re, attitude, or step.

As to the great nicety of the Greeks, in the ordering and
disposing their dances, I refer to what I have before said, for
its being to be observed, how much at present this art is fallen
short of their perfection in it, and how difficult it must be
for a composer of dances to produce them in that masterly manner
they were used to be performed among the antients. Let his
talent for invention or composition be never so rich or fertile,
it will be impossible for him to do it justice in the display,
unless he is seconded by performers well versed in the art, and
especially expert in giving the expression of their part in the
dance; not to mention the collateral aids of music, machinery,
and decoration, which it is so requisite to adapt to the
subject.

But where all these points so necessary are duly supplied, and
dancing is executed in all its brilliancy, it would be no longer
looked upon, especially at the Opera, as merely an expletive
between the acts, just to afford the singers a little breathing
time. The dances might recover their former lustre, and give the
public the same pleasure as to the Greeks and Romans, who made
of them one of their most favorite entertainments, and carried
them up to the highest pitch of taste and excellence.

The Romans seem to have followed the Greeks, in this passion
for dancing; and the theatrical dances, upon the pantomime plan,
were in Rome pushed to such a degree of perfection as is even
hard to conceive. Whole tragedies plaid, act by act, scene by
scene, in pantomime expression, give an idea of this art, very
different from that which is at present commonly received.

Every step in dancing has its name and value. But not one should
be employed in a vague unmeaning manner. All the movements
should be conformable to the expression required, and in harmony
with one another. The steps regular, and properly varied, with a
graceful suppleness in the limbs, a certain strength, address,
and agility; just positions exhibited with ease, delicacy, and
above all, with propriety, caracterise the masterly dancer, and
in their union, give to his execution its due beauty. The least
negligence, in any of these points, is immediately felt, and
detracts from the merit of the performance. Every step or motion
that is not natural, or has any thing of stiffness, constraint,
or affectation, is instinctively perceived by the spectator. The
body must constantly preserve its prop