Raoul-Auger Feuillet

“ From this Epigram, it is plain, that the ancient Dancing had something more than Motion, Measure, and Figure, and express’d the Passions and Actions of Mankind, was a sort os silent Poetry, and the Painting, tho’ without Colours, so expressive, as to touch and charm every Beholder. ”

“ The fifth false Position, is mark’d like the fifth true one, and seems to be the same Position; but notwithstanding, they are very different, for whereas in the true one, the Toes are turn’d outwards, in the false, they are turn’d inwards, crossing each other, so that the Heel of one Foot is right against the Toe of the other, and is to be distinguish’d from the true one by a small Bar between the Position. ”

“ Dancing is composed of Positions, Steps, Sinkings, Risings, Springings, Capers, Fallings, Slidings, Turnings of the Body, Cadence or Time, Figures, &c.
Positions, are the different Placings of the Feet in Dancing.
Steps, are the Motions of the Feet from one place to another.
Sinkings, are the Bendings of the Knees.
Risings, are when we rise from a Sink, or erect our selves.
Springing, is a rising or leaping from the Ground. ”

“ Musick
has employ’d the Pens of many of the Learned, both Ancient and Modern, and has had the Benefit of an universal Character, which convey’d the harmonious Compositions to all Lovers of the
Art
in all Nations. ”

“ The mark for falling, has no proper Place assign’d it, and I shall only observe, that in rising, when it is in Order to fall, it is necessary the Mark for a Rise, should be near the beginning of the Step. ”

“ Capers, are when in rising or leaping from the Ground, one Leg beats against the other, which we call Cutting.
Fallings, are when the Body, being out of its proper Poise, falls by its own Weight.
Slidings, are when, in moving, the Foot slides on the Ground. ”

“ In all Positions whatsoever, the Form of the Foot is known by these Marks, viz. That which resembles an O, represents the Heel; the Line join’d to it, the Ankle; and the Extremity of that Line, the Point of that Foot.
A half Position.
This Figure of the Foot, is but a half Position, because it represents but one Foot, whereas a whole Position does that of two, as in the Figure A B.
Position
’Tis to be observ’d, that the Letter A, in the foregoing Figure, represents the left Foot, and B, the right. ”

“ Feuillet has carry’d this Art to a very great Perfection, and taken a great deal of Pains in the Improvement of the Character, and given Rules so just, and a Method so proper, that I cannot imagine any Man can flatter himself with an Ability of designing a better, or more regular manner. ”

“ Those which are perform’d by springing, are done when you spring from one Position, and fall in another; and those which are perform’d by waving, must be done on the Ground, by waving the two Feet, or each Foot Separately, either on the Toes or Heels. ”

“ If it happens that you have occasion to put more Steps in a Measure, than are in the foregoing Examples, the following Rules must be observed.
If, for Example, you would in a Measure of Common Time, or half a Measure of Quadruple Time, which is the same thing, put a Fleuret and a Bound; the three Steps composing the Fleuret, must have a double Tie to join them, and which will shew their Motion to be as swift again, as if there had been but one; the Bound also must be joined to the Fleuret with a single Tie only; by which you will know, that these two Steps are in Effect but one. ”

“ Sinking, Rising, Springing or Bounds, Capers, Falling, Sliding, holding the Foot up, Pointing the Toes, placing the Heel, turning a quarter Turn, a half Turn, a three quarter Turn, and a whole Turn.
The Mark for a Sink, is a little Stroke inclining towards the little black Head.
A Sink.
The Mark for a Rise from a Sink, is when there is a little straight Stroke upon the Step. ”

“ But if in the beginning of a Page, two Dancers should happen to be close together, and some Steps to be perform’d in the same place; which Steps cannot be conveniently described, neither on one side, or the other, and that the Closeness of the Dancers, will not admit of advancing of the Tracts, one towards the other; you must then be oblig’d, instead of placing the Tracts at C D, to retire as far back as will be necessary to describe the Steps, so that the Steps may end at C D. ”

“ If it should happen nevertheless, that any of the above-mention’d Steps should terminate upon both Feet, as it often happens in rising and springing, it is then necessary to mark the Position; without which it would be impossible to know, that the rising and springing should be on both Feet ”

“ Any person (who understands Dancing) may of himself learn all manner of Dances. BEING
An Exact and Just Translation from the French of Monsieur Feuillet. By JOHN WEAVER, Dancing-Master.
Pars pedibus plaudant Choreas
,----Virg. Aenid. 6.
LONDON: Printed by H. Meere, at the Black Fryars, for the Author, and are to be sold by P.Valliant, French Bookseller near Catherine-Street, in the Strand. 1706.
To Mr. Isaac. SIR,
Tho’
Dancing
and
Musick
seem to be of near an equal Antiquity, and even of an equal Extent, yet
Musick
has long receiv’d an Advantage, which
Dancing
wanted. ”

“ The Barrs or Measures in Dances, must be marked in like manner with those in Musick, viz. with little Barrs crossing the Tract, which are to agree with those of the Tune.Example.
You will understand by the following Examples, how each Step agrees with the Tune to which they are composed.
Common time
Triple time
Example of Steps which doe agree with the Measure of Common or Triple Time. ”