.

JOUR. Is that all?

      MUS. MAS. Yes.

      MR. JOUR. I think it very well turned out, and there are in it some pretty enough little sayings.

      DAN. MAS. You have here from me an essay of the most beautiful movements and most graceful attitudes with which a dance can be varied.

      MR. JOUR. Are these shepherds also?

      DAN. MAS. They are what you please. (To the DANCERS) Ho! ho! here!

       Entry of the BALLET.

      FOUR DANCERS execute the various movements and steps which the

      DANCING MASTER orders them.

      ACT II

      SCENE I

      – MR. JOURDAIN, DANCING MASTER, MUSIC MASTER.

      MR. JOUR. This performance is not bad, and these fellows don't do it badly.

      MUS. MAS. When the dance is accompanied by the music, you will find it still more effective, and you will see something charming in the little ballet we have prepared for you.

      MR. JOUR. It is for this afternoon, mind; and the person for whom I have ordered all this is to do me the honour of coming to dine here.

      DAN. MAS. Everything is ready.

      MUS. MAS. But, Sir, this is not enough; a gentleman magnificent in all his ideas like you, and who has taste for doing things handsomely, should have a concert at his house every Wednesday or Thursday.

      MR. JOUR. But why should I? Do people of quality have concerts?

      MUS. MAS. Yes, Sir.

      MR. JOUR. Oh! very well! Then I too must have some. It'll be fine?

      MUS. MAS. Very. You must have three voices: a treble, a counter-tenor, and a bass; which must be accompanied by a bass-viol, a theorbo lute, and a harpsichord for the thorough-basses, with two violins to play the harmonics.

      MR. JOUR. You must also have a trumpet-marine. [Footnote: An instrument with one thick string.] The trumpet-marine is an instrument that I like, and a very harmonious one.

      MUS. MAS. Leave all the arrangements to us.

      MR. JOUR. Be sure you don't forget to send me, by and by, some singers to sing at table.

      MUS. MAS. You shall have all that is necessary.

      MR. JOUR. But, above all, give us a nice ballet.

      MUS. MAS. You will be pleased with it, and particularly with certain minuets which you shall see in it.

      MR. JOUR. Ah! minuets are my favourite dance, and you should see me dance one. Come, my master.

      DAN. MAS. A hat, Sir, if you please. (MR. JOURDAIN takes the hat from his SERVANT, and puts it on over his night-cap; his master takes him by both hands, and makes him dance to a minuet air which he hums.) La, la, la, la, la, la; la, la, la, la, la, la, la; la, la, la, la, la, la; la, la, la, la, la, la; la, la, la, la, la; in time, if you please; la, la, la, la, la; the right leg, la, la, la; do not shake your shoulders so much; la, la, la, la, la, la, la, la, la, la; your two arms are crippled; la, la, la, la, la; hold up your head; turn out your toes; la, la, la; your body erect.

      MR. JOUR. Eh! eh!

      MUS. MAS. Wonderfully well done.

      MR. JOUR. Now I think of it! Teach me to make a bow to a marchioness.

      I shall have need of it presently.

      DAN. MAS. A bow to a marchioness?

      MR. JOUR. Yes; a marchioness, whose name is Dorimène.

      DAN. MAS. Give me your hand.

      MR. JOUR. No. You need only do it yourself. I shall be sure to remember.

      DAN. MAS. If you want to salute her with great respect, you must first of all bow whilst stepping backward, then, advancing towards her, make three bows, and at the last bow bend down to her very knees.

      MR. JOUR. Do it a little for me to see. (After the DANCING MASTER has made three bows) Good.

      SCENE II.

      – MR. JOURDAIN, MUSIC MASTER, DANCING MASTER, A SERVANT.

      SER. Sir, your fencing master is here.

      MR. JOUR. Make him come in here for my lesson. (To the MUSIC and DANCING MASTERS) I wish you to see me perform.

      SCENE III.

      – MR. JOURDAIN, FENCING MASTER, MUSIC MASTER, DANCING MASTER, A SERVANT holding two foils.

      FEN. MAS. (taking the two foils from the hands of the SERVANT, and giving one to MR. JOURDAIN). Now, Sir, the salute. The body upright, resting slightly on the left thigh. The legs not so far apart; the feet in a line. The wrist in a line with the thigh. The point of the foil opposite the shoulder. The arm not quite so much extended. The left hand as high as the eye. The left shoulder more squared. The head erect; the look firm. Advance; the body steady. Engage my blade in quart, and retain the engagement. One, two. As you were. Once more, with the foot firm. One, two; a step to the rear. When you make an attack, Sir, the sword should move first, and the body be well held back. One, two. Engage my blade in tierce, and retain the engagement. Advance; the body steady. Advance; one, two. Recover. Once more. One, two. A step to the rear. On guard, Sir; on guard. (The FENCING MASTER delivers two or three attacks, calling out, "On guard!")

      MR. JOUR. Ah!

      MUS. MAS. You are doing wonders.

      FEN. MAS. As I have already told you, the whole art of fencing consists of one of two things – in giving and not receiving; and as I showed you the other day by demonstrative reason, it is impossible for you to receive if you know how to turn aside your adversary's weapon from the line of your body; and this again depends only on a slight movement of the wrist to the inside or the out. [Footnote: Kindly corrected by Mr. Maclaren, The Gymnasium, Oxford.]

      MR. JOUR. So that a man, without having any courage, is sure of killing his man, and of not being killed himself.

      FEN. MAS. Exactly. Did you not see plainly the demonstration of it?

      MR. JOUR. Yes.

      FEN. MAS. And this shows you of what importance we must be in a state; and how much the science of arms is superior to all the other useless sciences, such as dancing, music…

      DAN. MAS. Gently, Mr. Fencing Master; speak of dancing with respect, if you please.

      MUS. MAS. Pray learn to treat more properly the excellence of music.

      FEN. MAS. You certainly are odd sort of people to try and compare your sciences to mine.

      MUS. MAS. Just see the man of importance!

      DAN. MAS. A fine animal, to be sure, with his plastron.

      FEN. MAS. Take care, my little dancing master, or I shall make you dance in fine style. And you, my little musician, I'll teach you to sing out.

      DAN. MAS. And you, my beater of iron, I'll teach you your trade.

      MR. JOUR. (to the DANCING MASTER). Are you mad to go and quarrel with a man, who understands tierce and quart, and knows how to kill another by demonstrative reason?

      DAN. MAS. I don't care a straw for his demonstrative reason, and his tierce and his quart.

      MR. JOUR. (to the DANCING MASTER). Gently, I tell you.

      FEN. MAS. (to the DANCING MASTER). How! You little impudent fellow!

      MR. JOUR. Ah! my fencing master!

      DAN. MAS. (to the FENCING MASTER). How! you great cart-horse!

      MR. JOUR. Stop! my dancing master!

      FEN. MAS. If I once begin with you…

      MR. JOUR. (to the FENCING MASTER). Gently.

      DAN. MAR. If I lay my hand upon you…

      MR.