TO the amazing variety of forms made still infinitely
more various in appearance by light, shade and co-
lour, nature hath added another way of increasing that
variety, still more to enhance the value of all her com-
positions. This is accomplished by means of action ;
the fullest display of which is put into the power of
the human species, and which is equally subject to the
same principles with regard to the effects of beauty, or
the reverse, as govern all the former compositions ; as
is partly seen in chapter XI. on proportion. My bu-
siness here shall be, in as concise a manner as possible,
to particularise the application of these principles to the
movement of the body, and therewith finish this system
of variety in forms and actions.
There is no one but would wish to have it in his
power to be genteel and graceful in the carriage of his
person, could it be attained with little trouble and ex-
pence of time. The usual methods relied on for this
purpose among well-bred people, takes up a consider-
able part of their time : nay even those of the first rank
have no other recourse in these matters, than to dancing-
masters, and fencing-masters : dancing and fencing are

undoubt-

[139]

undoubtedly proper, and very necessary accomplish-
ments; yet are they frequently very imperfect in bring-
ing about the business of graceful deportment. For
altho' the muscles of the body may attain a pliancy by
these exercises, and the limbs, by the elegant movement
in dancing, acquire a facility in moving gracefully, yet
for want of knowing the meaning of every grace, and
whereonit depends, affectations and misapplications often
follow.
Action is a sort of language which perhaps one time
or other, may come to be taught by a kind of grammar-
rules ; but, at present, is only got by rote and imitation :
and contrary to most other copyings or imitations,
people of rank and fortune generally excel their originals,
the dancing-masters, in easy behaviour and unaffected
grace ; as a sense of superiority makes them act without
constraint ; especially when their persons are well turn'd.
If so, what can be more conducive to that freedom
and necessary courage which make acquired grace seem
easy and natural, than the being able to demonstrate
when we are actually just and proper in the least move-
ment we perform ; whereas, for want of such certainty
in the mind, if one of the most finish'd gentlemen at
court was to appear as an actor on the public stage, he
would find himself at a loss how to move properly, and
be stiff, narrow, and aukward in representing even his
own character : the uncertainty of being right would
naturally give him some of that restraint which the

T 2 un-

[140]

uneducated common people generally have when they
appear before their betters.
It is known that bodies in motion always describe
some line or other in the air, as the whirling round of a
fire-brand apparently makes a circle, the water-fall part
of a curve, the arrow and bullet, by the swiftness of their
motions, nearly a straight line ; waving lines are formed
by the pleasing movement of a ship on the waves. Now
in order to obtain a just idea of the action at the same time
to be judiciously satisfied of being in the right in what
we do, let us begin with imagining a line formed in the
air by any supposed point at the end of a limb or part
that is moved, or made by the whole part, or limb; or
by the whole body together. And that thus much of
movements may be conceived at once is evident, on the
least recollection, for whoever has seen a fine arabian
war-horse, unback'd and at liberty, and in a wanton
trot, cannot but remember what a large waving line his
rising, and at the same time pressing forward, cuts
through the air ; the equal continuation of which, is
varied by his curveting from side to side ; whilst his long
mane and tail play about in serpentine movements.
After thus having form'd the idea of all movements
being as lines, it will not be difficult to conceive, that
grace in action depends upon the same principles as
have been shewn to produce it in forms.
The next thing that offers itself to our consideration
is the force of habit and custom in action ; for a great
deal depends thereon.

The

[141]

The peculiar movements of each person, as the gate
in walking, are particularised in such lines as each part
describes by the habit they have contracted. The nature
and power of habit may be fully conceived by the fol-
lowing familiar instance, as the motions of one part of
the body may serve to explain those of the whole.
Observe that whatever habit the fingers get in the
use of the pen, you see exactly delineated to the eye by
the shapes of the letters. Were the movements of every
writer's fingers to be precisely the same, one hand-
writing would not be known from another, but as the
fingers naturally fall into, or acquire different habits of
moving, every hand-writing is visibly different. Which
movements must tally with the letters, tho' they are too
quick and too small to be as perfectly traced by the eye ;
but this shews what nice differences are caused, and
constantly retained by habitual movements.
It may be remark'd, that all useful habitual motions,
such as are readiest to serve the necessary purposes of
life, are those made up of plain lines, i.e. straight and
circular lines, which most animals have in common
with mankind, tho' not in so extensive a degree : the
monkey from his make hath it sufficiently in his power
to be graceful, but as reason is required for this purpose,
it would be impossible to bring him to move genteely.
Though I have said that the ordinary actions of
the body are performed in plain lines, I mean only
comparatively so with those of studied movements in

the

[142]

