PRICE 25 CENTS. WEHMAN' COMPLETE DANCING MASTER AND CALLBOOK. NEW YORK. HENRY J. WEHMAN, PUBLISHER 130 PARK ROW. WEHMAN'S COMPLETE DANCING MASTER AND CALL BOOK: CONTAINING A FULL AND COMPLETE DESCRIPTION OF ALL THE MODERN DANCES, TOGETHER WITH THE FIGURES OF THE GERMAN. BY J. H. HARVEY. NEW YORK: HENRY J. WEHMAN, 130 PARK ROW. COPYRIGHT, 1889, BY HENRY J. WEHMAN. PREFACE. THIS work, which is now offered to the public under the title of "The Complete Dancing Master and Call Book," contains a complete collection of dances of the present date; and we think it an improvement on the numerous dance books now before the public. The book is compiled in such a manner in regard to calls, which are placed in the forward part of the book, that the amateur, in learning to dance, will not be compelled to waste time in seeking the knowledge he desires. It is a great advantage to the learner to have the positions in dancing brought directly to his notice without the introduction of any other formalities. And to the leader who is desirous of posting himself in the art of calling, this is an invaluable assistant, as the directions for calling are placed together in so concise a manner as to avoid the necessity of turning over a number of pages; enabling him to read at a glance the calls of each figure in dancing, and thereby lightening the duties of the leader considerably. This little book is designed to supply a long-felt want. There is nothing original in it in the way of new dances, simply because we have not attempted to invent any. Our aim has been to render easy of fulfilment the desire of those who wish to learn the art of dancing. J. H. HARVEY. CONTENTS. PAGE Preface 3 Hints for the Organization and Management of Balls, Parties, Soirees, &c. 7 Advice in regard to the Selection of Music for Balls, Private Parties, &c. 7 On Calling 8 National Guard Quadrille 9-37 Plain Quadrille 10-40 Lancers 12-42 Saratoga Lancers 13-43 Caledonians 15-45 Surprise Quadrille 16 Prince Imperial Quadrille 18-46 Waltz Quadrille, No. 1 19-49 Waltz Quadrille, No. 2 21-50 Glide Lancers 22 Glide Caledonians 23 Parisian Varieties 34-52 London Polka Quadrille 26 Quadrille Figures 28-53 28-54 28-55 29-55 29-57 29-58 30-57 30-58 Contra Dances 30-59 30-59 31-61 31-61 31-62 Grand March 32 Quadrilles, or Square Dances 35 Explanation of Quadrille Steps and Movements 36 Illustrations of the Five Positions in Dancing 63 64 65 66 67 5 Glide Waltz 69 The Polka Mazourka 69 The Knickerbocker 70 The Newport 70 The Varsovienne 71 Danish Dance 71 The Racquet 71 The Wave 72 The Bohemian, or Heel and Toe Polka 72 The Galop 72 The Schottisehe 73 The Deux Temps 73 The Sicilienne 74 The German 75 Figures of the German: 1. The Excursion 76 2. Two Rounds of Three 76 3. The Hat 76 4. The Glass of Wine 77 5. The Chair 77 6. The Scarf 77 7. The Cards 77 8. The Two Flowers 77 9. The Mysterious Screen 77 10. The Flags 78 11. The Broken Circle 78 12. The Mask 78 13. The Mysterious Hands 78 14. The Rejected Ladies 78 15. The Coquette 79 16. The Rope 79 17. The Fan 79 18. The Ladies Deluded 79 19. The Gentlemen Mocked 79 20. The Phaianx 80 21. The Convent Porter 80 22. Blind Man's Buff 80 23. Blind Man's Buff, with Six 81 24. The Carnival 81 25. Puss in the Corner 81 26. The Figure 8 81 27. The Handkerchief Chase 82 28. The Basket 82 29. The Column 82 30. The Maze 82 31. The Apples 83 32. The Two Lines 83 33. The Contra Dance 83 34. Follow your Leader 83 35. The English Right and Left 83 36. The Graces 84 37. The Pursuit 84 38. The Labyrinth 84 39. The Little Hounds 85 40. The Double Moulinet 85 41. The Double Pastourelle 85 42. The Pledges Redeemed 86 43. The Star and Circle 86 44. The Polka in Right and Left Varied 86 45. The Genuflexion of Four 86 46. The Change of the Moulinet 87 47. The Zigzags 87 48. The Undulations 87 49. The Inconstants 87 50. The Final Round 88 51. The March in File 88 52. The March in Column 88 53. The March by Platoons 88 54. The Arbor March 88 55. The Serpentine March 88 THE COMPLETE DANCING MASTER. HINTS FOR THE ORGANIZATION AND MANAGEMENT OF BALLS, PARTIES, SOIREES, &c. To get up a ball or soiree in a genteel and thorough manner, the interested parties should hold a meeting, and attend to business as follows: 1. Hire a room, with convenient dressing chambers attached. 2. Engage music. 3. Draw up and have printed circulars, invitations, cards of admission, order of dancing, &c. 4. Give invitations or sell tickets, according to the object of the ball, or as it may be convenient. 5. Appoint floor managers, whose duty it shall be to form the sets, and to see that they are complete; to find places for all persons who may wish to dance; to direct the musicians when to commence, and to decide all questions which may arise during the ball. 6. The appointment of a committee of reception to welcome invited guests. 7. Arrangements for supper. 8. The appointment of doorkeepers, dressing-maids, &c. 9. The return of money and all unsold tickets before the night of the ball. 10. The rendering a correct account of receipts and expenditures, with the balance of money, to the treasurer, who shall appropriate it as directed. ADVICE IN REGARD TO THE SELECTION OF MUSIC FOR BALLS, PRIVATE PARTIES, &c. For Dancing. -If but one instrument is to be used, the violin is unquestionably the best; next to that the pianoforte should be chosen. If two pieces are engaged, the violin and piano will be preferable. The harp and violin next, or a violin and violoncello. For three pieces. -A violin, piano and cornet (flute or clarionet), or a violin, harp and cornet. When selecting the instruments for a small band, choose the violin first, then add as many more as may be deemed requisite, selecting them as follows: For four pieces. -A first and second violin, a violoncello, and first cornet. For five pieces. -Add a flute to the above instruments. For six pieces. -First and second violins, a double bass, flute, clarionet and first cornet. For seven pieces. -Add a second cornet. For eight pieces. -A first and second violin, a tenor, double bass, flute, clarionet, first and second cornets. For nine pieces. -Add a violoncello. For ten pieces. -Select as follows: 1. First violin. 