ROUTLEDGE'S |
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Begin with the _grand rond_ or great round; that is, the whole
quadrille; first and second couples and sides join hands all round,
advance four steps, and retreat ditto. _L'Ete_ is now sometimes
introduced, the _grand rond_ being repeated between each division of
the figure. But it gives a greater variety and _brio_ to the quadrille
if, after the first _grand rond_, the following figure be performed,
the _galop_ step being used throughout. Each gentleman (at top and
bottom couples) takes his lady round the waist, as for the _galop_;
advance four steps, retreat ditto, advance again, cross to opposite
places; advance, retreat, re-cross to own places. Ladies chain; half
promenade across; half right and left to places; _grand rond_. Side
couples repeat figure. _Grand rond_ between each division and at the
conclusion. Bow to your partners, and conduct your lady to seat.
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I.--HOW TO ORGANIZE A BALL.
As the number of guests at a dinner-party is regulated by the size of
the table, so should the number of invitations to a ball be limited by
the proportions of the ball-room. A prudent hostess will always
invite a few more guests than she really desires to entertain, in the
certainty that there will be some deserters when the appointed evening
comes round; but she will at the same time remember that to overcrowd
her room is to spoil the pleasure of those who love dancing, and
that a party of this kind when, too numerously attended is as great a
failure as one at which too few are present.
A room which is nearly square, yet a little longer than it is broad,
will be found the most favorable for a ball. It admits of two
quadrille parties, or two round dances, at the same time. In a
perfectly square room this arrangement is not so practicable or
pleasant. A very long and narrow room is obviously of the worst shape
for the purpose of dancing, and is fit only for quadrilles and country
dances.
The top of the ball-room is the part nearest the orchestra. In
a private room, the top is where it would be if the room were a
dining-room. It is generally at the farthest point from the door.
Dancers should be careful to ascertain the top of the room before
taking their places, as the top couples always lead the dances.
A good floor is of the last importance in a ball-room. In a private
house, nothing can be better than a smooth, well-stretched holland,
with the carpet beneath.
Abundance of light and free ventilation are indispensable to the
spirits and comfort of the dancers.
Good music is as necessary to the prosperity of a ball as good wine to
the excellence of a dinner. No hostess should tax her friends for
this part of the entertainment. It is the most injudicious economy
imaginable. Ladies who would prefer to dance are tied to the
pianoforte; and as few amateurs have been trained in the art of
playing dance music with that strict attention to time and accent
which is absolutely necessary to the comfort of the dancers, a total
and general discontent is sure to be the result. To play dance music
thoroughly well is a branch of the art which requires considerable
practice. It is as different from every other kind of playing as whale
fishing is from fly fishing. Those who give private balls will do well
ever to bear this in mind, and to provide skilled musicians for the
evening. For a small party, a piano and cornopean make a very pleasant
combination. Unless where several instruments are engaged we do not
recommend the introduction of the violin: although in some respects
the finest of all solo instruments, it is apt to sound thin and shrill
when employed on mere inexpressive dance tunes, and played by a mere
dance player.
Invitations to a ball should be issued in the name of the lady of the
house, and written on small note paper of the best quality. Elegant
printed forms, some of them printed in gold or silver, are to be
had at every stationer's by those who prefer them. The paper may be
gilt-edged, but not colored. The sealing-wax used should be of some
delicate hue.
An invitation to a ball should be sent out at least ten days before
the evening appointed. A fortnight, three weeks, and even a month may
be allowed in the way of notice.
Not more than two or three days should be permitted to elapse before
you reply to an invitation of this kind. The reply should always be
addressed to the lady of the house, and should be couched in the same
person as the invitation. The following are the forms generally in
use:--
Mrs. Molyneux requests the honor of Captain Hamilton's
company at an evening party, on Monday, March the 11th
instant.
_Dancing will begin at Nine o'clock_.
Thursday, March 1st.
Captain Hamilton has much pleasure in accepting Mrs.
Molyneux's polite invitation for Monday evening, March the
11th instant.
Friday, March 2nd.
The old form of "presenting compliments" is now out of fashion.
If Mrs. Molyneux writes to Captain Hamilton in the first person, as
"My dear Sir," he is bound in etiquette to reply "My dear
Madam."
The lady who gives a ball[A] should endeavor to secure an equal
number of dancers of both sexes. Many private parties are spoiled by
the preponderance of young ladies, some of whom never get partners at
all, unless they dance with each other.
A room should in all cases be provided for the accommodation of
the ladies. In this room there ought to be several looking-glasses;
attendants to assist the fair visitors in the arrangement of their
hair and dress; and some place in which the cloaks and shawls can be
laid in order, and found at a moment's notice. It is well to affix
tickets to the cloaks, giving a duplicate at the same time to each
lady, as at the public theatres and concert-rooms. Needles and thread
should also be at hand, to repair any little accident incurred in
dancing.
Another room should be devoted to refreshments, and kept amply
supplied with coffee, lemonade, ices, wine and biscuits during the
evening. Where this cannot be arranged, the refreshments should be
handed round between the dances.
The question of supper is one which so entirely depends on the means
of those who give a ball or evening party, that very little can be
said upon it in a treatise of this description. Where money is no
object, it is of course always preferable to have the whole supper,
"with all appliances and means to boot," sent in from some first-rate
house. It spares all trouble whether to the entertainers or
their servants, and relieves the hostess of every anxiety. Where
circumstances render such a course imprudent, we would only observe
that a home-provided supper, however simple, should be good of its
kind, and abundant in quantity. Dancers are generally hungry people,
and feel themselves much aggrieved if the supply of sandwiches proves
unequal to the demand. Great inconvenience is often experienced by
the difficulty of procuring cabs at the close of an evening party.
Gentlemen who have been dancing, and are unprepared for walking,
object to go home on foot, or seek vehicles for their wives and
daughters. Female servants who have been in attendance upon the
visitors during a whole evening ought not to be sent out. If even
men-servants are kept, they may find it difficult to procure as many
cabs as are necessary. The best thing that the giver of a private
ball can do under these circumstances, is to engage a policeman with
a lantern to attend on the pavement during the evening, and to give
notice during the morning at a neighboring cab-stand, so as to ensure
a sufficient number of vehicles at the time when they are likely to be
required.
[Footnote A: It will be understood that we use the word "ball" to
signify a private party, where there is dancing, as well as a public
ball.]
II.--BALL-ROOM TOILETTE.
LADIES.
The style of a lady's dress is a matter so entirely dependent on
age, means and fashion, that we can offer but little advice upon it.
Fashion is so variable, that statements which are true of it to-day
may be false a month hence. Respecting no institution of modern
society is it so difficult to pronounce half a dozen permanent rules.
We may perhaps be permitted to suggest the following leading
principles; but we do so with diffidence. Rich colors harmonize with
rich brunette complexions and dark hair. Delicate colors are the most
suitable for delicate and fragile styles of beauty. Very young ladies
are never so suitably attired as in white. Ladies who dance should
wear dresses of light and diaphanous materials, such as _tulle_,
gauze, crape, net, &c., over colored silk slips. Silk dresses are not
suitable for dancing. A married lady who dances only a few quadrilles
may wear _a d?ollet? silk dress with propriety.
Very stout persons should never wear white. It has the effect of
adding to the bulk of the figure.
Black and scarlet, or black and violet, are worn in mourning.
A lady in deep mourning should not dance at all.
However fashionable it may be to wear very long dresses, those ladies
who go to a ball with the intention of dancing and enjoying the
dance, should cause their dresses to be made short enough to clear
the ground. We would ask them whether it is not better to accept this
slight deviation from an absurd fashion, than to appear for three
parts of the evening in a torn and pinned-up skirt?
Well-made shoes, whatever their color or material, and faultless
gloves, are indispensable to the effect of a ball-room toilette.
Much jewelry is out of place in a ball-room. Beautiful flowers,
whether natural or artificial, are the loveliest ornaments that a lady
can wear on these occasions.
GENTLEMEN.
A black suit, thin enameled boots, a white neckcloth, and white or
delicate grey gloves, are the chief points of a gentleman's ball-room
toilette. He may wear an embroidered shirt; and his waistcoat may be
of silk. White waistcoats are no longer fashionable. Much display of jewelry is no proof of good taste. A handsome watch-chain, with,
perhaps, the addition of a few costly trifles suspended to it, and
a set of shirt-studs, are the only adornments of this kind that a
gentleman should wear. The studs should be small, but good.[A]
A gentleman's dress is necessarily so simple that it admits of no
compromise in point of quality and style. The material should be the
best that money can procure, and the fashion unexceptionable. So
much of the outward man depends on his tailor, that we would urge no
gentleman to economize in this matter.
[Footnote A: See "Etiquette for Gentlemen," Sec. VII.]
III.--ETIQUETTE OF THE BALL-ROOM.[A]
On entering the ball-room, the visitor should at once seek the lady
of the house, and pay his respects to her. Having done this, he may
exchange salutations with such friends and acquaintances as may be in
the room.
If the ball be a public one, and a gentleman desires to dance with
any lady to whom he is a stranger, he must apply to the master of the
ceremonies for an introduction.
Even in private balls, no gentleman can invite a lady to dance without
a previous introduction. This introduction should be effected through
the lady of the house, or a member of her family.
No lady should accept an invitation to dance from a gentleman to whom
she has not been introduced. In case any gentleman should commit the
error of so inviting her, she should not excuse herself on the plea of
a previous engagement, or of fatigue, as to do so would imply that
she did not herself attach due importance to the necessary ceremony
of introduction. Her best reply would be to the effect that she would
have much pleasure in accepting his invitation, if he would procure an
introduction to her. This observation may be taken as applying only to
public balls. At a private party the host and hostess are sufficient
guarantees for the respectability of their guests; and, although
a gentleman would show a singular want of knowledge of the laws of
society in acting as we have supposed, the lady who should reply
to him as if he were merely an impertinent stranger in a public
assembly-room, would be implying an affront to her entertainers.