serpentine line, for as all our muscles are ever ready to
act, when one part is moved, (as an hand, or arm, by
its proper movers, for raising up or drawing down) the
adjacent muscles act in some degree in correspondence
with them : therefore our most common movements are
but seldom performed in such absolutely mean lines, as
those of jointed dolls and puppets. A man must have
a good deal of practice to be able to mimic such very
straight or round motions, which being incompatible
with the human form, are therefore ridiculous.
Let it be observed, that graceful movements in ser-
pentine lines, are used but occasionally, and rather at
times of leisure, than constantly applied to every action
we make. The whole business of life may be carried
on without them, they being properly speaking, only the
ornamental part of gesture ; and therefore not being na-
turally familiarised by necessity, must be acquired by
precept or imitation, and reduced to habit by frequent
repetitions. Precept is the means I should recommend
as the most expeditious and effectual way. But before
we proceed to the method I have to propose, for the
more ready and sure way of accustoming the limbs to
a facility in the ornamental way of moving ; I should
observe, that quick time gives it spirit and vivacity, as
slow time, gravity, and solemnity, and further, that the
latter of these allows the eye an opportunity of seeing
the line of grace to advantage, as in the address of he-
roes on the stage, or in any solemn act of ceremony ;

and

[143]

and that although time in movement is reduced to cer-
tain rules for dancing, it is left more at large and at
discretion for deportment.
We come now to offer an odd, but perhaps effica-
cious method of acquiring a habit of moving in the lines
of grace and beauty.
I. Let any one chalk the line fig.*, on a flat surface,
beginning at either end, and he will move his hand and
arm in a beautiful direction, but if he chalks the same
sort of line on an ogee-moulding of a foot or two in
breadth, as the dotted line on figure +, his hand must
move in that more beautiful direction, which is distin-
guished by the name of grace ; and according to the
quantity given to those lines, greatness will be added to
grace, and the movement will be more or less noble.
Gentle movements of this sort thus understood, may
be made at any time and any where, which by frequent
repetitions will become so familiar to the parts so exer-
cised, that on proper occasion they make them as it
were of their own accord.
The pleasing effect of this manner of moving the
hand, is seen when a snuff-box, or fan is presented
gracefully of genteely to a lady, both in the hand mov-
ing forward and in its return, but care must be taken
that the line of movement be but gentle, as No. 3.
fig. 49, plate 1, and not too S-like and twirling, as
N°.7 in the same figure: which excess would be af-
fected and ridiculous.

Daily

* Fig. 119 L. P. 2.

† Fig. 120 L. P. 2.

[144]

Daily practicing these movements with the hands and
arms, as also with such other parts of the body as are
capable of them, will in a short time render the whole
person graceful and easy at pleasure.
2. As to the motions of the head; the awe most
children are in before strangers, till they come to a cer-
tain age, is the cause of their dropping and drawing
their chins down into their breasts, and looking under
their foreheads, as if conscious of their weakness, or of
something wrong about them. To prevent this auk-
ward shyness, parents and tutors are continually teasing
them to hold up their heads, which if they get them to
do it is with difficulty, and of course in so constrain'd
a manner that it gives the children pain, so that they
naturally take all opportunities of easing themselves by
holding down their heads ; which posture would be full
as uneasy to them were it not a relief from restraint:
and there is another misfortune in holding down the
head, that it is apt to make them bend too much in the
back ; when this happens to be the case, they then have
recourse to steel-collars, and other iron-machines ; all
which shacklings are repugnant to nature, and may
make the body grow crooked. This daily fatigue both
to the children and the parents may be avoided, and
an ugly habit prevented, by only (at a proper age)
fastening a ribbon to a quantity of platted hair, or to
the cap, so as it may be kept fast in its place, and the
other end to the back of the coat, as fig. *, of such a

length

* Fig. 121
L. P. 2.


[145]

length as may prevent them drawing their chins into
their necks; which ribbon will always leave the head at
liberty to move in any direction but this aukward one
they are so apt to fall into.
But till children arrive at a reasoning age it will be
difficult by any means to teach them more grace than
what is natural to every well made child at liberty.
The grace of the upper parts of the body is most
engaging, and sensible well made people in any station
naturally have it in a great degree, therefore rules unless
they are simple and easily retain'd and practised, are of
little use ; nay, rather are of disservice.
Holding the head erect is but occasionally right, a
proper recline of it may be as graceful, but true ele-
gance is mostly seen in the moving it from one position
to another.
And this may be attain'd by a sensibility within
yourself, tho' you have not a sight of what you do by
looking in the glass, when with your head assisted by
a sway of the body in order to give it more scope, you
endeavour to make that very serpentine line in the air,
which the hands have been before taught to do by the
help of the ogee-moulding; and I will venture to say, a
few careful repetitions at first setting out will make this
movement as easy to the head as to the hands and arms.
The most graceful bow is got by the head's moving
in this direction, as it goes downward and rises up again.
Some aukward imitators of this elegant way of bowing,

