ABSTRACT
Dancing and music are so closely connected that it is natural to discuss the one in terms of the other; and the respective shortcomings of the Genee and Maud Allan styles of dancing can be made clearer by reference to singing. The Genee style has the merits and the defects of the old Italian style of colorature singing. Within the powers of the performers the distinctions between hearing, seeing, and muscular feeling were abolished; or perhaps it would be truer to say that hearing, seeing, and feeling were fused in the sense of rhythm: which is the meaning of dancing. Some of the music was played and some of it sung; and in the latter case there was yet another perception, that of articulate words, to be included. In effect, one did not hear the words—one saw them or, better still, felt them by muscular sympathy. The performers did not merely “illustrate” the words, they danced them.