The mere fact of being assembled together under the roof of a mutual
friend, is in itself a kind of general introduction of the guests to
each other.
An introduction given for the mere purpose of enabling a lady and
gentleman to go through a dance together, does not constitute an
acquaintanceship. The lady is at liberty to pass the gentleman in the
park the next day without recognition.
No gentleman should venture to bow to a lady upon the strength of a
ball-room introduction, unless she does him the honor to recognize
him first. If he commits this solecism he must not be surprised to
find that she does not return his salutation.
No gentleman should accept an invitation to a ball if he does not
dance. When ladies are present who would be pleased to receive an
invitation, those gentleman who hold themselves aloof are guilty, not
only of a negative, but a positive act of neglect.
To attempt to dance without a knowledge of dancing is not only to make
one's self ridiculous, but one's partner also. No lady or gentleman
has the right to place a partner in this absurd position.
Never forget a ball-room engagement. To do so is to commit an
unpardonable offence against good breeding.
It is not necessary that a lady or gentleman should be acquainted
with the _steps_, in order to walk gracefully and easily through a
quadrille. An easy carriage and a knowledge of the figure is all
that is requisite. A round dance, however, should on no account be
attempted without a thorough knowledge of the steps, and some previous
practice.
No person who has not a good ear for time and tune need hope to dance
well.
At the conclusion of a dance, the gentleman bows to his partner, and
either promenades with her round the room, or takes her to a seat.
Where a room is set apart for refreshments, he offers to conduct her
thither. At a public hall no gentleman would, of course, permit a lady
to pay for refreshments.
No lady should accept refreshments from a stranger at a public ball;
for she would thereby lay herself under a pecuniary obligation. For
these she must rely on her father, brothers, or old friends.
Good taste forbids that a lady and gentleman should dance too
frequently together at either a public or private ball. Engaged
persons should be careful not to commit this conspicuous solecism.
Engagements for one dance should not be made while the present dance
is yet in progress.
If a lady happens to forget a previous engagement, and stand up with
another partner, the gentleman whom she has thus slighted is bound to
believe that she has acted from mere inadvertence, and should by
no means suffer his pride to master his good temper. To cause a
disagreeable scene in a private ball-room is to affront your host and
hostess, and to make yourself absurd. In a public room it is no less
reprehensible. Always remember that good breeding and good temper (or
the appearance of good temper) are inseparably connected.
Young gentlemen are earnestly advised not to limit their conversation
to remarks on the weather and the heat of the room. It is, to a
certain extent, incumbent on them to do something more than dance when
they invite a lady to join a quadrille. If it be only upon the news
of the day, a gentleman should be able to offer at least three or four
observations to his partner in the course of a long half-hour.
Gentlemen who dance cannot be too careful not to injure the dresses of
the ladies who do them the honor to stand up with them. The young men
of the present day are singularly careless in this respect; and when
they have torn a lady's delicate skirt, appear to think the mischief
they have done scarcely worth the trouble of an apology.
A gentleman conducts his last partner to the supper-room, and, having
waited upon her while there, re-conducts her to the ball-room. Never
attempt to take a place in a dance which has been previously engaged.
Withdraw from a private ball-room as quietly as possible, so that your
departure may not be observed by others, and cause the party to break
up. If you meet the lady of the house on her way out, take your leave
of her in such a manner that her other guests may not suppose you are
doing so; but do not seek her out for that purpose.
Never be seen without gloves in a ball-room, though it were only for
a few moments. Those who dance much and are particularly _soigne_
in matters relating to the toilette, take a second pair of gloves to
replace the first when soiled.
A thoughtful hostess will never introduce a bad dancer to a good
one, because she has no right to punish one friend in order to oblige
another.
It is not customary for married persons to dance together in society.
[Footnote A: See "Etiquette for Ladies," and "Etiquette for
Gentlemen," Sec. IX.]
IV.--THE QUADRILLE.
The Quadrille is the most universal, as it is certainly the
most sociable, of all fashionable dances. It admits of pleasant
conversation, frequent interchange of partners, and is adapted to
every age. The young or old, the ponderous _paterfamilias_ or his
sylph-like daughter, may with equal propriety take part in its easy
and elegant figures. Even an occasional blunder is of less consequence
in this dance than in many others; for each personage is in some
degree free as to his own movements, not being compelled by the
continual embrace of his partner to dance either better or worse than
he may find convenient.
People now generally walk through a quadrille. Nothing more than a
perfect knowledge of the figure, a graceful demeanor, and a correct
ear for the time of the music are requisite to enable any one to take
a creditable part in this dance. Steps are quite gone out of fashion:
even the _chasse_ has been given up for some time past.
A quadrille must always consist of five parts. If a variation be
made in the fourth figure, by the substitution of _Pastorale_ for
_Trenise_, the latter must then be omitted; or _vice-versa_. As soon
as a gentleman has engaged his partner for the quadrille, he should endeavor to secure as his
_vis-?is_ some friend or acquaintance;
and should then lead his partner to the top of the quadrille, provided
that post of honor be still vacant. He will place the lady always at
his right hand.
Quadrille music is divided into eight bars for each part of the
figure; two steps should be taken in every bar; every movement thus
invariably consists of eight or of four steps.
It is well not to learn too many new figures; the memory is liable to
become confused amongst them; besides which, it is doubtful whether
your partner, or your _vis-?is_, is as learned in the matter as
yourself. Masters are extremely fond of inventing and teaching new
figures; but you will do well to confine your attention to a few
simple and universally received sets, which you will find quite
sufficient for your purpose. We begin with the oldest and most common,
the
FIRST SET OF QUADRILLES.
First Figure.--Le Pantalon.
The couples at the top and bottom of the quadrille cross to each
other's places in eight steps, occupying four bars of the time; then
re-cross immediately to their own places, which completes the movement
of eight bars. This is called the _Chaine Anglaise_. The gentleman
always keeps to the right of _vis-?is_ lady in crossing, thus
placing her _inside_.
Set to partners, or _balances_; turn your partners. (This occupies the
second eight bars.) Ladies, chain, or _chaine des dames_. (Eight
bars more.) Each couple crosses to opposite couple's place, gentleman
giving his hand to his partner: this is called half-promenade. Couples
recross right and left to their places, without giving hands, which
completes another eight bars, and ends the figure.
The side couples repeat what the top and bottom couples have done.
Second Figure.--L'Ete
The ladies in all the top couples, and their _vis-?is_ gentlemen,
advance four steps, and retire the same, repeating this movement once
again, which makes the first eight bars.
Top ladies and _vis-?is_ gentlemen cross to each other's places;
advance four steps; retreat ditto; cross back towards partners, who
set to them as they advance; turn partners; which ends first half of
figure.
Second ladies and top _vis-?is_ gentlemen execute the same
movements. Then side couples begin, the privilege of commencement
being conferred on those ladies who stand at the _right_ of the top
couples.
This figure is sometimes performed in a different manner, known as
double _L'Ete_. Instead of the top lady and _vis-?is_ gentleman
advancing alone, they advance with partners joining hands; cross and
return, as in the single figure. This variation is, however, somewhat
out of vogue, except (as will presently be seen) in the last figure of
the quadrille, where it is still frequently introduced.
Third Figure--La Poule.
Top lady and _vis-?is_ gentleman cross to each other's places,
giving right hand in passing; cross back again with left hand. (Eight
bars.) The two couples form in a line, and join hands, the left hand
of one holding the right hand of his or her neighbor, so that each
faces different ways; in this position all four _balancez_, then half
promenade with partner to opposite place; top lady and _vis-?is_
gentleman advance four steps and retire ditto. (2nd eight bars.) Both
top and bottom couples advance together, and retire the same; then
re-cross right and left to places. (3rd eight bars.) Second lady and
first opposite gentleman repeat figure. Side couples repeat, observing
same rule for commencement as in _L'Ete_.
Fourth Figure.--La Trenise.
Top couples join hands, advance four steps and retreat ditto: advance
again, gentleman leaving lady at left hand of _vis-?is_ gentleman,
and retiring alone, (1st eight bars.) Two ladies advance, crossing
to opposite side; gentleman advances to meet his partner, _vis-?is_
lady returns to hers. (2nd eight bars.) _Balancez_; turn partners to
places. (3rd eight bars.) Second couple performs same figure; side
couples repeat as before.
If _La Pastorale_ be preferred, it will be performed thus:--Top couple
advance and retreat; advance, gentleman leading lady to left hand
of _vis-?is_ gentleman; he advances with both ladies four steps,
retreating ditto; again advancing, he leaves both ladies with first
gentleman, retreating alone; top gentleman and both ladies advance and
retreat; again advance, joining hands in circle, go half round, half
promenade to opposite places, then return right and left to their own.
Second couples and side couples repeat as before.
Fifth Figure.--La Finale.
V.--THE CALEDONIANS.
This quadrille has, within the last few years become more fashionable
than formerly. But it is not so frequently danced as the Lancers,
still less as the First Set of Quadrilles. Each set can consist only
of eight couples, differing in this respect from the simple quadrille,
which admits of an indefinite number of couples.
_1st Figure_.--Top and opposite couples hands across; then back again;
_balancez_ and turn partners; _chaine des dames_; half promenade
across; half right and left to places.
_2nd Figure_.--Top gentleman advances and retreats twice. _Balancez_
to corners and turn, each lady passing to her next neighbor's place.
