81
In general, the dancer should be perfect in every point, so as to be wholly rhythmical, graceful, symmetrical, consistent, unexceptionable, impeccable, not wanting in any way, blent of the highest qualities, keen in his ideas, profound in his culture, and above all, human in his sentiments. In fact, the praise that he gets from the spectators will be consummate when each of those who behold him recognises his own traits, or rather sees in the dancer as in a mirror his very self, with his customary feelings and actions. Then people cannot contain themselves for pleasure, and with one accord they burst into applause, each seeing the reflection of his own soul and recognising himself. Really, that Delphic monition “Know thyself” realises itself in them from the spectacle, and when they go away from the theatre they have learned what they should choose and what avoid, and have been taught what they did not know before.
82
As in literature, so too in dancing what is generally called “bad taste” comes in when they exceed the due limit of mimicry and put forth greater effort than they should; if something large requires to be shown, they represent it as enormous; if something dainty, they make it extravagantly effeminate, and they carry masculinity to the point of savagery and bestiality.