2. Second violin. 3. Tenor violin. 4. Violoncello. 5. Double bass. 6. Flute. 7. Clarionet. 8. First cornet. 9. Second cornet. 10. Trombone. For a larger band, some of the parts will have to be double, and others added to them, according to the number engaged, and this should be done by direction of the band master. The above directions are not intended to interfere with the advice of a competent musician, but are suggested because their observance has heretofore given general satisfaction at balls and private soirees. ON CALLING. There are comparatively few persons, even among habitual dancers, who are so thoroughly drilled in all the figures of the different varieties of quadrilles that they can perform the movements with unerring precision; in order, therefore, to relieve the mind and prevent confusion, it is necessary for some person, preferably not one of the dancers, to call out the details of each figure for the general direction of the dancers. The individual who does this is usually the leader of the orchestra, who is supposed to understand the routine thoroughly. In some of the fancy quadrilles, the figures introduced are left largely to his discretion, and it necessarily follows that he must have considerable experience in order to fulfill his duties creditably. First. He should ascertain by experiment what pitch of voice is most perfectly audible with the least possible noise. The sounds of the music, the tread of the dancers, and the hum of conversation, offer certain impediments to be overcome, and they may be, without any approach to shouting, if a proper pitch of the voice be employed. Second. Every word should be clearly enunciated, as nothing is more unintelligible than a string of words run one into the other. Third. Not a word should be used beyond what is absolutely necessary to make the call plain. Fourth. The call should be so timed that the last word of the command is finished at the moment that the corresponding movement is to be begun. Fifth. The call should not be made an instant sooner than is necessary. If the word of command is given in a short and distinct manner, the time occupied by the musical bar or measure preceding the movement is generally ample for all ordinary purposes. NATIONAL GUARD QUADRILLE. DIRECTIONS FOR CALLING. FIRST FIGURE (24 Bars of Music) Forward and Back, first and second couples 4 bars. Lead to the Right and Salute 4 bars. Cross Right Hands and Turn 4 bars. Cross Left Hands and Return, finished by all facing partners in two lines 4 bars. All Balance to Partners 4 bars. Turn Partners to Places 4 bars. SECOND FIGURE (32 Bars). Forward and Back, first and second couples 4 bars. Turn Partners 4 bars. Side Couples repeat 8 bars. Ladies to the Centre, back to back 4 bars. Ladies Hands Round, to the right 4 bars. All Balance to Partners, and turn 8 bars. Danced four times, twice by head couple and twice by side. THIRD FIGURE (32 Bars). Forward and Back, first and second ladies only 4 bars. Cross Over 4 bars. Forward and Back, third and fourth ladies 4 bars. Cross Over 4 bars. Salute Corners 2 bars. Salute New Partners 2 bars. Turn New Partners, with right hands 4 bars. All Promenade 8 bars. Danced four times, same as preceding figures. FOURTH FIGURE (24 Bars). Forward and Back, first and second couples 4 bars. Lead to the Right and Salute 2 bars. Form Two Lines 2 bars. All Forward and Back 4 bars. All Forward Again 4 bars. Head Couples Forward and Back 4 bars. Turn Partners to Place 4 bars. Danced four times. FIFTH FIGURE (60 Bars). Salute to the United States Army 4 bars. Ladies to the Right 32 bars. Cross Over and Back, head couples 8 bars. Cross Over and Back, side couples 8 bars. All Turn Corners and then Partners 8 bars. Danced four times. THE PLAIN QUADRILLE. DIRECTIONS FOR CALLING. FIRST FIGURE. Head Couples: Right and left 8 bars. Balance 8 Ladies' chain 8 bars. Balance 8 bars. REPEAT . Side Couples: The same, twice. SECOND FIGURE. Head Couples: Forward two. Forward and back 4 bars. Cross over, ladles inside 4 bars. Chassez to partners 4 bars. Cross over to places, ladies inside 4 bars. Balance 8 bars. REPEAT . Side Couples: The same, twice. THIRD FIGURE. Head Couples: Right hands across 4 bars. Left hands back 4 bars. Balance in place 4 bars. Two ladles forward and back 4 bars. Two gentlemen forward and back 4 bars. Forward four and back 4 bars. Half right and left 4 bars. REPEAT . Side Couples: The same, twice. FOURTH FIGURE. Head Couples: Forward four and back 4 bars. Forward four, first lady cross over 4 bars. Forward three and back 4 bars. Forward again, ladies cross over 4 bars. Forward three 4 bars. Forward again 4 bars. Four hands half round 4 bars. Half right and left 4 bars. REPEAT . Side Couples: The same, twice. FIFTH FIGURE. All: Promenade 8 bars. Head Couples: Forward two Balance same as second figure 16 bars. 8 bars. REPEAT . Side Couples: The same, twice. All: Chassez. THE LANCERS. DIRECTIONS FOR CALLING. FIRST FIGURE. Head Couples: Forward and back 4 bars. Forward and turn opposite partners 4 bars. Cross over 4 bars. Back to places 4 bars. Balance to corners 8 bars. REPEAT . Side Couples: The same, twice. SECOND FIGURE. Head Couples: Forward and back 4 bars. Forward and