conformity to the subject respectively chosen. But then the
truth of the _costume_, and of natural and historical
representation must be strictly preserved. Objects must be
neither exagerated beyond probability, nor diminished so as not
to please or affect. A real genius will not be affraid of
striking out of the common paths, and, sensible that
inventiveness is a merit, he will create new theatrical
subjects, or produce varied combinations of old ones. And where
the decorations, or requisite accompaniments are not supplied as
he could wish, he must endeavour to make the most of what he can
get, towards the exhibition of his production; if not with all
the advantage of which it is susceptible, at least with all
those he can procure for it. Where the best cannot be obtained,
he must be content with the least bad. But especially a composer
of dances should never lose sight of his duty in preserving to
his art its power of competition, as well as its affinity with
the other imitative arts, in the expression of nature; all the
passions and sentiments being manifestly to be marked by motion,
gestures, and attitudes, to the time of a correspondent and well
adapted music. While all this aided and set off, by the
accompaniments of proper decorations of painting, and, where
necessary, of machinery, makes that, a well composed dance, may
very justly be deemed a small poem, thrown into the most lively
action imaginable; into an action so expressive as not to need
the aid of words, for conveying its meaning; but to make the
want of them rather a pleasure than matter of regret; from its
exercising, without fatiguing, the mind of the spectator, to
which it can never be but an agreeable entertainment, to have
something left for its own making out, always provided that
there be no perplexing difficulty or ambiguity. Nothing of which
is impossible to an artist who has the talent of making a right
choice among the most pleasing objects of nature; of
sufficiently feeling what he aims at expressing; of knowing how
far it is allowable for his art, to proceed towards the
embellishing nature, and where it should stop to avoid its
becoming an impertinence; and especially of agreeably disposing
his subject, in the most neat and intelligible manner that can
be desired.

Some

THOUGHTS

On the UTILITY of

LEARNING TO DANCE,

And Especially upon th