or which some actors from the very first of their
appearance so happily dispose the public to a favorable
reception of their merit in the rest of their part. An influence
of the first impression, which a good actor will hardly despise,
especially with due precaution against his contracting any thing
forced or affected in his air or steps, from his attention to
his improvement by dancing, as the very best things may be even
pernicious by a misuse. Whatever is not natural, free, and easy,
will undoubtedly, on the stage, as every where else, have a bad
effect. A very little matter of excess will, from his aim at a
grace, produce a ridiculous caricature. Too stiff a regulation
of his motions or gestures, by measure and cadence, would even
be worse than abandoning every thing to chance; which might,
like the Eolian harp, sometimes suffer lucky hits to escape him;
whereas affectation is as sure forever to displease, as it is
not to escape the being seen where it exists.

Among the many reasons for this dance of the minuet having
become general, is the possibility of dancing it to so many
different airs, though the steps are invariable. If one tune
does not please a performer, he may call for another; the minuet
still remaining unalterable.

There is no occasion however for a learner to be confined to
this dance. He should rather be encouraged, or have a curiosity
be excited in him, to learn especially those dances, which are
of the more tender or serious character, contributing, as they
greatly do, to perfect one in the minuet; independently of the
pleasure they besides give both in the performance and to the
sight. The dances the most in request are, the _Saraband_, the
_Bretagne_ the _Furlana_, the _Passepied_, the _Folie
d'Espagne_, the _Rigaudon_, the _Minuet du Dauphin_ the
_Louvre_, _La Mariee_, which is always danced at the Opera of
Roland at Paris. Some of these are performed solo, others are
duet-dances. The _Louvre_ is held by many the most pleasing of
them all, especially when well executed by both performers, in a
just concert of motions; no dance affording the arms more
occasion for a graceful display of them, or a more delicate
regularity of the steps; being composed of the most select ones
from theatrical dances, and formed upon the truest principles of
the art. This dance is executed in most countries of Europe
without any variation. It is generally followed or terminated by
a minuet; and these two dances