leave ladies in centre 4 bars. Chassez to right and left 4 bars. Turn partners to places 4 bars. Side Couples: Divide, all forward in two lines 4 bars. Forward again and turn partners to places 4 bars. REPEAT . Side Couples: The same, twice. THIRD FIGURE. Head Couples: Forward and back 4 bars. Forward and salute 4 bars. Ladies All: Cross right hands half round 4 bars. Left hands back again 4 bars. REPEAT . Side Couples: The same, twice. Instead of "Ladies cross right hands and reverse," a "Ladies' chain" is sometimes perfomed. FOURTH FIGURE. Head Couples: To the right 4 bars. To the left 4 bars. Turn partners to places 4 bars. Right and left 8 bars. REPEAT . Side Couples: The same, twice. FIFTH FIGURE. All: Right and left all around 16 bars. First Couple: Face outward 8 bars All: Chassez across 8 bars. First Couple: Down the centre and back 8 bars. All: Forward and back 4 bars. Forward again, turn partners to places 4 bars. Repeat four times, each couple facing outward in turn. At the close of the entire figure, "Right and left all round." THE SARATOGA LANCERS. The Saratoga Lancers is another leading dance of the period, and is deservedly very popular. There are five figures; each of them is danced four times-twice by head couples and twice by side couples. In all quadrilles the dancers take the same positions-one couple on each side of a square. Sometimes they form quadrilles with double heads, and sometimes with double sides. All quadrilles danced that way must, where the "Right and left round" occurs, omit it, and dance the "Hands all round" instead. For the Saratoga Lancers use the same music as for the regular Lancers. DIRECTIONS FOR CALLING FIRST FIGURE. Head Couples: Forward and back 4 bars. Forward and turn opposite partners 4 bars. Cross over 4 bars. Back to places 4 bars. Balance to corners 8 bars. REPEAT . Side Couples: The same, twice. SECOND FIGURE All: Forward and back, hands joined 4 bars. Forward; leave ladies in centre 4 bars. Four Gentlemen Hands all round to places 8 bars. All: Form basket; all round to places 8 bars. Repeat four times; except second and fourth time, "Four gentlemen to centre, and ladies hands all round." THIRD FIGURE. All: Forward and back, hands joined 4 bars. Forward and salute 4 bars. Four Ladies: Ladies.chain, crossing right hands in passing 4 bars. Same, back again to partners 4 bars. Repeat four times; except second and fourth times, "Four gentlemen's chain, crossing left hands in passing;" or, "Gentlemen in centre, moulinet all round with partners on right arm," may be substituted for "Gentlemen's chain." FOURTH FIGURE. Head Couples: To the right and salute right side couple, 4 bars. To the left side couple, taking lady of right side couple and leaving her with left side gentlemen 4 bars. Turn partners to places 4 bars. Right and left and back. 8 bars. To the left side couple and salute 4 bars. To the right side couple, returning ladies of side couples to their partners 4 bars. Turn partners to places 4 bars. Right and left, and back 8 bars. Side Couples: The same. FIFTH FIGURE. All: Grand chain half round, salute 8 bars. Swing partners half round, and grand chain to places 8 bars. First Couple: Join hands and face outwards; third, fourth and second couples fall in column behind 8 bars. All: Chassez across 8 bars. March round, single file, ladies to the right, gentlemen to the left, and form opposite lines 8 bars. Forward and back 4 bars. Forward and turn partners to places 4 bars. Repeat four times, each Couple leading in turn; finish the figure with "Grand chain," as before. THE CALEDONIANS. DIRECTIONS FOR CALLING. FIRST FIGURE. Head Couples: Cross right hands half round 4 bars. Left hands back 4 bars. Balance to partners, and turn 8 bars. Ladies' chain 8 bars. Half promenade 4 bars. Half right and left 4 bars. REPEAT . Side Couples: The same, twice. SECOND FIGURE. Head Couples: Forward and back 4 bars. Forward again and salute 4 bars. All Ladies: Balance to partners 8 bars. All: Promenade 8 bars. REPEAT . Side Couples: The same, twice. THIRD FIGURE. Head Couples Forward and back 4 bars. Forward and dos-a-dos 4 bars. Cross over, first couple inside 4 bars. Back again, second couple inside 4 bars. Balance to corners 8 bars. All: Forward to centre 4 bars. Forward and turn partners 4 bars. REPEAT . Side Couples: The same, twice. FOURTH FIGURE. Head Couples: Forward 4 bars. Forward and turn partners 4 bars. Four Ladies: To the right 4 bars. Four Gentlemen To the left 4 bars. Four Ladies: To the right 4 bars. Four Gentlemen To the left 4 barn All: Promenade 8 bars. REPEAT . Side Couples: The same, twice. FIFTH FIGURE. First Couple: Promenade (round inside) 8 bars. Four Ladies: Forward and back 4 bars. FourGentlemen Forward and back 4 bars. All: Balance to partners 4 bars. Turn partners 4 bars. Right and left half round 8 bars. THE SURPRISE QUADRILLE. DIRECTIONS FOR CALLING. FIRST FIGURE. First Lady: Balance to right hand couple 4 bars. Three hands round 4 bars. The Three: Balance to next couple on right 4 bars. Five hands round 4 bars. The Five: Balance-to next couple on right 4 bars. Seven hands round to places 4 bars. All: Balance and turn partners 8 bars. Each lady takes her turn in leading off. SECOND FIGURE. Head Couples: To the right 4 bars. All: Chassez, and form into lines 4 bars. Half right and left in line 4 bars. Half right and left across 4 bars. Half ladies chain in line 4 bars. Half ladies chain across 4 bars. Forward and back in line 4 bars. Forward and turn partners to places 4 bars. Side Couples: The same. THIRD FIGURE. All: Right and left all round 16 bars. Bow to corners; bow to partners 8 bars. Right and left all round 16 bars. Balance to corners; turn partners 