From that time the movement progressed by leaps and bounds. Inquiries began to pour in as to how the traditional dancing could be brought back into the lives of the English people, to those in the towns who had lost it altogether as well as to those in the country for whom it was only a vague memory. Miss Neal’s answer to this demand was to send out the best dancers among the members of her club to act as teachers. They have danced the Morris throughout the length and breadth of England. There is not a county to-day where the merry jangle of the bells and the clatter of the staves is not heard. In course of time the Board of Education took cognisance of the movement and introduced the Morris and other country dances into the curriculum of the elementary schools. In the spring of 1911 Miss Neal visited America, and by lectures and demonstration showed to the people of the new continent the old dances which their Puritan forefathers had omitted to bring with them. In response to numberless appeals for instruction she left behind one of the teachers of the Espérance Club, and the movement in the States is spreading with the same astonishing enthusiasm and rapidity as in England. The most significant and hopeful feature of this movement is that it is in every sense a popular one. The inveterate cavillers may argue that it is artificially imposed upon the younger generation by a few cultured and enthusiastic pedants, and they will certainly repeat the well-worn shibboleth concerning the impossibility of putting back the clock. But the artificiality has been in the enforced imposition of a Puritan code that abolished dancing from the village green. To all healthy children it is as natural to dance as to laugh and sing. The tradition has been abruptly broken; now it is being restored to them and they respond to it with every fibre of their being. They are far from regarding it as yet another troublesome item in a bewildering system of education; they do not have to be driven to it as to a new species of drill. They revel in it as in a delightful game, for it satisfies all the child’s inborn love of music and pantomime and emphatic rhythm. When once the initial impetus has been given from above, the movement goes on with its own momentum. Its motive force is not authority but the old indomitable impulse of the blood.