Having changed your partner, all promenade quite round. Second, third,
and fourth gentleman repeat same figure; thus all have regained their
places.
_3rd Figure_.--Top lady and _vis-?is_ gentleman advance and retreat
twice.
Top couple join hands and cross over; opposite couple cross likewise,
separately, allowing top couple to pass between them; then top couple
re-cross to places separately, leaving the second couple (who re-cross
with joined hands) inside.
_Balancez_ to corners and turn your neighbor's partner; back to
places. All four couples, joining hands in circle, advance and retreat
twice. Same figure repeated by second and side couples.
_4th Figure_.--Top lady and _vis-?is_ gentleman advance four steps;
second lady and her _vis-?is_ then do the same; each couple turns
partner back to places. Ladies in all four couples move four steps to
the right, each taking her neighbor's place; gentlemen then move four
steps to the left, each into next neighbor's place. Ladies again to
the right; gentlemen again to the left. Promenade round, turn partners
to places. Second and side couples repeat in succession.
_5th Figure_.--First couple promenade round inside the quadrille. Four
ladies advance, courtesy to each other, and retire; four gentlemen
advance, bow, and retire. _Balancez_ and turn partners. Grand chain
half way round. All promenade to places, and turn partners. All
_chassez croisez_, ladies right, gentlemen left (behind their
partners), and back again to places. Second and side couples repeat as
before. Promenade all round for _finale_.
VI.--THE LANCERS.
The Lancers Quadrille is perhaps the most graceful and animated of
any. Within the last few years it has become a great favorite in
fashionable circles, probably owing to its revival at the state balls
of Her Majesty. It admits of much skill and elegance in executing
its quick and varied figures, a correct acquaintance with which is
absolutely requisite to all who take part in it. Unlike the common
quadrille, the Lancers must be danced by four couples only in each
set; though of course there can be many sets dancing at the same time.
The number being so limited, one awkward or ignorant person confuses
the whole set; therefore, it is indispensable that every one who
dances in this quadrille should have a thorough mastery of its
graceful intricacies. We have observed that of late it has become the
fashion to substitute new tunes for the old well-known music of the
Lancers Quadrille. We cannot consider this an improvement. The
old simple melodies are peculiarly fitted to the sprightly, joyous
character of the dance; which is more than can be said for any of the
modern substitutes. When these are used, the Lancers, in our opinion,
loses its individuality and spirit, becoming almost like a common
quadrille. We should be heartily glad to see the old tunes restored
once for all to their rightful supremacy.
The sets of four couples, top, opposite and sides, having been
arranged, the dance begins as follows:--_1st Figure_.--First lady and
opposite gentleman advance and retreat; advance again, joining their
hands; pass round each other and back to places. (1st eight bars.)
Top couple join hands, and cross, opposite couple crossing at the same
time, separately, outside them; the same reversed, back to places.
(2nd eight bars.) All the couples _balancez_ to corners; each
gentleman turns his neighbor's partner back to places. (3rd eight
bars.) Second couple repeat figure from beginning; after them side
couples, those who stand to the right of top couple having always the
priority, as in the common quadrille.
_2nd Figure_.--First couple advance and retreat, gentleman holding
lady's left hand; advance again; gentleman leaves his partner in
the center of the quadrille, and retires to place. (1st eight bars.)
_Balancez_ to each other and turn to places. (2nd eight bars.) Side
couples join first and second couples, forming a line of four on
either side. Each line advances four steps, retreats ditto; then
advances again, each gentleman reclaiming his partner, and all turn to
places. Second and side couples repeat figure in succession.
_3rd Figure_.--First lady advances four steps alone, and stops;
_vis-?is_ gentleman does the same; first lady retires, facing
gentleman, to whom she makes a slow profound courtesy. (The courtesy
must occupy a bar or two of the music; and as, if made with grace and
dignity, it is most effective, we would recommend ladies to practice it carefully beforehand.) The gentleman at the same time bows and
retires. (1st eight bars.) All four ladies advance to center, give
right hands across to each other (which is called the _double chain_),
and left hand to _vis-?is_ gentleman; then back again, left hands
across in the middle, and right hands to partners, back to places.
(2nd eight bars.) Second and side couples repeat figure from
commencement.
A more recent fashion for dancing this figure is as follows:--Instead
of one lady advancing at first, all four advance, and courtesy to
each other; then turn and courtesy to their partners. Ladies do the
_moulinet_ in the center; that is, give right hands across to each
other, and half round; left hands back again, and return to places.
Gentlemen meantime all move round outside the ladies, till each has
regained his place. Figure, as usual, repeated four times; but the
second and fourth time the gentlemen advance instead of the ladies,
and bow, first to each other, then to their partners; continuing as
before through the rest of the figure.
_4th Figure_.--Top gentleman, taking partner's left hand, leads her
to the couple on their right, to whom they bow and courtesy (which
civility must be met with the like acknowledgment), then cross quickly
to fourth couple, and do the same, (1st eight bars.) All four couples
_chassez croisez_ right and left (gentleman invariably passing behind
his partner) then turn hands (_tour des mains_) back to places. (2nd
eight bars.) First and opposite couples right and left across and back
again to places. (3rd eight bars.) Second and sides repeat as usual.
_5th Figure_.--This figure commences with the music. Each couple
should stand ready, the gentleman facing his partner, his right hand
holding hers. If every one does not start directly the music begins,
and does not observe strict time throughout, this somewhat intricate
figure becomes hopelessly embarrassed; but, when well danced, it is
the prettiest of the set. It commences with the _grande chaine_
all round; each gentleman giving his right hand to his partner at
starting, his left to the next lady, then his right again, and so all
round, till all have returned to their places. (This occupies sixteen
bars of the music.) First couple promenade inside figure, returning to
places with their backs turned to opposite couple. The side couple
on their right falls in immediately behind them; the fourth couple
follows, the second couple remaining in their places. A double line is
thus formed--ladies on one side and gentlemen on the other. (3rd eight
bars.) All _chassez croisez_, ladies left, gentlemen right, behind
partners. First lady leads off, turning sharply round to the right;
first gentleman does the same to the left, meeting at the bottom of
the quadrille, and promenade back to places. All the ladies follow
first lady; all the gentlemen follow first gentleman; and as each
meets his partner at the bottom of the figure, they touch hands,
then fall back in two lines--ladies on one side, gentlemen on the
other--facing each other. (4th eight bars.) Four ladies join hands,
advance and retreat; four gentlemen ditto at the same time; then each
turns his partner to places. (5th eight bars.) _Grande chaine_ again.
Second and side couples repeat the whole figure in succession, each
couple taking its turn to lead off, as the first had done. _Grande
chaine_ between each figure and in conclusion.
VII.--THE LANCERS FOR SIXTEEN, OR DOUBLE LANCERS.
_1st figure_.--Two first ladies and _vis-?is_ gentlemen begin at
the same moment, and go through the figure as in Single Lancers. All
_balancez_ to corners; in other words, each lady sets to gentleman at
her right, who turns her to her place. Second couples and sides repeat
as usual.
_2nd Figure_.--First couples advance, retreat, advance again, leaving
ladies in center; set to partners and turn to places. Two side couples
nearest first couples join them; two side couples nearest second
couples do the same, thus forming eight in each line. They all advance
and retreat, holding hands, then turn partners to places. Repeated by
second and side couples as usual.
_3rd Figure_.--First ladies advance and stop; _vis-?is_ gentlemen
ditto; courtesy profoundly, bow, and back to places. Ladies do the
_moulinet_, gentlemen go round outside, and back to places. Or, ladies
advance and courtesy to each other and then to partners; gentlemen,
doing the same when the second and fourth couples begin the figure, as
in Single Lancers.
_4th Figure_.--First couples advance to couples on their right; bow
and courtesy; cross to opposite side, bow and courtesy, _chassez
croisez_, and return to places. Right and left to opposite places, and
back again. Second couples and sides repeat figure.
_5th Figure_.--_Grande chaine_ all round, pausing at the end of every
eight bars to bow and courtesy; continue _chaine_ back to places,
which will occupy altogether thirty-two bars of the music. Figure
almost the same as in Single Lancers. Both first couples lead round,
side couples falling in behind, thus forming four sets of lines.
Figure repeated by second and side couples; _grande chaine_ between
each figure and at the conclusion.
VIII.--COULON'S DOUBLE QUADRILLE.
This quadrille contains the same figures as the common quadrille, but
so arranged that they are danced by four instead of two couples. All
quadrille music suits it; and it occupies just half the time of the
old quadrille. It makes an agreeable variety in the movements of the
dance, and is easily learnt. It requires four couples.
First Figure.--Pantalon.
First and second couples right and left, whilst side couples dance the
_chaine Anglaise_ outside them. All four couples set to partners and
turn them. Four ladies form ladies' chain, or hands across in the
middle of the figure, giving first right hands, and then left, back to
places. Half promenade, first and second couples do _chaine Anglaise_,
while side couples do _grand chaine_ round them. This leaves all in
their right places, and ends figure.
Second Figure.--L'Ete
First lady, and lady on her right hand, perform the figure with their
_vis-?is_ gentlemen, as in common _L'Ete_; taking care, when they
cross, to make a semicircle to the left. Second couple and second side
couple repeat figure, as in common. _L'Ete_.
Third Figure.--La Poule.
Top lady and _vis-?is_ gentleman, lady at her right, and her
opposite gentleman, perform figure at the same time, setting to each
other in two cross lines. Other couples follow as usual.
Fourth Figure.--La Pastorale.
The first and opposite couples dance the figure, not with each other,
but with the couples to their right. The latter do the same with first
and second couples.
Fifth Figure.--Finale.
