of manners, a sprightly ease, and an exemption from all design
but that of innocent mirth, give to the young and handsome
villagers, or country-maids, those inimitable graces for ever
unknown to artifice and affectation. Not but, even in those
rural assemblies, there may be found some characters tainted
with affectation; but then in the country they are exceptions,
whereas in town they constitute the generality, who are so apt
to mistake airs for graces, though nothing can be more
essentially different.

But how shall those masters guard a scholar sufficiently against
affectation, who are themselves notoriously infected with it?
Nay, this is so common to them, that it is even the foundation
of a proverbial remark, that no gentleman can be said to dance
well, who dances like a dancing-master. Those false refinements,
that finical, affected air so justly reproached to the
generality of teachers, a master should correct in himself
before he can well give lessons for avoiding them to his pupils.
And, in truth, they are but wretched substitutes to the true
grounds and principles of the art, in which nothing is more
strongly inculcated than the total neglect of them, and the
reliance on the engaging and noble simplicity of nature.

It is then no paradox to say that the more deep you are in the
art, the less will it stifle nature. On the contrary, it will,
in the noble assurance which a competent skill is sure to bring
with it, give to the natural graces a greater freedom and ease
of display. Imperfection of theory and practice cramps the
faculties; and gives either an unpleasing faulteringness to the
air, steps, and gestures, or wrong execution. And as the minuet
derives its merit from an observation of the most agreeable
steps, well chosen in nature and well combined by art, there is
no inconsistence in avering that art may, in this, as in many
other objects of imitative skill, essentially assist nature, and
place her in the most advantageous point of light.

The truth of this will be easily granted, by numbers who have
felt the pleasure of seeing a minuet gracefully executed by a
couple who understood this dance perfectly. Nay, excellence in
the performance of it, has given to an indifferent figure, at
least a temporary advantage over a much superior one in point of
person only; and sometimes an advantage of which the impression
has been more permanent.

But besides the effect of the moment in pleasing the spectators