8 bars. Head Couples: Forward to centre Side Couples: Separate and chassez to head couples'places 4 bars. Forward to centre 4 bars. Head Couples: Separate and resume places 4 bars. Side Couples and Head Couples: Repeat the last eight measures to their places. FOURTH FIGURE. First Couple: Balance to right hand couple 4 bars. Four hands round 4 bars. Right and left with next couple 8 bars. Ladies' chain with next couple 8 bars. All: Balance and turn partners 8 bars. Other couples repeat this in turn. FIFTH FIGURE. First Couple: Forward and back 4 bars. Cross over 4 bars. Two Ladies: Join hands, chassez inside 4 bars. Two Gentlemen Chassez outside Join hands, chassez inside Two Ladies: Chassez outside 4 bars. All: Balance and turn partners 8 bars. Ladies: To centre and back 4 bars. To centre again and stop 4 bars. Gentlemen: Join hands around the ladies 8 bars. Balance and turn partners to places To centre and back 4 bars. To centre again and stop 4 bars. Ladies: All rush quickly to seats. PRINCE IMPERIAL QUADRILLE, As usual in all quadrilles, the first eight bars of music are employed by the gentlemen saluting first their own partners, then the lady on their left. DIRECTIONS FOR CALLING. FIRST FIGURE. Head Couples: To the right and salute 4 bars. Take side ladies and go opposite 4 bars. Ladies' grand chain (without gentlemen) 8 bars. All: Chassez to right and left 4 bars. Turn partners, head couples at opposite places 4 bars. Head Couples: Repeat as they stand. Side Couples: The entire figure, once. SECOND FIGURE. First Gentleman and Second Lady: Forward 2 bars. Turn both hands, and both face first lady, 2 bars. Cross over and turn with left hands 4 bars. Head Couples: Forward and back 4 bars. Half ladies' chain 4 bars. All: Chassez and turn corners, right hands 4 bars. Turn partners, left hands, to places 4 bars This figure is danced four times, each gentleman and opposite lady commencing in turn. THIRD FIGURE. First Couple: Forward 2 bars. Gentleman back to place, leaving lady facing him in centre 2 bars. Second' Couple: The same 4 bars. Third Couple: The same 4 bars. Fourth Couple: The same 4 bars. Four Ladies: Join hands back to back, one turn to left, 4 bars. Four Gentlemen Complete the ring and salute 4 bars. All: Balance as they are 4 bars. Turn partners to places 4 bars. Performed four times, each partner leading off in turn. FOURTH FIGURE. Head Couples: Forward and back 4 bars. First Lady and Second Gentleman: To sides 4 bars. Forward six and back, twice 4 bars. Forward two and back 4 bars. Forward two, salute, and face partners 4 bars. Four hands half round, with sides 4 bars. Half right and left to places 4 bars. Head Couples: Repeat. Side Couples: The same, twice. FIFTH FIGURE. Four Ladies: To the right, four times 16 bars. First Gentleman and Opposite Lady: Forward and back, 4 bars. Forward and swing to face partners 4 bars. Head Couples: Chassez to right and left 4 bars. Turn partners to places 4 bars. Head Couples: Repeat the Whole figure with second gentleman and opposite lady. Side Couples: The same, twice. WALTZ QUADRILLE, No, 1, The figures of the Waltz Quadrille are partly derived and modified from the First Set, or Plain Quadrille; and all the different movements of each figure that are here introduced will be found clearly explained in the corresponding figures, described and referred to in other parts of the book. DIRECTIONS FOR CALLING. FIRST FIGURE. Head Couples: Right and left 8 bars. All: Waltz 16 bars. Head Couples: Ladies' chain 8 bars. All: Waltz 16 bars. Side Couples: The same. SECOND FIGURE. Head Couples: Forward two 16 bars. All: Waltz 16 bars. REPEAT . Side Couples: The same, twice. THIRD FIGURE. Head Couples: Forward four 4 bars. Forward again, change partners 4 bars. All: Waltz 16 bars. REPEAT . Side Couples: The same, twice. FOURTH FIGURE. All: Join hands, forward and back 4 bars. Turn partners to places 4 bars. An: Waltz 16 bars. This is done four times. FIFTH FIGURE. All: Right and left half round 8 bars. All: Waltz 16 bars. Head Couples: Forward two 16 bars. All: Waltz 16 bars. Side Couples: The same. All: At the close, salute 8 bars. The movements of "Forward two" will be found in the second figure of the Plain Quadrille. WALTZ QUADRILLE, No, 2. DIRECTIONS FOR CALLING. FIRST FIGURE. Head Couples: Right and left 8 bars. Balance 8 bars. Ladies' chain 8 bars. All: Waltz 16 bars. REPEAT . Side Couples: The same, twice. SECOND FIGURE. Head Couples: Forward two 16 bars. All: Waltz 16 bars. REPEAT . Side Couples: The same, twice. THIRD FIGURE. Head Couples: Right hands across 4 bars. Left hands to centre 4 bars. Balance to centre 4 bars. Half promenade to opposite places 4 bars. All: Waltz 16 bars. REPEAT . Side Couples: The same, twice. FOURTH FIGURE. Head Couples: Balance to the right 4 bars. Exchange partners, gentlemen lead new partners to places 4 bars. Ladies: Grand chain 8 bars. All: Forward and back 4 bars. Turn new partners to places 4 bars. All: Waltz 16 bars. Head Couples: Repeat; ending with own partners again. Side Couples: The same, twice. FIFTH FIGURE. All: Right and left half round 8 bars. Reverse to places 8 bars. Head Couples: Forward and back 4 bars. Forward and salute 4 bars. All Ladies: To the right 8 bars. All: Waltz 16 bars. Head Couples: Repeat. Side Couples: The same, twice; ending with "Right and left half round and reverse to places and salute." THE GLIDE LANCERS. The Glide (or Waltz) Lancers consists of the corresponding figures of the original set, somewhat curtailed to allow of the introduction, at intervals, of the waltz movement. DIRECTIONS FOR CALLING. FIRST FIGURE. Head Couples: Forward and back 4 bars. Forward and turn opposite partners 4 bars. Cross