Galopade all round. Top and opposite couples galopade forwards, and
retreat. As they retreat side couples advance; and, as they retreat
in their turn, first and second couples galopade to each others place.
Side couples the same. First and second couples advance again; side
couples the same as the others retreat; first and second back to
places as side couples retreat. Side couples back to places. Double
_chaine des dames_, and galopade all round. Then side couples repeat
figure as usual, and _galop_ all round in conclusion.
It is requisite to keep correct time and step in this quadrille, which
would otherwise become much confused.
IX.--THE POLKA.
The origin of this once celebrated dance is difficult to ascertain. It
is believed by some to be of great antiquity, and to have been brought
into Germany from the East. Others affirm that its origin is of more
recent date, and its birthplace considerably nearer home. An authority
on these matters remarks; "In spite of what those professors say who
proclaim themselves to have learnt the Polka in Germany, or as being
indebted for it to a Hungarian nobleman, we are far from placing
confidence in their assertions. In our opinion Paris is its
birthplace, and its true author, undoubtedly, the now far-famed
Monsieur Cellarius, for whom this offspring of his genius has gained a
European celebrity."
Whatever we may be inclined to believe with regard to this disputed
question, there can be no doubt of the wide-spread popularity which
for many years was enjoyed by the Polka. When first introduced, in
1843, it was received with enthusiasm by every capital in Europe; and
it effected a complete revolution in the style of dancing which had
prevailed up to that period. A brisk, lively character was imparted
even to the steady-going quadrille; the old _Valse a Trois Temps_ was
pronounced insufferably "slow;" and its brilliant rival, the _Valse a
Deux Temps_, which had been recently introduced, at once established
the supremacy which it has ever since maintained. The _galop_, which
had been until this period only an occasional dance, now assumed
a prominent post in every ball-room, dividing the honors with the
_valse_.
But all these dances, though modified in character by the introduction
of the Polka, were for a time thrown into the shade by this new
claimant upon public favor. Its popularity was unrivalled in the
annals of dancing. Rich and poor, young and old, grave and gay, all
were alike smitten by the universal Polka mania. All flocked to take
lessons in this new and fascinating dance; and the professors of its
mysteries fairly divided public attention with the members of the
Anti-Corn-Law League, then holding their meetings at Drury Lane
Theatre. We will even go so far as to say that Messrs. Bright and
Cobden were scarcely more anxious to destroy the vexatious Corn Laws
than were these worthy Polka-maniacs to create _corn_ laws of their
own, which, if more innocent, were equally undesirable.
For many years the Polka maintained its position as the universal favorite; but, during the last five or six seasons, its popularity
has slowly but surely declined. It is never danced now in the
ball-rooms of the aristocracy, but the middle classes have not yet
quite discarded their old friend, though even amongst their programmes
its name rarely occurs.
Perhaps no dance affords greater facilities for the display of
ignorance or skill, elegance or vulgarity, than the Polka. The step
is simple and easily acquired, but the method of dancing it varies _ad
infinitum_. Some persons race and romp through the dance in a manner
fatiguing to themselves and dangerous to their fellow-dancers. Others
(though this is more rare) drag their partner listlessly along, with
a sovereign contempt alike for the requirements of the time and the
spirit of the music. Some gentlemen hold their partner so tight
that she is half suffocated; others hold her so loosely that she
continually slips away from them. All these extremes are equally
objectionable, and defeat the graceful intention of the dance. It
should be performed quietly, but with spirit, and _always in strict
time_. The head and shoulders should be kept still, not jerked and
turned at every step, as is the manner of some. The feet should glide
swiftly along the floor--not hopping or jumping as if the boards were
red-hot.
You should clasp your partner lightly but firmly round the waist with
your right arm.
Your left hand takes her right hand; but beware of elevating your arm
and hers in the air, or holding them out straight, which suggests the
idea of windmills.
Above all, never place your left hand on your hip or behind you. In
the first place, you thus drag your partner too much forward, which
makes her look ungraceful; in the next, this attitude is _never used_
except in casinos, and it is almost an insult to introduce it in a
respectable ball-room.
Let the hand which clasps your partner's fall easily by your side in a
natural position, and keep it there. Your partner's left hand rests on
your right shoulder; her right arm is thrown a little forward towards
your left.
The Polka is danced in 2/4 time. There are three steps in each bar;
the fourth beat is always a rest. The rhythm of the dance may be thus
indicated:--
[Illustration]
the three steps being performed on the three first beats of every bar.
It is next to impossible to describe in words the step of the Polka,
or of any circular dance: nothing but example can correctly teach
it; and, although we shall do our best to be as clear as possible, we
would earnestly recommend those of our readers who desire to excel,
whether in this or the following dances, to take a few lessons from
some competent instructor.
The gentleman starts with his left foot, the lady with her right.
We shall describe the step as danced by the gentleman: the same
directions, reversing the order of the feet, will apply to the lady.
_1st beat_.--Spring slightly on right foot, at the same time slide
left foot forward.
_2nd beat_.--Bring right foot forward by _glissade_, at the same time
rising left foot.
_3rd beat_.--Bring left foot slightly forward and _fall_ upon it,
leaving right foot raised, and the knee slightly bent, ready to begin
the step at the first beat of the next bar.
_4th beat_.--Remain on left foot. Begin next bar with the right foot,
and repeat the step to end of third beat. Begin the following bar
with left foot; and so on; commencing each bar with right or left foot
alternately.
The Polka is danced with a circular movement, like the Valse; in each
bar you half turn, so that, by the end of the second bar, you have
brought your partner completely round.
It was at first customary to promenade your partner round the room,
doing a kind of _balancez_ to each other in the Polka step before
commencing the valse figure. But this fashion soon became antiquated,
and has fallen into complete disuse.
The circular movement of the Polka admits of two directions--from
right or left or from left to right. The ordinary direction is from
right to left. The opposite one is known as the _reverse_ step. It
is more difficult to execute, but is a pleasant change for skilled
dancers, if they have become giddy from turning too long in one
direction.
In dancing the Polka, or any circular dance where a large number of
couples are performing at the same time, the gentleman must be careful
to steer his fair burden safely through the mazes of the crowded
ball-room. A little watchfulness can almost always avoid collisions,
and a good dancer would consider himself disgraced if any mishap
occurred to a lady under his care. Keep a sharp look out, and avoid
crowded corners. Should so many couples be dancing as to render such
caution impossible, stop at once, and do not go on until the room has
become somewhat cleared. In a few minutes others will have paused to
rest, and you can then continue. Your partner will be grateful that
your consideration has preserved her from the dismal plight in which
we have seen some ladies emerge from this dance--their _coiffeurs_
disordered, their dresses torn, and their cheeks crimson with fatigue
and mortification, while their indignant glances plainly showed the
anger they did not care to express in words, and which their reckless
partner had fully deserved. A torn dress is sometimes not the heaviest
penalty incurred: we have known more than one instance where ladies
have been lamed for weeks through the culpable carelessness of their
partners, their tender feet having been half crushed beneath some
heavy boot in one of these awkward collisions. This is a severe price
to pay for an evening's amusement, and gentlemen are bound to be
cautious how they inflict it, or anything approaching to it, upon
their fair companions. Ladies, on the other hand, will do well to
remember that by leaning heavily upon their partner's shoulder,
dragging back from his encircling arm or otherwise impeding the
freedom of his movements, they materially add to his labor and take
from his pleasure in the dance. They should endeavor to lean as
lightly, and give as little trouble, as possible; for, however
flattering to the vanity of the nobler sex may be the idea of feminine
dependence, we question whether the reality, in the shape of a dead
weight upon their aching arms throughout a Polka or Valse of twenty
minutes' duration, would be acceptable to even the most chivalrous
amongst them.
We have been thus minute in our instructions, because they not only
apply to the Polka, but equally to all circular dances where a great
number stand up to dance at the same time.
We now pass on to the
X.--CELLARIUS VALSE.
Sometimes called the Mazourka, though generally best known by the name
of its inventor, M. Cellarius, of Paris. It was imported to England in
1845, two years after the introduction of the Polka; and, although
it never attained so great a popularity as its predecessor, it was favorably received, and much danced in the best circles. Still it
failed to achieve the decided success which might have been reasonably
expected from its elegance and beauty. Perhaps one reason of this
disappointing result was that many inefficient performers attempted
to dance it before they had mastered its somewhat difficult step, and
brought it into disrepute by their ungraceful exhibitions. But
the grand secret of its partial failure lay in the mania for rapid
whirling dances, introduced by the Polka. While the rage for "fast
dancing" continued, the measured grace of the Cellarius stood no
chance. Now that it has at last happily abated, people are better
prepared to appreciate the refined and quiet charm of this really
beautiful valse. To dance it well requires some practice; and
particular attention must be paid to the carriage and position of
the figure, since no dance is more thoroughly spoiled by an awkward,
stiff, or stooping attitude.
We proceed to describe the step, so far as it may be possible to do
so in words; but we have an uneasy consciousness that all such
descriptions bear a close resemblance to those contained in certain
little volumes designed to instruct our fair readers in the mysteries
of knitting, netting, and crochet. "Slip two, miss one, bring one
forward," &c., may convey to the mind of the initiated a distinct idea
of the pattern of a collar; but are hardly satisfactory guides to the
step of a valse. We must, however, do our best; though again we would
impress upon the reader the necessity of seeking further instruction
from a professor or experienced friend.
The time of the Cellarius Valse is 3/4, like the common valse; but it
should be played much more slowly; if danced quickly, it becomes an
unmeaning succession of hops, and its graceful character is destroyed.
We describe the step as danced by the lady; for the gentleman it will
be the same, with the feet reversed; that is, for right foot read
left, and so on.
