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Show 492 THE CODE OF TERPSICHORE. their charms, and heighten their attractions. Gentlemen ought always be attentive to their partners; and they should all of them move in unison in every step and attitude. They ought also to be careful in paying attention to the air of the music, and in showing that they feel all the harmony and expression of it. For a more detailed account of which, refer to what is said respecting the Music for Dancing, in the Second Part of the work, entitled the Theory of Theatrical Dancing. The learner must preserve his arms placed in the position which we term demi-bras. (See plate XI, fig. 2.) Their contra-positions should be those described in plate I, fig. 3. For the position of the wrists and fingers, see plate I, fig. 1. For the position of the chest, head, and limbs, refer to plates I, III, and IV. With respect to the collocation of the joints, and the inflexions of the body, it will be necessary for the learner to subject himself to the same practice as the theatrical dancer, in order that his dancing may produce a pleasing effect. I shall here observe, that even amateurs, both in the preparation during the performance, and at the conclusion of their steps and enehainemens, ought always to stand in the fifth position, and not in the third, as the generality of teachers of private dancing pretend ; for the more the feet are crossed, the more precipitate the footing is, and the more showy the dancing: it is a natural consequence, and it cannot be obtained, except by accustoming the learners not to cross their feet but in the third jiosition. Besides, this method assists the dancers in turning, and enables them to acquire that pleasing quality, turning, with facility. H e who has not his feet well turned out, loses all the beauty of his steps. As to the movements of the body, they are nearly the same as |