over, first couple inside 4 bars. Return, second couple inside 4 bars. Waltz 16 bars. All: Balance at corners 8 bars. Side Couples: The same. SECOND FIGURE. Head Couples: Forward and back 4 bars. Forward, ladies face partners 4 bars. Chassez, and turn partners to places 8 bars. All: Ladies to the right 8 bars. Waltz 16 bars. REPEAT . Side Couples: The same, twice. THIRD FIGURE. Head Couples: Forward and back 4 bars. Forward and salute 4 bars. Waltz 16 bars. Ladies' chain 8 bars. REPEAT . Side Couples: The same, twice. FOURTH FIGURE. Head Couples: To the right, salute 4 bars. To the left, salute 4 bars. Waltz 16 bars. Right and left across 8 bars. REPEAT . Side Couples: The same, twice. FIFTH FIGURE. All: Right and left all round 16 bars. First Couple: Waltz 8 bars. All: Chassez across 8 bars. First Couple: Promenade 8 bars. All: Forward and back 4 bars. Forward again, turn partners to places 4 bars. REPEAT . Side Couples: The same, ending with "Right and left all round." THE GLIDE CALEDONIANS. FIRST FIGURE. Head Couples: Right hands across 8 bars. Balance to partners 8 bars. All: Waltz 16 bars. REPEAT . Side Couples: The same, twice. SECOND FIGURE. Head Couples: Forward and back, forward and salute 8 bars. All: Ladies to the right 8 bars. All: Waltz 16 bars. REPEAT . Side Couples: The same, twice. THIRD FIGURE. Head Couples: Forward and back, and dos-a-dos 8 bars. All: Balance at corners 8 bars. Waltz 16 bars. REPEAT . Side Couples: The same, twice. LAST FIGURE. First Couple: Promenade 8 bars. Four Ladies: Forward and back 4 bars. FourGentlemen Forward and back 4 bars. All: Balance to partners 8 bars. Waltz 16 bars. Second, Third and Fourth Couples: The same, in turn. THE PARISIAN VARIETIES. DIRECTIONS FOR CALLING. FIRST FIGURE. First Couple: Advance and salute right side couple 2 bars. Back to places 2 bars. Advance and salute left side couple 2 bars. Back to places 2 bars. Head Couples: Right and left across and back 8 bars. All: Waltz 16 bars. Danced four times, each couple leading off in rotation. SECOND FIGURE. First Gentleman and Opposite Lady: Forward 2 bars. Swing half round with left hands, facing partners 2 bars. Chassez to the right 2 bars. Half turn with left hands 2 bars. The above eight bars repeated 8 bars. All: Polka to the right 2 bars. Polka step, to centre and back 2 bars. The last four bars danced four times in all, requiring additional 12 bars. The whole figure is performed four times, commenced by each gentleman in succession. THIRD FIGURE. First Gentleman: Leads lady on his left to centre 2 bars. Leads opposite lady to centre 2 bars. Leads lady on his right to centre 2 bars. Lastly his own partner to centre 2 bars. Four Ladies: Join hands around gentleman, swing to the left 4 bars. FourGentlemen Turn partners to places 4 bars. Four Couples: To the centre 4 bars. All: Waltz to places 4 bars. Four Couples: To centre 4 bars. All: Waltz to places 4 bars. FOURTH FIGURE. First Couple: To centre and swing half round 4 bars. Separate, cross right hands with side couples, turn to left 4 bars. First Gentleman and Lady: Forward and back 4 bars. Turn left hands to places 4 bars. Head Couples: Cross over and turn in opposite places 4 bars. Side Couples: The same 4 bars. Head Couples: The same to places 4 bars. Side Couples: The same 4 bars. The whole performed four times, each couple taking the lead successively. FIFTH FIGURE. First Gentleman and Opposite Lady: Forward and back 4 bars. Head Couples: Salute and separate to sides 4 bars. All: Forward and back 4 bars. Forward and form a star 2 bars. Balance 2 bars. Gentlemen: Forward to next ladies and balance 4 bars. Forward to next ladies and balance 4 bars. Repeat twice 8 bars. All: Waltz round 16 bars. This is performed four times, each gentleman and opposite lady leading off in rotation. THE LONDON POLKA QUADRILLE. DIRECTIONS FOR CALLING FIRST FIGURE. Head Couples: Forward and back 4 bars. Forward, change partners and back 4 bars. Polka, once round inside quadrille 8 bars. Balance at places, turn right hands half round 4 bars. Balance again, left hands half round 4 bars. Half promenade, ending with half turn. 4 bars. Half promenade back again 4 bars. REPEAT . Side Couples: The same, twice. SECOND FIGURE. First Couple: Polka four turns, ending in front of opposite couple 8 bars. Gentlemen: Swing opposite ladies, right hands round 4 bars. Reverse, left hands round 4 bars. First Couple: Polka back to places 8 bars. Each Couple: The same. THIRD FIGURE. First Couple: Polka four turns, ending in front of right hand couple 8 bars. Cross right hands round 4 bars. Cross left hands back again 4 bars. Polka four turns to places 8 bars. Head Couples: Half promenade 4 bars. Head Couples: Polka two turns to places 4 bars. Each Couple: The same, in turn. FOURTH FIGURE. First Couple: Polka four turns round to the right, ending in places 8 bars. All: Join hands, ladies to the right, four times, 8 bars. In executing this movement, after joining hands, each lady releases both hands, makes a polka turn alone to the right, passing in front of the gentleman who was on her right, falls in the circle again on his right, and all join hands again. This being done four times in succession, brings the ladies to their original positions. All the Couples: Polka round and to places again 8 bars. Second Couple: Repeat, the gentlemen going four times to the right. Side Couples: The same, in turn. FIFTH FIGURE. All: Hands all around 8 bars. Balance to partners and turn 8 bars. First Lady: Cross over four polka steps backwards, the gentleman following facing her 4 bars. First Gentleman: Pour polka steps backwards, the lady following him 4 bars. When the first lady starts backwards and forwards; she