Though very well made, I could never learn to dance a minuet; for being plagued with corns, I had acquired a habit of walking on my heels, which Roche, the dancing master, could never break me of. It was still worse at the fencing-school, where, after three months’ practice, I made but very little progress, and could never attempt fencing with any but my master. My wrist was not supple enough, nor my arm sufficiently firm to retain the foil, whenever he chose to make it fly out of my hand. Add to this, I had a mortal aversion both to the art itself and to the person who undertook to teach it to me, nor should I ever have imagined, that anyone could have been so proud of the science of sending men out of the world. To bring this vast genius within the compass of my comprehension, he explained himself by comparisons drawn from music, which he understood nothing of. He found striking analogies between a hit in ‘quarte’ or ‘tierce’ with the intervals of music which bears those names: when he made a feint he cried out, “take care of this ‘diesis’,” because anciently they called the ‘diesis’ a feint: and when he had made the foil fly from my hand, he would add, with a sneer, that this was a pause: in a word, I never in my life saw a more insupportable pedant. I made, therefore, but little progress in my exercises, which I presently quitted from pure disgust; but I succeeded better in an art of a thousand times more value, namely, that of being content with my situation, and not desiring one more brilliant, for which I began to be persuaded that Nature had not designed me. Given up to the endeavor of rendering Madam de Warens happy, I was ever best pleased when in her company, and, notwithstanding my fondness for music, began to grudge the time I employed in giving lessons to my scholars.