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Capriol expresses his admiration for the law as a necessary institution, but complains that his neglect of the polite arts, while in the company of the Orleans law-students, has made him dull and wooden. He says that his knowledge of fencing and tennis makes him an acceptable companion with other youths, but he fails as a dancer to please the demoiselles, a point on which, it seems to him, depends the whole reputation of a young man who contemplates marriage. Then follows some sound advice, with curious details, from Arbeau, on the advantages of dancing as a matrimonial agent, and he acclaims the art as one necessary to social welfare.

Capriol agrees and expresses his disgust that the dance should have been so subject to bitter attacks, of which he quotes historic instances. Arbeau neatly responds that, “For one who has blamed, an infinity have esteemed and praised the art,” also following with quoted examples, saying, indeed, that “Le S. prophete royal dauid dāça au deuāt de l’arche de Dieu,” or, in other words, that “the holy prophet, King David, danced before the Ark of God.”