commences each time with the right foot; the gentleman commences each time with the left foot. First Couple: Polka four turns round 8 bars. This is performed by each couple in succession. FANCY QUADRILLE FIGURES. These consist of single figures, one of which is occasionally introduced in the place of the second or fifth figure of the plain quadrille. DIRECTIONS FOR CALLING. THE BASKET FIGURE. This is always danced to the tune of "Life let us cherish." Head Couples: Forward and back 4 bars. Cross over 4 bars. 4 bars. Cross back to places 4 bars. 8 bars. Ladies: Forward and back 4 bars. 4 bars. Gentlemen: Hands around 8 bars. pause . All: Balance 4 bars. 4 bars. REPEAT . Side Couples: The same, twice, gentlemen instead of ladies to centre. THE STAR FIGURE. Four Ladies: To centre and back 4 bars. Four Gentlemen The same 4 bars. Ladies: Cross right hands, half turn to the left 4 bars. Turn, cross left hands, back again 4 bars. Gentlemen: Right hands to partners. All: Balance 4 bars. 4 bars. REPEAT . REPEAT TWICE , Gentlemen to centre. THE MARCH FIGURE. This figure is more adapted for an assembly where a number of sets are dancing at the same time, as it fails to be effective or interesting unless about eight sets, or thirty-two couples, participate in the march. First Couple: Promenade, facing outwards 8 bars. Remaining Couples: Fall in column. All: The columns on the floor fall in line of march. Pause in music. Ladies to the right, gentlemen to the left, march up the centre, in couples. Halt. All turn and face partners. All: Four steps backward. Head Couple: Forward two, and back 4 bars. Forward again and swing 4 bars. Each Couple: The same, in succession 16 bars. All: Forward and back 4 bars. 4 bars. JIG FIGURE. All: Hands round 8 bars. Ladies: To the right, four times 32 bars. All: Hands round 8 bars. Gentlemen: To the right, four times 32 bars. All: Hands round 8 bars. 8 bars. THE MINUET FIGURE. This is very similar to the "Gavotte," but is a good deal shorter. Head Couples: Forward and back 4 bars. 4 bars. Sides Four: Forward and back 4 bars. 4 bars. All: Ladies' chain 8 bars. Sides Four: Forward and back 4 bars. 4 bars. The whole figure is danced four times. THE CHEAT. First Couple: Balance to third couple 8 bars. Balance to second couple 8 bars. Balance to fourth couple 8 bars. Balance to partners 8 bars. Repeated in turn by each couple. THE NINE-PIN FIGURE. The following calls make very good figures for the "Nine Pin." Forward four. Balance to partners. Head ladies turn opposite gentlemen. Side ladies turn opposite gentlemen. Ladies to centre. Stop music . Hands all round. Hands all round the other way. Nine-pin turn ladies. Stop music . Right and left. Balance partners. Nine-pin turn gentlemen. Stop music . Forward and back. Forward and turn opposite partners. Ladies to the right. Gentlemen to the left. Ladies' chain. Stop music . Right and left all round. Dos-a-dos. Balance to corners. Head couples cross over and back. Four gentlemen cross right hands in centre. Stop music . THE VIRGINIA REEL. First Gentleman and Last Lady: Forward and back 4 bars. First Lady and Last Gentleman: The same 4 bars. First Gentleman and Last Lady: Swing right hands. 4 bars. First Lady and Last Gentleman: The same 4 bars. First Gentleman and Last Lady: Swing left hands 4 bars. First Lady and Last Gentleman: The same 4 bars. First Gentleman and Last Lady: Swing both hands 4 bars. First Lady and Last Gentleman: The same 4 bars. First Gentleman and Last Lady: Dos-a-dos 4 bars. First Lady and Last Gentleman: The same 4 bars. First Couple: Turn right hands 2 bars. Separate and turn second couple, left hands 2 bars. Turn right hands 2 bars. Separate and turn third couple, left hands 2 bars. And so on to the bottom. Join hands and back to places at top. All: Gentlemen to left, ladies to right, march down outside and up the middle. Head Couple: Down the middle to bottom. POP GOES THE WEASEL. Head Couple: Down the middle and back 8 bars. Down outside and back 8 bars. Right hands across with second lady 8 bars. Three left hands across, second lady under 8 bars. Head Couples: Right hands across with second gentleman 8 bars. Three left hands across, second gentleman under 8 bars. The head couple repeat the figure, with each side Couple in succession. SPANISH DANCE. Two Couples: Forward four 2 bars. Change partners 2 bars. Forward four 2 bars. Change partners 2 bars. Repeat 8 bars. Cross right hands 4 bars. Cross left hands 4 bars. All: Waltz 8 bars. THE SICILIAN CIRCLE. Two Couples: Right and left across 4 bars. Back again 4 bars. Balance and turn partners 8 bars. Ladies' chain 8 bars. Forward and back 4 bars. Forward and through to next set 4 bars. THE GRAND MARCH. The Grand March is a brilliant feature of every ball. It is generally the signal for the opening of festivities. It is led either by the floor manager or the president, accompanied by their ladies; they are followed by the other officers according to their rank; then by the other members and their ladies; and last, but not least, by their friends and guests of the evening. The above is generally the rule, but there are some exceptions; for instance, if the ball is attended by some popular prominent personage, such as a Member of Congress, Senator, or distinguished scholar, &c., as a matter of courtesy they are invited to open the ball by leading the Grand March. All military balls are mostly opened as above exception states. Some balls are opened by a Waltz; this is done when there are not enough in attendance to perform the figures and evolutions of the Grand March. Other balls open with a Lancers, followed by four or five other dances, and then the Grand March; that is usually done