and feeling, develops a new resource of pleasure, and in perfection of bodily response is found a new source of beauty with endless promise for the future.
If you begin the courses with the feeling, "make me a dancer if you can," and act with indifference throughout the instruction that is given for your benefit, you are doomed to failure. No one succeeds unless they want to and work very hard.
You are here to prepare for an honorable calling, a beautiful, respected and profitable profession, that when once you acquire will remain at your disposal all your life. Most of our pupils recognize this and sincerely strive, with our help, to perfect themselves through incessant patient practice. We have no intention ever to let a small minority of indifferent, "I don't care" pupils, hold back the ambitious ones. Those who merit success shall have every opportunity always.
You, no doubt have been to good shows, seen good dancing and attractive posing and grouping, with rich scenery, proper lighting and appropriate music, and have wished that you, too, might share in the applause of the audience for your own merit as a dancer.
I want to help you become what so many others of my scholars have become, the best in their line of endeavor.
I am enthusiastic about my part of the work, and ask and expect you to be just as enthusiastic as I am. Really, you should have more enthusiasm than I have, since it is you who are to go before the audiences and get the applause and the pay, and not me. Whether or not you are enthusiastic about your work will show in your results. Your degree of interest and improvement is recorded, so I know just what you are accomplishing.
You must expect to get tired, really "tired out," in your earliest lessons and practice. That is what has invariably happened to all others before you, who are drawing down the fat salaries today. I expect it, and should be surprised indeed if any student proved to be an exception. In fact, if you do not tire, and perspire and pant after an hour of working your every muscle in a set of movements new to them, then you surely are not getting the benefit that the exercises are intended to promote. Soreness during your first four or five lessons is a sign of your having taken the lessons earnestly and honestly and actively, as you should in your own interest. The soreness will work out and be gone for good after a few lessons. Please get sore! Then I know you are all right.
But do not overdo at any time, now or later, in class work, private lessons, or home practice, and especially be careful while you are new at the work, and the novelty of it tempts your ambition to keep on and on. Alternate work and rest, strenuous toil and complete relaxation, is the ideal way to build yourself into beauty and strength and suppleness by my method, without danger of straining or injury.