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When M. Cahusac wrote, he observed that this was sufficient for the spectators, who required nothing more than a brilliant execution from the dancers in the old track of steps and capers; and this is, in fact, true of the greater number now. But lately, the taste for dances of action, animated with meaning and conveying the idea of some fable or subject, has begun to gain ground. People are less tired with a dance, in which the understanding is exercised, without the fatigue of perplexity, than by merely seeing a succession of lively steps, and cabriols, however well executed; which, in point of merit, bear no more proportion to that of a well-composed dance, than a tiresome repetition of vignettes, of head-pieces and tail-pieces, would do to the gravings of historical pieces after a Raphael, a
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