“Notes on the Movements of Young Children” — Robert Louis Stevenson
I wish to direct the reader’s attention to a certain quality in the movements of children when young, which is somehow lovable in them, although it would be even unpleasant in any grown person. Their movements are not graceful, but they fall short of grace by something so sweetly humorous that we only admire them the more. The imperfection is so pretty and pathetic, and it gives so great a promise of something different in the future, that it attracts us more than many forms of beauty. They have something of the merit of a rough sketch by a master, in which we pardon what is wanting or excessive for the sake of the very bluntness and directness of the thing. It gives us pleasure to see the beginning of gracious impulses and the springs of harmonious movement laid bare to us with innocent simplicity.
One night some ladies formed a sort of impromptu dancing-school in the drawing-room of an hotel in France. One of the ladies led the ring, and I can recall her as a model of accomplished, cultured movement. Two little girls, about eight years old, were the pupils; that is an age of great interest in girls, when natural grace comes to its consummation of justice and purity, with little admixture of that other grace of forethought and discipline that will shortly supersede it altogether. In these two, particularly, the rhythm was sometimes broken by an excess of energy, as though the pleasure of the music in their light bodies could endure no longer the restraint of regulated dance. So that, between these and the lady, there was not only some beginning of the very contrast I wish to insist upon, but matter enough to set one thinking a long while on the beauty of motion. I do not know that, here in England, we have any good opportunity of seeing what that is; the generation of British dancing men and women are certainly more remarkable for other qualities than for grace: they are, many of them, very conscientious artists, and give quite a serious regard to the technical parts of their performance; but the spectacle, somehow, is not often beautiful, and strikes no note of pleasure. If I had seen no more, therefore, this evening might have remained in my memory as a rare experience. But the best part of it was yet to come. For after the others had desisted, the musician still continued to play, and a little button between two and three years old came out into the cleared space and began to figure before us as the music prompted. I had an opportunity of seeing her, not on this night only, but on many subsequent nights; and the wonder and comical admiration she inspired was only deepened as time went on. She had an admirable musical ear; and each new melody, as it struck in her a new humour, suggested wonderful combinations and variations of movement. Now it would be a dance with which she would suit the music, now rather an appropriate pantomime, and now a mere string of disconnected attitudes. But whatever she did, she did it with the same verve and gusto. The spirit of the air seemed to have entered into her, and to possess her like a passion; and you could see her struggling to find expression for the beauty that was in her against the inefficacy of the dull, half-informed body. Though her footing was uneven, and her gestures often ludicrously helpless, still the spectacle was not merely amusing; and though subtle inspirations of movement miscarried in tottering travesty, you could still see that they had been inspirations; you could still see that she had set her heart on realising something just and beautiful, and that, by the discipline of these abortive efforts, she was making for herself in the future a quick, supple, and obedient body. It was grace in the making. She was not to be daunted by any merriment of people looking on critically; the music said something to her, and her whole spirit was intent on what the music said: she must carry out its suggestions, she must do her best to translate its language into that other dialect of the modulated body into which it can be translated most easily and fully.