U for

[146]

for want of knowing what they were about, have seem'd
to bow with wry necks. The low solemn bow to ma-
jesty should have but a very little twist, if any, as more
becoming gravity and submission. The clownish nod
in a sudden straight line is quite the reverse of these
spoken of.
The most elegant and respectful curtesy hath a gentle,
or small degree of the above graceful bowing of the
head as the person sinks, and rises, and retreats. If it
should be said, that a fine curtesy consists in no more
than in being erect in person at the time of sinking and
rising ; Madam Catherine in clock-work, or the dancing
bears led about the streets for a shew, must be allow'd
to make as good a curtesy as any body.
N.B. It is necessary in bowing and curtesying to
shun an exact sameness at all times; for however grace-
ful it may be on some occasions, at other times it may
seem formal and improper. Shakespear seems to have
meant the above spoken of ornamental manner of bow-
ing, in Enobarbus' description of Cleopatra's waiting-
women.------
------And made their bends adornings...............Act 2.
3. Of Dancing. .....The minuet is allowed by the
dancing-masters themselves to be the perfection of all
dancing. I once heard an eminent dancing-master say,
that the minuet had been the study of his whole life,
and that he had been indefatigable in the pursuit of its
beauties, yet at last he could only say with Socrates, he

knew


[147]

knew nothing: adding, that I was happy in my pro-
fession as a painter, in that some bounds might be set to
the study of it. No doubt, as the minuet contains in it
a composed variety of as many movements in the ser-
pentine lines as can well be put together in distinct
quantities, it is a fine composition of movements.
The ordinary undulating motion of the body in com-
mon walking (as may be plainly seen by the waving line,
which the shadow a man's head makes against a wall as
he is walking between it and the afternoon sun) is aug-
mented in dancing into a larger quantity of waving by
means of the minuet-step, which is so contrived as to
raise the body by gentle degrees somewhat higher than
ordinary, and sink it again in the same manner lower in
the going on of the dance. The figure of the minuet-
path on the floor is also composed of serpentine lines,
as fig. *, varying a little with the fashion : when the
parties by means of this step rise and fall most smoothly
in time, and free from sudden starting and dropping,
they come nearest to Shakespear's idea of the beauty of
dancing, in the following lines,
--------------------What you do,
Still betters what is done, ------
----When you do dance, I wish you
A wave o'th' sea, that you might ever do
Nothing but that; move still, still so,
And own no other function.--.......WINTER'S TALE.

U 2 The

* Fig. 122
L. p. 2.

[148]

The other beauties belonging to this dance, are the
turns of the head, and twist of the body in passing each
other, as also gentle bowing and presenting hands in
the manner before described, all which together, dis-
plays the greatest variety of movements in serpentine
lines imaginable, keeping equal pace with musical time.
There are other dances that entertain merely because
they are composed of variety of movements and per-
formed in proper time, but the less they consist of ser-
pentine or waving lines, the lower they are in the
estimation of dancing-masters : for, as has been shewn,
when the form of the body is divested of its serpentine
lines it becomes ridiculous as a human figure, so like-
wise when all movements in such lines are excluded
in a dance, it becomes low, grotesque and comical ; but
however, being as was said composed of variety, made
consistent with some character, and executed with agi-
lity, it nevertheless is very entertaining. Such are Italian
peasant-dances, &c. But such uncouth contortions of
the body as are allowable in a man would disgust in a
woman ; as the extreme graceful, so very alluring in this
sex, in nauseous in the other ; even the minuet-grace in
a man would hardly be approved, but as the main drift
of it represents repeated addresses to the lady.
There is a much greater consistency in the dances of
the Italian theatre than of the French, notwithstanding
dancing seems to be the genius of that nation ; the fol-
lowing distinctly marked characters were originally from

Italy


[149]

Italy; and if we consider them lineally as to their par-
ticular movements, we shall see wherein their humour
consists.
The attitudes of the harlequin are ingeniously
composed of certain little, quick movements of the
head, hands and feet, some of which shoot out as it were
from the body in straight lines, or are twisted about in
little circles.
Scaramouch is gravely absurd as the character is in-
tended, in over-stretched tedious movements of unna-
tural lengths of lines : these two characters seem to have
been contrived by conceiving a direct opposition of
movements.
Pierrott's movements and attitudes, are chiefly in
perpendiculars and parallels, so is his figure and dress.
Punchinello is droll by being the reverse of all ele-
gance, both as to movement, and figure, the beauty of
variety is totally, and comically excluded from this cha-
racter in every respect ; his limbs are raised and let fall
almost altogether at one time, in parallel directions, as
if his seeming fewer joints than ordinary, were no better
than the hinges of a door.
Dances that represent provincial characters, as these
above do, or very low people, such as gardeners, sailors,
&c. in merriment, are generally most entertaining on
the stage : the Italians have lately added great pleasantry
and humour to several french dances, particularly the
wooden-shoe dance, in which there is a continual shift-

ing


[150]

