. Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day, with forty-three full page art plates;. nt andcan understand the cause that went before the fact. TheGreeks adored the human form, and most of all in grace-ful and vigorous action. Their dancing, more than anyother motive for physical expression, combined thesequalities. It did more than that. Lucian writes: Inthis art the functions of mind and body are united. Itexercises the limbs and at the same time e
. Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day, with forty-three full page art plates;. nt andcan understand the cause that went before the fact. TheGreeks adored the human form, and most of all in grace-ful and vigorous action. Their dancing, more than anyother motive for physical expression, combined thesequalities. It did more than that. Lucian writes: Inthis art the functions of mind and body are united. Itexercises the limbs and at the same time employs theunderstanding; for in it nothing is done without wisdomand reason. Referring to emotional interpretations inthe Greek dance, Xenophon says: Nothing of the bodyshould be idle; the neck, limbs and hands must all bemade use of. When Demetrius witnessed a dancer,without any musical accompaniment, represent one ofthe old myths of the gods he cried out: I not only seeall you do, but even hear it also; for your hands seem tospeak to me! Fifty-three Classic perfection of repose, with one limb bearing the bodys weight whilethe other, with the knee flexed, preserves balance, is one of the Greekdancers earliest Our Debt to Classic Sculpture Dimly, perhaps, but still plainly enough to con-vince us of their truth, all these testimonies are corrob-orated in what is preserved to us of the sculpture of thatperiod. We who are earnest in our efforts to replacedancing upon its ancient foundation of truth and beautyshould therefore give constant study to the sculptureswhich so faithfully portray it. A modern close studentof the subject—John Warrack—has well written: Itwould be difficult to overestimate the value of dancingof so highly intellectualized a type in educating a nationin the elements of sculpture. The dancer had to repro-duce, with little if any external aid, the whole range ofhuman thought and feeling in terms of bodily gestureand movement, and his art was
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