First Step.
_1st and 2nd beat_.--Spring on left foot, sliding forward right foot
at the same time, and immediately let your weight rest on the forward
foot. This occupies two beats.
_3rd beat_.--Spring on right foot; this ends the bar.
_2nd bar, 1st and 2nd beat_.--Spring again on right foot, and slide
forward left at same time. Rest on it a moment as before during second
beat; at third beat spring on it; which ends second bar. Continue same
step throughout. You will perceive that, at the first and third beat
of the time, you hop slightly, resting, during the second beat, on the
foremost foot.
Second Step.
_1st beat_.--Spring on left foot, slightly striking both heels
together.
_2nd beat_.--Slide right foot to the right, bending the knee.
_3rd beat_.--Bring left foot up to right foot with a slight spring,
raising right foot; which ends the first bar.
_2nd bar, 1st beat_.--Spring again on left foot, striking it with heel
of right.
_2nd beat_.--Slide right foot to the right.
_3rd beat_.--Fall on right foot, raising left foot behind it, which
ends the second bar. Reverse the step by springing first on the right
foot, and sliding the left, &c. The music generally indicates that
this step should be repeated three times to the right, which occupies
three bars; then _rest_, during the fourth bar, and return with
reverse step to the left during the three bars which follow, resting
again at the eighth bar.
Third Step
_1st beat_.--Spring on left foot, and slide right foot to the right.
_2nd beat_.--Rest on right foot.
_3rd beat_.--Spring on right foot, bringing left up behind it.
_2nd bar, 1st beat_.--Spring on right foot, sliding left foot to the
left.
_2nd beat_.--Rest on left foot.
_3rd beat_.--Hop on left foot, bringing right behind it as before.
Continue at pleasure.
The first of these three steps is most commonly used in the valse; but
the second is an agreeable change for those who may have grown giddy
or weary in doing the _figure en tournant_ (circular movement).
Be careful not to exaggerate the slight hop at the first and third
beats of each bar; and to _slide_ the foot gracefully forward, not
merely to make a step, as some bad dancers do.
XI.--THE MAZOURKA QUADRILLE.
Those who have mastered the steps of the Cellarius will find little
trouble in dancing this elegant quadrille. It has five figures, and
can be performed by any even number of couples.
The music, like the step, is that of the Mazourka. The couples are
arranged as in the ordinary quadrille.
Join hands all round; _grand rond_ to the left (four bars), then back
again to the right (four bars), employing the _second_ step of the
Cellarius. Each couple does the _petit tour_ forwards, and backwards,
still using the second step, and repeating it three times to the
right--then resting a bar; three times to the left--then resting
another bar; which occupies eight bars of the music. These figures
may be considered as preliminary. We find the quadrille itself so well
described in the work of a contemporary, that we cannot do better than
extract the account in full, for the benefit of our readers.
_1st Figure_.--Top and bottom couples right and left (eight bars),
with Redowa steps;[A] then they advance, the ladies cross over, the
gentleman meanwhile pass quickly round each other, and return to own
places (four bars); _petit tour_ forward with opposite ladies (four
bars); right and left (eight bars); advance again; the ladies return
to own places, and the gentlemen pass again round each other to
their own ladies (four bars); _petit tour_ backward (four bars). Side
couples do likewise.
_2nd Figure_.--(Eight bars rest.) Top and bottom couples advance and
retire, hands joined (four bars). All cross over into opposite places,
each going to each other's left (four bars); _petit tour_ forward
(four bars); advance and retire (four bars), and return to places
(four bars); _petit tour_ (four bars). Side couples do likewise.
_3rd Figure_.--(Eight bars rest.) Top and bottom ladies cross over
into opposite places (four bars); return, presenting left hands to
each other, and right hands to partners, as in _La Poule_ (four bars);
pass round with partners into opposite places (four bars); _petit
tour_ backward (four bars); _vis-?is_ couples hands across, round
(six bars); retire (two bars); top and bottom ladies cross over (four
bars); ladies cross again, giving each other left hands, and right to
partners (four bars). All pass round to own places (four bars); _petit
tour_ backward (four bars).
_4th Figure_.--(Eight bars rest.) Top couple lead round inside the
figure (eight bars); _petit tour_ forward and backward (eight bars);
advance to opposite couple; the gentleman turns half round without
quitting his partner, and gives his left hand to opposite lady; the
two ladies join hands behind gentleman (four bars); in this position
the three advance and retire (eight bars). The gentleman passes under
the ladies' arms; all three pass round to the left, with second step
of Cellarius, the opposite lady finishing in her own place (four
bars). The top couple return to places (four bars); _petit tour_
forward (four bars). Opposite couple and side couples do likewise.
_5th Figure_.--(Eight bars rest.) Top and bottom couples half right
and left (four bars); _petit tour_ backward (four bars); half right
and left to places (four bars); _petit tour_ backward (four bars);
_vis-?is_ couples hands round to opposite places (four bars); _petit
tour_ forward (four bars); hands round to own places (four bars);
_petit tour_ (four bars); right and left (eight bars).
Side couples do likewise.
_Finale_. Grand round all to the left, and then to the right (sixteen
bars); grand chain, as in the Lancers, with first step of Cellarius
(sixteen bars). But if there are more than eight in the quadrille, the
music must be continued until all have regained their places.
N.B.--Music continues during rest.
[Footnote A: This step will be found farther on in the book, under the
head of the Redowa Valse.]
XII.--THE POLKA MAZOURKA.
The step of this dance is, as its implies, a mixture of the steps
of the Polka and the Mazourka. It is a favorite dance with the
Parisians, but has never been very popular in England, probably from
the same reasons which prevented the success of the Cellarius. Yet it
is a pretty dance, and the step is easily acquired. We recommend it to
the attention of our readers. The time is 3/8, and quicker than that
of the Cellarius.
Gentleman takes his partner as in the valse. _Figure en tournant_.
We describe the steps for the gentleman; the lady simply reverses the
order of the feet, using left foot for right throughout.
_1st beat_.--Rest on right foot, with left foot a little raised
behind, and slide left foot to the left.
_2nd beat_.--Spring on the right foot, bringing it up to where the
left foot is, and raising the latter in front.
_3rd beat_.--Spring once more on right foot, passing left foot behind
without touching the ground with it; this ends first bar.
_2nd bar, 1st beat_.--Slide left foot to the left, as before.
_2nd beat_.--Spring on right foot, as before, and bring it up to the
place of left foot, raising latter at same moment.
_3rd beat_.--Fall on the left foot, and raise the right foot behind;
end of second bar.
Begin third bar with right foot, and continue as before. You turn half
round in the first three beats, and complete the circle in the second
three.
XIII.--THE REDOWA, OR REDOVA.
The step of this valse somewhat resembles that of the Cellarius, and
is used, as we have seen, in dancing the Mazourka Quadrille. It is an
elegant valse, not so lively as the Polka Mazourka, but, if danced in
correct time, not too slowly, is very graceful and pleasing. The step
is not so difficult as that of the Cellarius; it is almost a _Pas
de Basque_, with the addition of the hop. In all these dances,
which partake of the nature of the Mazourka, it is requisite to mark
distinctly the first and third beats of every bar, otherwise the
peculiar character of the movement is completely lost. We describe the
step for the lady as it is employed in the forward movement.
_1st beat_.--Stand with right foot slightly forward; spring upon it,
bringing it behind left foot, which is raised at same moment.
_2nd beat_.--Slide your left foot forward, bending the knee.
_3rd beat_.--Bring your right foot, with a slight hop, up behind your
left foot, raising the latter and keeping it in front. (One bar.)
_1st beat_.--Spring Upon your left foot, passing it behind your right,
and raising latter.
_2nd beat_.--Slide right foot forward, bending the knee.
_3rd beat_.--Bring left foot up to right, with slight hop, and raise
right foot at same moment, keeping it in front as before.
When the _figure en tournant_ (circular movement) is employed, the
lady begins by sliding the left foot forward, and the right foot
backward. Gentleman always does the same, with order of feet reversed.
This dance has been very popular in Paris; in England it is now seldom
seen.
XIV.--THE SCHOTTISCHE.
The Schottische was introduced amongst us about the same time as the
Polka Mazourka, but it received a much more cordial welcome, and has
always been popular in England. Its origin is as uncertain as that of
the Polka, and it is believed to be a very ancient national dance. It
is a great favorite with the German peasantry; and although its name,
_Schottische_, would seem to imply that it came from Scotland, there
is no doubt that it is essentially German alike in character and in
music.
The step, although easy to learn, requires great precision. We would
recommend our readers to adhere throughout to the circular movement.
Some dancers begin by four steps to the right, then back again, not
turning until they commence the second half of the figure. But when
many couples are dancing this practice involves a risk of collisions,
and it is safer to begin at once with the _figure en tournant_. The
second part of the step consists of a series of slight hops, which
must be made exactly at the same moment by both parties, otherwise
a break-down is inevitable. They should be executed as quickly as
possible, so as to avoid the _jigging_ effect which bad dancers impart
to the Schottische. When well performed it is a very animated and
elegant dance, forming an agreeable variety to the Polka and Valse.
The time is 2/4; it should be played a good deal slower than the
Polka; when hurried it becomes ungraceful and vulgar. The first and
third beat in each bar should be slightly marked.
We proceed to describe the step as danced by the gentleman.
Slide the left foot forward; bring right foot close up behind left
foot. Slide left foot forward a second time. Spring upon left foot.
Then do the same with right foot.
