OCR Text |
Show THEORY OF THEATRICAL DANCING. 51 of what has cost him so much labour to acquire, his equilibrium becomes less steady, his springs less elastic, and he at length finds, that through a remission of diligence, he has much to do over again. This is not the case with music and singing ; a good ear, a fine voice, are usually sufficient, with a few years of moderate study, to conquer all difficulties. Nor does painting require such intense application, both from learners and professors, as dancing, which, like all other bodily exercises, cannot be acquired and retained without the utmost study and assiduity. Remain not, therefore, twenty-four hours without practising. The pupil that frequently interrupts his studies, opposes a considerable impediment to his progress. All the lessons that he takes, when widely separated one from the other, can be of no service towards making him a good dancer; and are little else than a loss of so much time, which I would advise him to spend in a more profitable manner. Avoid, however, running into opposite extremes, for too much practice is often as prejudicial as too little. Excess in every thing is a fault; let m e remind you of the philosopher's maxim: La moderation est le tre~sor du sage. Be temperate and sober if you desire to become a finished dancer. T o render yourself capable of sacrificing before the shrine of Terpsichore, partially renounce every pleasure but that which the goddess affords. Let no other exercise be intermingled with dancing: horsemanship, fencing, running, &c. are all powerful enemies to the learner's advancement. D o not rely on your own natural qualities, and therefore neglect to study or practise so much as those to w h om nature has been less liberal; for were you to possess the symmetry of an Apollo Belvedere, or an Antinous2, together with the happiest endowments, you would have but |