Abstract
The dedication of Gottfried Taubert's Rechtschaffener Tantzmeister (Leipzig, 1717), translated as The Compleat Dancing Master, is constructed around intersecting analogies between Prince-Elector Friedrich August II of Saxony, Taubert's dedicatee; King Louis XIV of France; Emperor Augustus of Rome; and Raoul Auger Feuillet. Analysis of these relationships yields a coherent view of Taubert's sense of his own place in the artistic and political culture of early eighteenth-century Saxony, and in the history of dance.
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