when there is some presentation to be made to some popular person or persons present. In the Grand March each gentleman, accompanied by a lady, whom he meets at the door of the ladies' parlor, takes his position in the march, keeping correct time to the music, which is either 2-4, 4-4, or 6-8 time, and should not be either too fast or too slow. THE MARCH IN FILE. As soon as all are in order the leader should head the line of march up the middle of the room; when he has reached the top he turns to the left, and his partner to the right; the gentlemen all follow him in single file, the ladies following the leading lady in the same manner; when the leaders of the two lines arrive at the bottom they pass to the left of each other, the gentlemen marching round the room on the outside, and the ladies inside them and in the opposite direction. When the first gentleman meets his partner again at the top of the room, they both march together again round the room to the right, followed by the other couples in their order. The leader should be careful to introduce sufficient plain marching between each figure to get all the couples following him in column before commencing a new evolution. THE MARCH IN COLUMN. The first couple lead round the room, the way of the clock, until the leader reaches the bottom left-hand corner. There, instead of turning upwards at right angles up the side of the room, the first couple should file to the right and march in a line parallel with the advancing couples, but in an opposite direction across the room; as each couple successively arrives at the same corner, they file to the right and follow their leader. When the leader has got across the room, the first Couple should file to the left and march straight across back again, and so on, forming a serpentine line of march backwards and forwards across the room until the top of the room is reached. To make this effective, it requires a considerable number of couples, so that there will be at least four lines constantly passing each other in opposite directions, and forming a very pleasing appearance. When the first couple reach the top of the room they lead the march round the room again, until all the couples are following them in regular column. THE MARCH BY PLATOONS. The first couple lead the march up the centre of the room. As they reach the top, the first couple passes round to the right; the second couple to the left; the remaining odd couples in their order to the right, and the even couples following to the left. All thus march down their side of the room, until they meet in the middle at the bottom. There they turn up the centre again four abreast. Arriving at the top, the first four wheel round by the right; the second four wheel round by the left, and so on alternately, each division marching down its side of the room. When they meet at the bottom they advance up the centre again, eight abreast. At the top of the room the first and third eight wheel to the right, and the second and fourth wheel to the left, each succeeding eight wheeling right and left alternately, down the sides of the room, meeting at bottom, and marching up the centre sixteen abreast, thus forming full lines. At the top of the room all halt, the first, third, &c. ( odd ) lines face all to the right; the second, fourth, &c. ( even ) lines all to the left, the gentlemen step up by the side of their lady partners, and the front line marches off in couples to the right, the other lines following in their track, in the same manner as in the March by Columns, and finishing in the same way laid down in that march. THE ARBOR MARCH. All the couples march round the room in order. The first couple join right hands, stop, and raise their hands, forming an arch. The second couple pass underneath the arch, the gentleman first, and form another arch; the third couple pass under both and also form an arch, and so on, each couple passing through the arches ahead of them in turn, until one continuous arch has been formed. The first couple (now in the rear) then passes through and out at the front end of the arbor, followed by each rear couple in succession, until the arches have all disappeared. If the number of couples is large, the first couple can follow the last couple at once under the arches, if preferred, and repeat the arbor continuously as long as may be desired. The plain march in couples is then resumed, until the line of march is in regular order again. THE SERPENTINE MARCH. The couples march once round the room, the way of the clock. The leader steps in front of his lady and leads the way up the centre of the room; as each couple turns to go up the centre, each gentleman steps into single line ahead of his lady, forming by degrees the whole couples into single file. When the first gentleman reaches the top of the room, he leads the way to the right entirely round and round the room, each successive round passing inside the former, describing a spiral track towards the centre of the room. As soon as the inner coil becomes small, the leader turns sharp round to the left and retraces his steps between the coils, until he marches between the coils entirely out of them. He continues his march until all the coils are unwound, and then each gentleman retires a step to the left of his lady partner, and the march is continued in column until all the couples have fallen into regular order again. At the conclusion of the march, the leader stops, gives a signal for the music to be changed into a waltz, and leads off with his partner, followed by the other couples in succession until the dancing becomes general GENERAL REMARKS. In order to ensure success in a march of this description, no