Having completed four steps, first with the left foot, and then with
the right, you come to the second part, which consists of a series of
double hops, two on each foot alternately. Hop twice on the left foot
(one hop for each beat of the time), and half turn round; then twice
on the right, completing the circular movement. Repeat the same
through another four beats; then resume first step through the next
two bars, and continue to alternate them every second bar. You can
also vary the dance at pleasure, by continuing the first step
without changing it for the hops; or you can likewise continue these
throughout several bars in succession; taking care, of course, to
apprise your partner of your intention. Even when well and quietly
danced, there is something undignified in the hopping movement of the
second step; and we have observed with satisfaction that for some time
past it has been replaced by the step of the _Valse a Deux Temps_,
which is now generally used instead of the double hops.
XV.--LA VARSOVIENNE.
This is a round dance for two, which, like the Polka Mazourka, is
a combination of the steps of one or two other dances. Since the
introduction of the Polka and the Cellarius, several dances have
been invented which partake largely of the character of both. La
Varsovienne is very graceful, and was popular in England a few years
ago. It is not often danced now.
Take your partner as for the Valse. Count three in each bar. Time much
the same as in Polka Mazourka. The music is generally divided into
parts of sixteen bars each. The steps for the gentleman is as follows
in the first part:--
Slide left foot to the left; slightly spring forward with right foot,
twice, leaving the left foot raised behind, in readiness for next
step, (1st bar.) Repeat the same. (2nd bar.) One polka step, during
which turn. (3rd bar.) Bring your right foot to the second position,
and wait a whole bar. (4th bar.) Resume first step with right foot,
and repeat throughout, reversing order of feet. Lady, as usual, begins
with her right foot, doing the same step.
_Second step in second part. 1st bar_.--Gentleman, beginning with his
left foot, does one polka step to the left, turning partner.
_2nd bar_.--Bring right foot to the second position, and bend towards
it; wait a whole bar.
_3rd bar_.--One polka step with right foot to the right, turning
partner.
_4th bar_.--Left foot to second position; bend towards it, and wait as
before.
_Third part_.--Take three polka steps to the left. (This occupies
three bars.) Bring right foot to second position, and wait one bar.
Repeat the same, beginning with right foot to the right.
XVI.--THE GORLITZA.
This is a Polish round dance for two, which was brought over to London
from Paris in 1851. Like the Varsovienne, it is now seldom seen
beyond the walls of the dancing academy. Perhaps one reason of its
short-lived popularity is to be found in the fact that it is rather
troublesome to learn, the steps being changed continually. The time is
the same as that of the Schottische, but not quite so quick. Take your
position as for the Polka.
_1st bar_.--One polka step to the left, beginning with left foot, and
turning half round.
_2nd bar_.--Slide your right foot to right, bring left foot up close
behind it, as in the fifth position; make a _glissade_ with your right
foot, ending with your left in front.
_3rd bar_.--Spring on your right foot, raising your left in front.
Fall on your left foot, passing it behind your right foot. _Glissade_
to right with right foot, ending with left in front.
_4th bar_.--Again spring on right foot, raising left in front. Fall
on left foot, passing it behind right. _Glissade_ to right, with your
right foot; end with same foot in front. Then repeat from beginning
during the next four bars, but the second time be careful to end with
the left foot in front. During the last two bars you turn round, but
do not move forward.
The step for the lady is the same, with the order of the feet, as
usual, reversed; except, however, in the last two bars of this figure,
which both begin with the same foot.
The Gorlitza, like the preceding dance, is divided into parts. The
first part occupies eight bars of the music; the second, sixteen bars.
The step for the second part is as follows:--
_1st four bars_.--Commence with Polka Mazurka step, with left foot to
the left, and turn half round. Then do the step of the Cellarius to
the right, beginning with the right foot; fall on left foot, keeping
it behind right foot; _glissade_ with right foot, and end with same in
front.
_2nd four bars_.--Polka Mazurka, with right foot to the right, and
turn half round. Cellarius step, with left foot to the left. Fall on
right foot, keeping it behind; _glissade_ with left foot, bringing it
behind.
Repeat from beginning, which completes the sixteen bars of second half
of the figure.
Lady does the same steps, with order of feet reversed.
XVII.--THE VALSE A TROIS TEMPS
Twenty years ago, the Valse (or, as it was then pronounced, _Waltz_)
was a stately measure, danced with gravity and deliberation. Each
couple wheeled round and round with dignified composure, never
interrupting the monotony of the dance by any movements forward or
backward. They consequently soon became giddy, although the music was
not played above half as fast as the valse music of our day. We are
bound to admit that this stately fashion of waltzing was infinitely
more graceful than the style which has superseded it. But, having
confessed so much, we may venture to add that the Valse, as danced
by the present generation, possesses a spirit, lightness, and variety
quite unknown to its stately predecessor.
The old Waltz was introduced into this country from Germany, where
it has always been the favorite dance of the people in all ranks and
conditions. But, although we adopted the step of their national waltz,
we so entirely altered the time, that it became in our hands a totally
different dance, which the Germans themselves would have found it
difficult to recognize. At that period, "fast dancing" was unknown in
England, and would have been regarded as highly indecorous.
At its first introduction, the Waltz was received with great mistrust
by the older portion of the community. If it was to be tolerated at
all in correct society, it must at least be danced in a deliberate
manner, consonant with the dignity of the English character. It was,
therefore, taken at half its original _temps_; it ceased to be the
giddy, intoxicating whirl in which the Germans delight, and subsided
into the comparatively insipid and spiritless affair known thirty
years ago as the "German Waltz."
We have already seen how complete was the revolution effected by the
Polka in these old-fashioned ideas. But, although we cannot regret the
introduction of a more animated style of dancing, we are sorry that
the old Waltz has been so entirely given up. When restored to its
original _temps_, the _Valse a Trois Temps_ is nearly as spirited
as the _Valse a Deux_; and twice as graceful. It has the additional
advantage over the latter, that it contains in each bar three steps
to three beats of the time; whereas the _Deux Temps_, as its name
implies, numbers only two steps in a bar of three notes; and is thus
incorrect in time. We venture to predict that the old Waltz will, at
no distant day, be restored to public favor. We shall be heartily
glad to welcome it once more, but on the condition that it shall be
danced in the only manner which does justice to all its attractions;
that is, as it is danced by the German peasants under the
wide-spreading oaks of its own fatherland. We proceed to describe the
step for the gentleman: the same, beginning with right foot instead of
left, will apply to the lady.
Gentleman takes his partner round the waist with his right arm; his
left hand holds hers, as in the Polka. Lady places left hand on his
shoulder, and right hand in his left hand. Begin at once with the
_figure en tournant_. Time 3/4; one step to each beat. First beat in
each bar should be slightly marked by the dancers.
_1st beat_.--Slide left foot backwards, towards the left.
_2nd beat_.--Slide your right foot past your left in same direction,
keeping right foot behind left, and turning slightly to the right.
_3rd beat_.--Bring left foot up behind right (one bar).
_1st beat_.--Slide right foot forward towards the right.
_2nd beat_.--Slide left foot forward, still turning towards right.
_3rd beat_.--Bring right foot up to right, turning on both feet, so as
to complete the circle (two bars). Remember to finish with right foot
in front. Repeat from first beat of first bar. Gentleman always turns
from left to right; lady from right to left.
The step of the old Waltz is simple enough; nevertheless some practice
is required to dance it really well. Remember always to _slide_,
not to _step_, forward; for the beauty of this valse consists in its
gliding motion. It is not at first easy to dance swiftly and quietly
at the same time; but a little patience will soon enable you to
conquer that difficulty, and to do full justice to what is, in our
opinion, the most perfectly graceful of all the round dances, without
a single exception.
XVIII.--THE VALSE A DEUX TEMPS.
We are indebted to the mirth-loving capital of Austria for this
brilliant Valse, which was, as we have observed elsewhere, introduced
to our notice shortly before the Polka appeared in England, and owed
its popularity to the revolution in public taste effected by that
dance.
Although the Polka has gone out of fashion, the _Valse a Deux Temps_
still reigns supreme; but within the last two years a dangerous rival
has arisen, which may perhaps drive it in its turn from the prominent
position which, for more than twenty seasons, it has maintained. This
rival is the New Valse, of which we shall speak in its place; but we
must now describe the step of the _Valse a Deux Temps_.
We have already remarked that this Valse is incorrect in time. Two
steps can never properly be made to occupy the space of three beats
in the music. The ear requires that each beat shall have its step;
unless, as in the Cellarius, an express pause be made on one beat.
This inaccuracy in the measure has exposed the _Valse a Deux Temps_
to the just censure of musicians, but has never interfered with its
success among dancers. We must caution our readers, however, against
one mistake often made by the inexperienced. They imagine that it
is unnecessary to observe any rule of time in this dance, and are
perfectly careless whether they begin the step at the beginning,
end, or middle of the bar. This is quite inadmissible. Every bar must
contain within its three beats two steps. These steps must begin
and end strictly with the beginning and end of each bar; otherwise a
hopeless confusion of the measure will ensue. Precision in this matter
is the more requisite, because of the peculiarity in the measure. If
the first step in each bar be not strongly marked, the valse measure
has no chance of making itself apparent; and the dance becomes a
meaningless _galop_.
The step contains two movements, a _glissade_ and a _chassez_,
following each other quickly in the same direction. Gentleman begins
as usual with his left foot; lady with her right.
_1st beat_.--_Glissade_ to the left with left foot.
_2nd and 3rd beats_.--_Chassez_ in the same direction with right foot;
do not turn in this first bar.
_2nd bar, 1st beat_.--Slide right foot backwards, turning half round.
_2nd and 3rd beat_.--Pass left foot behind right, and _chassez_
forward with it, turning half round to complete the _figure en
tournant_. Finish with right foot in front, and begin over again with
left foot.
