366 UNIVERSAL ERUDITION. 



IX. Formerly there were fcarce any dances 

 exhibited on the theatre but the pavan, of which 

 we fhall prefently fpeak, and thofe that do not 

 rife from the ground in difplaying the natural 

 graces, either by the manner of the ftep or in 

 the attitude : the women efpecially danced only 

 after this manner ; but fmce M. Durpre, Mile. 

 Camargo, and their competitors, have fhown 

 that the high dance, the noble and graceful, 

 is fufceptible of leaps or bounds, and of entre- 

 chats or capers of fix or eight, the entrechat 

 en tournant, the ail de pigeon, the gargouillade, 

 and many other high fteps (which muft be feen 

 to be underftood) the theatric dance is become 

 more lively and brilliant; and the extraordi- 

 nary abilities of modern dancers have afforded 

 the mafters of the ballet opportunity of greatly 

 varying their fubjects, of furprifing the fpec- 

 tator to a greater degree, by constantly pre- 

 ferving the graceful in the attitudes, and even 

 in the moft difficult fteps. 



X. They always diftinguim, however, in thea- 

 tric dancing, the high and the low, the noble 

 and graceful, and the ferious dance ; the high, 

 the grand, and the low comic, the antic dance, 

 the pantomime, &c. Every dancer mould ap- 

 ply himfelf to fome particular rank of dancing, 

 and there endeavour to excel, according to the 

 extent of his talents. But there are many who 

 can never rife to any confiderable rank in their 

 profeffion, their utrngft abilities only enabling 



them 