-ing from one attitude in plain lines to another ; both
the man and the woman often comically fix themselves
in uniform positions, and frequently start in equal time,
into angular forms, one of which remarkably represents
two W's in a line, as over figure 122, plate 2, these
sort of dances a little raised, especially on the woman's
side, in expressing elegant wantonness (which is the true
spirit of dancing) have of late years been most delight-
fully done, and seem at present to have got the better
of pompous, unmeaning grand ballets ; serious dancing
being even a contradiction in terms.
4thly, Of Country Dancing. The lines which a
number of people together form in country or figure
dancing, make a delightful play upon the eye, especially
when the whole figure is to be seen at one view, as at
the playhouse from the gallery; the beauty of this kind
of mystic dancing, as the poets term it, depends upon
moving in a composed variety of lines, chiefly serpen-
tine, govern'd by the principles of intricacy, &c. the
dances of barbarians are always represented without
these movements, being only composed of wild skiping,
jumping, and turning round, or running backward and
forward, with convulsive shrugs, and distorted gestures.
One of the most pleasing movements in country
dancing, and which answer to all the principles of vary-
ing at once, is what they call the hay ; the figure of it
altogether, is a cypher of S's, or a number of serpentine
lines interlacing, or intervolving each other, which sup-

pose


[151]

pose traced on the floor, the lines would appear as fig.*,
Milton in his Paradise lost, describing the angels dancing
about the sacred hill, pictures the whole idea in words;
Mystical dance!------
------Mazes intricate,
Eccentric, intervolv'd, yet regular
Then most, when most irregular they seem.
I shall venture, lastly, to say a word or two of stage-
action. From what has been said of habitually mov-
ing in waving lines, it may possibly be found that if
stage-action, particularly the graceful, was to be stu-
died lineally, it might be more speedily and accurately
acquired by the help of the foregoing principles than
the methods hitherto taken. It is known that common
deportment, such as may pass for elegant and proper off
the stage, would no more be thought sufficient upon it
than the dialogue of common polite conversation, would
be accurate or spirited enough for the language of a
play. So that trusting to chance only will not do.
The actions of every scene ought to be as much as pos-
sible a compleat composition of well varied movements,
considered as such abstractly, and apart from what may
be merely relative to the sense of the words. Action
consider'd with regard to assisting the authors meaning,
by enforcing the sentiments or raising the passions, must
be left entirely to the judgement of the performer, we
only pretend to shew how the limbs may be made to
have an equal readiness to move in all such directions
as may be required.

What

* Fig. 123.
T. P. s 2.


[152]

What I would have understood by action, abstractedly
and apart from its giving force to the meaning of the
words, may be better conceived by supposing a fo-
reigner, who is a thorough master of all the effects of
action, at one of our theatres, but quite ignorant of the
language of the play ; it is evident his sentiments under
such limitations, would chiefly arise from what he might
distinguish by the lines of the movements belonging
to each character ; the actions of an old man, if proper,
or not, would be visible to him at once, and he would
judge of low and odd characters, by the inelegant
lines which we have already shewn to belong to the
characters of punch, harlequin, pierrott, or the clown ;
so he would also form his judgement of the graceful
acting of a fine gentleman, or hero, by the elegance of
their movements in such lines of grace and beauty as
have been sufficiently described. See chapters 5, 6, 7, 8,
on the composition of forms. Where note, that as the
whole of beauty depends upon continually varying the
same must be observed with regard to genteel and ele-
gant acting : and as plain space makes a considerable
part of beauty in form, so cessation of movement in
acting is as absolutely necessary ; and in my opinion
much wanted on most stages, to relieve the eye from
what Shakespear calls, continually sawing the air.
&nbs; The actress hath sufficient grace with fewer actions,
and those in less extended lines than the actor ; for as
the lines that compose the Venus are simpler and more

gently


[153]

gently flowing, than those that compose the Apollo,
so must her movements be in like proportion.
And here it may not be improper to take notice of
a mischief that attends copied actions on the stage ; they
are often confin'd to certain sets and numbers, which
being repeated, and growing stale to the audience, be-
come at last subject to mimickry and ridicule, which
would hardly be the case, if an actor were possest of
such general principles as include a knowledge of the
effects of all the movements that the body is capable of.
The comedian, whose business it is to imitate the
actions belonging to particular characters in nature, may
also find his account in the knowledge of lines ; for
whatever he copies from the life, by these principles may
be strengthened, altered, and adjusted as his judgment
shall direct, and the part the author has given him shall
require.



F I N I S



X