I know that applause is food for the arts, but it ceases to be wholesome if administered indiscriminately; and the nutrition is so rich that, far from strengthening the constitution, it disturbs and enfeebles it. Stage beginners are similar to those children totally spoiled by the blind affection of their parents.

This art, born of genius and good taste, can become beautiful and varied to an infinite degree.

The defects born of habit are innumerable. I see every child occupied in some way in disarranging and disfiguring his physique; some displace the ankles through the habit they have contracted of standing on one leg only and playing, as it were, with the other; placing it in a position which though disagreeable and strained, does not fatigue them, because the softness of their tendons and muscles lend themselves to all kinds of movement.

It is not a question of skimming the surface of the art, it must be probed to its depths, for to seize upon superficial things only is to degenerate into mediocrity and obscurity.

If our ballets be feeble, monotonous and dull, if they be devoid of ideas, meaning, expression and character, it is less the fault of the art than that of the artist.

At our theaters we only see feeble copies of the copies that have proceeded them, renounce that slavish routine which keeps your art in its infancy; examine everything relative to the development of talents; be original; form a style for yourselves based on your private studies; if you must copy, imitate nature, it is a noble model and never misleads those who follow it.

In order that our art may arrive at the degree of the sublime which I demand and hope for, it is imperative for dancers to divide their time and studies between the mind and the body, and that both become the object of their application; but, unfortunately, all is given to the latter and nothing to the former. The legs are rarely guided by the brain, and, since intelligence and taste do not reside in the feet, one often goes astray.