There is no variation in this step; but you can vary the movement by
going backwards or forwards at pleasure, instead of continuing the
rotatory motion. The _Valse a Deux Temps_, like the Polka, admits of
a reverse step; but it is difficult, and looks awkward unless executed
to perfection. The first requisite in this Valse is to avoid all
jumping movements. The feet must glide smoothly and swiftly over the
floor, and be raised from it as little as possible. Being so very
quick a dance, it must be performed quietly, otherwise it is liable to
become ungraceful and vulgar. The steps should be short, and the knees
slightly bent.
As the movement is necessarily very rapid, the danger of collisions is
proportionately increased; and gentlemen will do well to remember and
act upon the cautions contained in the previous pages of this book,
under the head of "The Polka".
They should also be scrupulous not to attempt to conduct a lady
through this Valse until they have thoroughly mastered the step and
well practiced the _figure en tournant_. Awkwardness or inexperience
doubles the risks of a collision; which, in this extremely rapid
dance, might be attended with serious consequences.
The _Deux Temps_ is a somewhat fatiguing valse, and after two or three
turns round the room, the gentleman should pause to allow his partner
to rest. He should be careful to select a lady whose height does not
present too striking a contrast to his own; for it looks ridiculous
to see a tall man dancing with a short woman, or _vice versa_. This
observation applies to all round dances, but especially to the valse,
in any of its forms.
XIX.--THE NEW VALSE.
This graceful variation of the valse movement has not long been
introduced into England, and is not yet so universally popular as it
promises to become. It was, however, much danced in London last year,
and there is reason to believe that it will be the favorite dance
this season. It is more elegant than the _Valse a Deux Temps_, and
more spirited than the Cellarius. The _tempo_ is slower than that of
the ordinary valse. The step is extremely simple.
Gentleman takes his partner as for the _Valse a Deux Temps_. Fall
on the left foot, and make two _glissades_ with the right (1st bar).
Repeat, reversing order of feet (2nd bar). Lady begins with her right
foot as usual. The step is the same throughout. _Figure en tournant_.
The peculiarity of this Valse lies in its accent, which cannot be
properly explained in words, but must be seen to be understood. We
recommend our readers to lose no time in acquiring a correct knowledge
of the New Valse. It is unquestionably the most easy and most graceful
dance which has appeared of late years, and we are told on first-rate
authority that it is destined to a long career of triumphs.
XX.--LE GALOP.
The Galop, as its name implies, is the quintessence of all the "fast"
dances. At the time of the Polka mania it was very much in vogue,
and was almost as great a favorite as the _Deux Temps_. Although its
popularity has greatly declined of late, it generally occurs twice or
thrice in the programme of every ball-room; and the music of the Galop
is, like the dance itself, so gay and spirited, that we should regret
to see it wholly laid aside. The step is similar to that of the _Deux
Temps_ Valse, but the time is 2/4, and as quick as possible. Two
_chassez_ steps are made in each bar. The figure can be varied by
taking four or eight steps in the same direction, or by turning with
every two steps, as in the _Deux Temps_. Like all round dances, it
admits of an unlimited number of couples. Being, perhaps, the most
easy of any, every one takes part in it, and the room is generally
crowded during its continuance. A special amount of care is therefore
necessary on the part of the gentleman to protect his partner from
accidents.
We have now described all the round dances at present in vogue.
XXI.--THE COTILLION.
The Cotillion is rarely seen in English ball-rooms, but on the
Continent, especially in Italy, it is a great favorite. It occupies
a somewhat similar position to our own Sir Roger de Coverley, being
generally the concluding dance of the evening, in which every one
joins. It can be prolonged at pleasure by the introduction of more
figures, for it has no definite beginning or end. It is, in fact, more
like a long game performed to the accompaniment of valse music than a
dance.
We shall describe the Cotillion as we have seen it in the palaces
of Italy, where it is danced with enthusiasm, and diversified by an
innumerable variety of figures, only a few of which we can undertake
to remember. It is never commenced till towards the close of the ball,
at so advanced an hour that all the sober portion of the assembly have
retired, and only the real lovers of dancing remain, who sometimes
prolong this their favorite amusement till a late hour in the
morning.
It is customary for gentlemen to select their partners for the Cotillion early in the evening, while the other dances are in progress;
for, as it lasts so long a time, it is necessary to know beforehand
how many ladies feel inclined to remain during its continuance.
A circle of chairs is arranged round the room, the center being left
clear; the spectators stand behind the chairs, so as not to interfere
with the dancers. Each gentleman leads his partner to a seat, taking
another beside her. To these same seats they return after every
figure, it being the etiquette of the dance that no couple should
appropriate any chairs but their own, taken at the commencement. When
the dancers are arranged round the room, the orchestra strikes up the
spirited music of the Cotillion, which consists of a long series of
valse movements at the usual _tempo_ of the _Deux Temps_. There
are generally several leaders of the Cotillion, who decide upon the
succession of the figures. If there are many couples dancing, one
leader attends upon a group of six or eight couples, to ensure that
all shall take part. We are aware of no fixed rule for the succession
of the figures, which depends upon the caprice of the leaders. A good
leader will invent new combinations, or diversify old figures; thus
securing an almost endless variety. One of the most popular is the
following:--
Several gentlemen assume the names of flowers or plants, such as the
honeysuckle, woodbine, ivy, &c. A lady is then requested to name her favorite
flower; and the fortunate swain who bears its name springs
forward and valses off with her in triumph. It is usual to make one,
or at most two, turns round the room, and then restore the lady to her
own partner, who in the meantime has perhaps been the chosen one of
another lady. All having regained their places, each gentleman valses
with his own partner once round the room, or remains sitting by her
side, as she may feel inclined.
Baskets filled with small bouquets are brought in. Each gentleman
provides himself with a bouquet, and presents it to the lady with whom
he wishes to valse.
Sometimes a light pole or staff is introduced, to the top of which are
attached long streamers of different colored ribbons. A lady takes
one of these to several of her fair companions in turn, each of whom
chooses a ribbon, and, holding it firmly in her hand, follows the
leading lady to the room. Here they are met by an equal number of
gentlemen, likewise grouped around a leader who carries the pole,
while each holds a streamer of his favorite color, or that which
he imagines would be selected by the _dame de ses pensees_. The merry
groups compare notes: those who possess streamers of the same color pair off in couples, and valse gaily round the room, returning to
places as before.
Six or eight ladies and the same number of gentlemen form in two
lines, facing each other. The leading lady throws a soft worsted ball
of bright colors at the gentleman with whom she wishes to dance. He
catches it, throws it back to the fair group, and valses off with his
partner. Whoever catches the returning ball, has the right to throw
next; and the same ceremony is repeated until all have chosen their
partners, with whom they valse round the room, returning to places as
usual. Sometimes a handkerchief is substituted for the ball; but the
latter is better, being more easily thrown and caught.
Six or eight chairs are placed in a circle, the backs turned inwards.
Ladies seat themselves in the chairs, gentlemen move slowly round in
front of them. Each lady throws her handkerchief or bouquet at the
gentleman with whom she wishes to dance as he passes before her. Valse
round as usual and return to places.
Sometimes a gentleman is blindfolded, and placed in a chair. Two
ladies take a seat on either side of him; and he is bound to make his
selection without seeing the face of his partner. Having done so, he
pulls the covering from his eyes, and valses off with her. It is a
curious circumstance that mistakes seldom occur, the gentleman being
generally sufficiently _clairvoyant_ to secure the partner he desires.
We have here described a few of the most striking figures of the Cotillion. We might multiply them to an extent which would equally tax
the patience of our readers and our own powers of remembrance; but
we forbear. Enough has been told to show the graceful, coquettish
character of the dance, which adapts itself admirably to the Italian
nature, and is as much beloved by them as the Valse by the Germans or
the Cachucha by the dark-eyed maidens of Spain. We should rejoice to
see this charming stranger naturalized in English ball-rooms. It is
especially adapted to sociable gatherings, where most of the guests
are friends or acquaintances.
XXII.--THE SPANISH DANCE.
This pretty though now somewhat old-fashioned dance was, before the
introduction of the _Deux Temps_ and Polka, a principal feature in
every ball-room. It is danced with the step and music of the Old
_Valse a Trois Temps_, played slower than the music of the _Deux
Temps_.
Sometimes the couples stand in two long parallel lines, as in a
country dance; sometimes they are arranged in a circle. The leading
gentleman must be on the ladies' side, and his partner on the
gentleman's side. Every fourth lady and gentleman exchange places, to
avoid the necessity of keeping the other couples waiting. The whole
set can thus begin at the same moment.
Leading gentleman and _second_ lady advance and retreat with Valse
step, and change places. Leading lady and second gentleman do the same
at the same time.
Leading gentleman and his partner advance and retreat, and change
places. Second lady and gentleman do the same at same time. Leading
gentleman and second lady repeat this figure; first lady and second
gentleman likewise, at same time.
Leading gentleman and first lady repeat same figure; second gentleman
and lady repeat at same time.
All four, joining hands, advance to center, and retreat. Ladies pass
to the left. Repeat three times. Each gentleman takes his partner, and
the two couples valse round each other once or twice at pleasure; the
second lady and gentleman being left at the top of the figure, as in
a country dance. Leading gentleman and partner repeat same figure with
succeeding couple to end of dance.
It is obvious that there must be an equal number of couples; and
that they must be arranged in sets of four, eight, sixteen, twenty,
twenty-four, and so on.
XXIII.--LA TEMPETE.
La Tempete was brought over to this country from Paris some years
ago. It speedily became a favorite, and for several seasons was much
danced in London and the provinces. It unites the cheerfulness of
the quadrille with the sociability of the country dance; and when
its lively figures are correctly performed, it is both amusing and
animated.