Just the other day I was witness to a second scene, in which the motive was something similar; only this time with quite common children, and in the familiar neighbourhood of Hampstead. A little congregation had formed itself in the lane underneath my window, and was busy over a skipping-rope. There were two sisters, from seven to nine perhaps, with dark faces and dark hair, and slim, lithe, little figures clad in lilac frocks. The elder of these two was mistress of the art of skipping. She was just and adroit in every movement; the rope passed over her black head and under her scarlet-stockinged legs with a precision and regularity that was like machinery; but there was nothing mechanical in the infinite variety and sweetness of her inclinations, and the spontaneous agile flexure of her lean waist and hips. There was one variation favourite with her, in which she crossed her hands before her with a motion not unlike that of weaving, which was admirably intricate and complete. And when the two took the rope together and whirled in and out with occasional interruptions, there was something Italian in the type of both—in the length of nose, in the slimness and accuracy of the shapes—and something gay and harmonious in the double movement, that added to the whole scene a southern element, and took me over sea and land into distant and beautiful places. Nor was this impression lessened when the elder girl took in her arms a fair-headed baby, while the others held the rope for her, turned and gyrated, and went in and out over it lightly, with a quiet regularity that seemed as if it might go on for ever. Somehow, incongruous as was the occupation, she reminded me of Italian Madonnas. And now, as before in the hotel drawing-room, the humorous element was to be introduced; only this time it was in broad farce. The funniest little girl, with a mottled complexion and a big, damaged nose, and looking for all the world like any dirty, broken-nosed doll in a nursery lumber-room, came forward to take her turn. While the others swung the rope for her as gently as it could be done—a mere mockery of movement—and playfully taunted her timidity, she passaged backwards and forwards in a pretty flutter of indecision, putting up her shoulders and laughing with the embarrassed laughter of children by the water’s edge, eager to bathe and yet fearful. There never was anything at once so droll and so pathetic. One did not know whether to laugh or to cry. And when at last she had made an end of all her deprecations and drawings back, and summoned up heart enough to straddle over the rope, one leg at a time, it was a sight to see her ruffle herself up like a peacock and go away down the lane with her damaged nose, seeming to think discretion the better part of valour, and rather uneasy lest they should ask her to repeat the exploit. Much as I had enjoyed the grace of the older girls, it was now just as it had been before in France, and the clumsiness of the child seemed to have a significance and a sort of beauty of its own, quite above this grace of the others in power to affect the heart. I had looked on with a certain sense of balance and completion at the silent, rapid, masterly evolutions of the eldest; I had been pleased by these in the way of satisfaction. But when little broken-nose began her pantomime of indecision I grew excited. There was something quite fresh and poignant in the delight I took in her imperfect movements. I remember, for instance, that I moved my own shoulders, as if to imitate her; really, I suppose, with an inarticulate wish to help her out.
Now, there are many reasons why this gracelessness of young children should be pretty and sympathetic to us. And, first, there is an interest as of battle. It is in travail and laughable fiasco that the young school their bodies to beautiful expression, as they school their minds. We seem, in watching them, to divine antagonists pitted one against the other; and, as in other wars, so in this war of the intelligence against the unwilling body, we do not wish to see even the cause of progress triumph without some honourable toil; and we are so sure of the ultimate result, that it pleases us to linger in pathetic sympathy over these reverses of the early campaign, just as we do over the troubles that environ the heroine of a novel on her way to the happy ending. Again, people are very ready to disown the pleasure they take in a thing merely because it is big, as an Alp, or merely because it is little, as a little child; and yet this pleasure is surely as legitimate as another. There is much of it here; we have an irrational indulgence for small folk; we ask but little where there is so little to ask it of; we cannot overcome our astonishment that they should be able to move at all, and are interested in their movements somewhat as we are interested in the movements of a puppet. And again, there is a prolongation of expectancy when, as in these movements of children, we are kept continually on the very point of attainment and ever turned away and tantalised by some humorous imperfection. This is altogether absent in the secure and accomplished movements of persons more fully grown. The tight-rope walker does not walk so freely or so well as any one else can walk upon a good road; and yet we like to watch him for the mere sake of the difficulty; we like to see his vacillations; we like this last so much even, that I am told a really artistic tight-rope walker must feign to be troubled in his balance, even if he is not so really. And again, we have in these baby efforts an assurance of spontaneity that we do not have often. We know this at least certainly, that the child tries to dance for its own pleasure, and not for any by-end of ostentation and conformity. If we did not know it we should see it. There is a sincerity, a directness, an impulsive truth, about their free gestures that shows throughout all imperfection, and it is to us as a reminiscence of primitive festivals and the Golden Age. Lastly, there is in the sentiment much of a simple human compassion for creatures more helpless than ourselves. One nearly ready to die is pathetic; and so is one scarcely ready to live. In view of their future, our heart is softened to these clumsy little ones. They will be more adroit when they are not so happy.
Unfortunately, then, this character that so much delights us is not one that can be preserved by any plastic art. It turns, as we have seen, upon consideration not really æsthetic. Art may deal with the slim freedom of a few years later; but with this fettered impulse, with these stammering motions, she is powerless to do more than stereotype what is ungraceful, and, in the doing of it, lose all pathos and humanity. So these humorous little ones must go away into the limbo of beautiful things that are not beautiful for art, there to wait a more perfect age before they sit for their portraits.