It is divided into parties of four couples, like the quadrille; but
their arrangement is different. Two couples stand side by side, facing
their respective _vis-?is_; there are not any side couples. As
many sets of four couples can be thus arranged as the room will
accommodate. Each new set turns its back upon the second line of the
preceding set. Thus the dance can be the whole length of the room, but
is only the breadth of two couples. The figure is as follows:--
Place two couples side by side, the lady standing at the right hand
of the gentleman. Place two other couples as their _vis-?is_.
Next place two couples with their backs turned to the first set; two
couples opposite them for their _vis-?is_; and continue arranging
more sets of four couples according to the number of the dancers and
the size of the room.
_First part_.--All the couples begin at the same moment, by advancing
and retreating twice, with joined hands. First couples (that is,
all whose backs are turned to the top of the room) cross, with hands
joined, to the places of their _vis-?is_. The latter cross at the
same time, but, separating, pass outside top couples to the top,
where they join hands, return to own places, and back again to the top
without separating; the top couples crossing separately at the same
time outside the second couples. Top couples then join hands, and all
return to their own places, second couples separating to allow the
others to pass between them.
Lady and gentleman in the center of each line join hands, giving their
disengaged hands to their two _vis-?is_. All four half round to the
left, then half round back again to places. Meantime, the outside
lady and gentleman perform the same with their respective _vis-?is_,
making a circle of two instead of four. Circle of four give hands
across round; change hands; round once more, and back to places.
Outside couples perform same figure in twos. All the sets perform the
figure at the same moment.
_Second part_.--All advance, retreat, and advance again; all the top
couples passing the second couples into the next line, where they
re-commence the same figure, their former _vis-?is_ having passed to
the top, and turned round to wait for a fresh _vis-?is_; gentleman
always keeping lady at his right hand. An entire change of places is
thus effected, which is continued throughout this figure, until all
the top lines have passed to the bottom, the bottom lines at the same
time passing to the top; and then turning round, all go back again
by the same method reversed, till all have regained their original
places. The dance may terminate here, or the last figure may be
repeated, at pleasure. When the first exchange of _vis-?is_ takes
place, the new lines at the top and bottom find themselves for a
moment without a _vis-?is_; but, at the next move forward, they are
provided, and can continue the figure as above described. We extract
from a contemporary the following graceful variation in the first
half of this dance:--"All advance and retire twice (hands joined).
All _vis-?is_ couples _chassez croisez en double_, each gentleman
retaining his partner's left hand; eight _galop_ steps (four bars);
_dechassez_ eight steps (four steps), the couple on the right of the
top line passing in front of the couple on the left the first time,
returning to place, passing behind. Thus, two couples are moving to
the right, and two to the left. This is repeated. The _vis-?is_
couples do likewise at the same time. This of course applies to all
the couples, as all commence at the same time."
La Tempete is danced to quick music, in 2/4 time. The steps are the
same as in quadrilles; varied sometimes by the introduction of the
_galop_ step, when the couples cross to each others' places or advance
into the lines of the next set.
XXIV.--SIR ROGER DE COVERLEY.
We conclude our account of the dances now most in vogue with an
old-fashioned favorite, whose popularity dates from a bygone age,
and bids fair to survive the present one. Long may its cheerful rustic
strains be heard in our ball-rooms, and prove we have not grown too
fine or too foolish to take pleasure in the simple dances of our
ancestors. Sir Roger de Coverley is always introduced at the end of
the evening; and no dance could be so well fitted to send the guests
home in good humour with each other and with their hosts. We describe
it as it is danced in the present day, slightly modernized to suit
the taste of our time. Like the quadrille, it can be danced with equal
propriety by old or young; and is so easy, that the most inexperienced
dancer may fearlessly venture to take part in it.
Form in two parallel lines; ladies on the left, gentlemen on the
right, facing their partners. All advance; retreat (which occupies the
first four bars); cross to opposite places (four bars more); advance
and retreat (four bars); re-cross to places (four bars).
The lady who stands at the top, and the gentleman who stands at the
bottom, of each line, advance towards each other, courtesy and bow,
and retire to places. The gentleman at the top and the lady at the
bottom do the same. Lady at top and gentleman at bottom advance again,
give right hands, and swing quickly round each other back to places.
Gentleman at top and lady at bottom do the same. Top lady advances,
gives right hand to partner opposite, and passes behind the two
gentlemen standing next to him. Then through the line and across it,
giving left hand to partner, who meets her half way between the two
lines, having in the meantime passed behind the two ladies who stood
next his partner. Lady then passes behind the two ladies next lowest;
gentleman at same time behind the two gentlemen next lowest; and so on
all down the line. At the bottom, lady gives left hand to her partner,
and they promenade back to places at the top of the line. (This figure
is frequently omitted.) Top couple advance, courtesy and bow, then
lady turns off to the right, gentleman to the left, each followed by
the rest of her or his line. Top couple meet at the bottom of figure,
join hands, and, raising their arms, let all the other couples pass
under them towards the top of the line, till all reach their own
places, except the top, who have now become the bottom couple. Figure
is repeated from the beginning, until the top couple have once more
worked their way back to their original places at the top of the line.
Glossary
Throughout the Ball-room Guide we have endeavored to avoid as much as
possible the rise of French words, and to give our directions in
the plain mother tongue. Nevertheless there must always be certain
technical terms, such as _chassez croisez, glissade_, &c., &c., for
which it would be difficult to find good English equivalents. We
therefore subjoin a Glossary of all such words and expressions as have
long since been universally accepted as the accredited phraseology of
the Ball-room.
A vos places, _back to your own places_.
A la fin, _at the end_.
A droite, _to the right_.
A gauche, _to the left_.
Balancez, _set to your partners_.
Balancez aux coins, _set to the corners_.
Balancez quatre en ligne, _four dancers set in a line, joining hands,
as in La Poule_.
Balancez en moulinet, _gentlemen and their partners give each other
right hands across, and_ balancez _in the form of a cross_.
Balancez et tour des mains, _all set to partners, and turn to places.
(See_ Tour des mains.)
Ballotez, _do the same step four times without changing your place_.
Chaine Anglaise, _opposite couples right and left_.
Chaine des dames, _ladies' chain_.
Chaine Anglaise double, _double right and left_.
Chaine des dames double, _all the ladies perform the ladies' chain at
the same time_.
Chassez croisez, _do the_ chasse _step from left to right, or right to
left, the lady passing before the gentleman in the opposite direction,
that is, moving right if he moves left, and vice versa_.
Chassez croisez et dechassez, _change places with partners, ladies
passing in front, first to the right, then to the left, back to
places. It may be either_ a quatre _four couples--or_ les huit--_eight
couples_.
Chassez a droite--a gauche, _move to the right--to the left_.
Le cavalier seul, _gentleman advances alone_.
Les cavaliers seuls deux fois, _gentlemen advance and retire twice
without their partners_.
Changez vos dames, _change partners_.
Contre partie pour les autres, _the other dancers do the same figure_.
Demi promenade, _half promenade_.
Demi chaine Anglaise, _half right and left_.
Demi moulinet, _ladies all advance to center, right hands across, and
back to places_.
Demi tour a quatre, _four hands half round_.
Dos-a-dos, _lady and opposite gentleman advance, pass round each other
back to back, and return to places_.
Les dames en moulinet, _ladies give right hands across to each other,
half round, and back again with left hands_.
Les dames donnent la main droite--gauche--a leurs cavaliers, _ladies
give the right--left--hands to partners_.
En avant deux et en arriere; _first lady and_ vis-?is _gentleman
advance and retire. To secure brevity_, en avant _is always understood
to imply_ en arriere _when the latter is not expressed_.
En avant deux fois, _advance and retreat twice_.
En avant quatre, _first couple and their_ vis-?is _advance and
retire_.
En avant trois, _three advance and retire, as in La Pastorale_.
Figurez devant, _dance before_.
Figurez a droite--a gauche, _dance to the right--to the left_.
La grande tour de rond, _all join hands and dance, completely round
the figure in a circle back to places_.
Le grand rond, _all join hands, and advance and retreat twice, as in
La Finale_.
Le grand quatre, _all eight couples form into squares_.
La grande chaine, _all the couples move quite round the figure, giving
alternately the right and left hand to each in succession, beginning
with the right, until all have regained their places, as in last
figure of the Lancers_.
La grande promenade, _all eight (or more) couples promenade all round
the figure back to places_.
La main, _the hand_.
La meme pour les cavaliers, _gentlemen do the same_.
Le moulinet, _hands across. The figure will explain whether it is the
gentlemen, or the ladies, or both, who are to perform it_.
Pas d'Allemande, _the gentleman turns his partner under each arm in
succession_.
Pas de Basque, _a kind of sliding step forward, performed with both
feet alternately in quick succession. Used in the Redowa and other
dances. Comes from the South of France_.
Glissade, _a sliding step_.
Le Tiroir, _first couple cross with hands joined to opposite couple's
place, opposite couple crossing separately outside them; then cross
back to places, same figure reversed_.
Tour des mains, _give both hands to partner, and turn her round
without quitting your places_.
Tour sur place, _the same_.
Tournez vos dames, _the same_.
Tour aux coins, _turn at the corners, as in the Caledonians, each
gentleman turning the lady who stands nearest his left hand, and
immediately returning to his own place_.
Traversez, _cross over to opposite place_
Retraversez, _cross back again_.
Traversez deux, en dormant la main droite, _lady and_ vis-?is _gentleman cross, giving right hand, as in La Poule_.
Vis-?is, _opposite_.
Figure en tournant, _circular figure_.