gentleman can be allowed to act as cavalier to two ladies, as the movements require all to march in couples. The leader should regulate his pace to suit circumstances, endeavoring always to keep the line of march unbroken and the couples at uniform distances from each other. The couples, also, must follow exactly in the track of those before them and of the leader, keeping correct time with the music, and conforming in every particular with the leader's movements. Other combinations can be introduced, according to the fancy and invention of the leader, but the five movements here given are very neat and effective, and will be found quite sufficient to entertain, without rendering the march tedious and wearing to those participating in it before the dancing commences. QUADRILLES, OR SQUARE DANCES. Quadrilles should be danced by four couples, each couple occupying one side of the square, as shown in the diagram: The gentleman of each couple stands on the left of his lady partner. In a regular ball-room, the location of the first couple in each quadrille is usually on the side of the square nearest to the head of the room, which is generally the end farthest from the main entrance; the second couple stands opposite to and facing the first; the third couple is on the right hand of the first, and the fourth couple stands on the left of the first and opposite the third. The first and second are designated the head couples , and the third and fourth, the sides . It is not advisable to introduce more than four couples in a set, although it is occasionally done in cases where the space for dancing is limited or when there are not couples enough to form two sets. The quadrille consists of five figures, each of which has its appropriate music, which is always divided into strains or divisions of sight bars each. In counting, each bar consists of two counts or beats; each movement always takes eight steps or counts to perform it, and occupies, therefore, four bars of the music. When all the couples and sets are in order, the signal is given for the music to commence; the first eight bars are merely preparatory, during which the partners of each couple salute one another; each gentleman bows first to his own partner, then to the lady of the couple on his left; each lady courtesies, first to her partner and then to the gentleman of the couple on her right. EXPLANATION OF QUADRILLE STEPS AND MOVEMENTS Right and Left Across. -Two couples cross over, taking four steps; each person gives right hand in passing to opposite person, then joins left hands with partners; each couple turns half round in opposite couple's places, and return immediately back to their proper positions in the same manner. Balance. -Partners cross hands-right hands uppermost, and promenade to the right to opposite couple's places, taking eight steps, and return in the same manner. Ladies Chain. -Two ladies cross over, giving each other right hands in passing, and turn opposite gentleman with left hands, and return to places in the same manner. Forward Two or Forward and Back. -Commence with right foot, take three steps forward, and bring the left foot behind the right; count four , then take three steps backward, commencing with the left foot, and bring the right foot in front of the left; count four . Cross Over. -Two couples cross straight over to opposite places, taking eight ordinary walking steps-the ladies passing on the inside and the gentlemen on the outside. Chassez. -Partners face each other, and take four steps forward and four steps backward the same as in "Forward Two." Right Hand Across and Left Hand Back. -Two couples cross over, taking eight steps, and give right hands in passing to opposite person; return with eight steps, and give left hand in passing. The ladies retain left hands of opposite gentleman and cross right hands, and extend the same to their partners. Balance in Place. -Slide the right foot to the right, and bring the left foot in front of the right in third position; count two ; slide the left foot to the left, and bring the right foot in front of the left in the third position; count two; repeat the above; count four . Balance to Corners. -Is executed the same as "Chassez." Hands All Round. -All join hands in a circle and move around to the left. All Promenade. -Give both hands to partners-the hands crossed, right hand uppermost, and move in a circle to the right. Grand Chain, or Grand Right and Left. -Explained in the Fifth Figure of the "Lancers." Turn Partners. -Give both hands to partners, and turn once around to the left. Turn Corners. -The same as "Turn Partners." Ladies Grand Chain. -Explained in the First Figure of the "Prince Imperial." Ladies Double Chain. -Explained in the Third Figure of the "Saratoga Lancers." NATIONAL GUARD QUADRILLE FIRST FIGURE. Dedicated to National Guard, North . Forward and Back (first and second couples) 4 measures. Lead to the Right and Salute 4 measures. Cross Right Hands, en moulinet , and turn 4 measures. Cross Left Hands, en moulinet , return, finishing by all facing partners in two lines 4 measures. All Balance to Partners 4 measures. Turn Partners to Places 4 measures. Second time, head couples, lead to the left, &c. Counterpart for the side couples. SECOND FIGURE. To National Guard, South. Forward and Back (first and second couples 4 measures. Turn Partners (first and second couples 4 measures. Side Couples the same 8 measures. Four Ladies to the Centre, back to back 4 measures. Ladies Hands Round to the Right 4 measures. All Balance to Partners and Turn 8 measures. Note 1.-First and second times, head couples forward, back and turn; then side couples the same. Third and fourth times, side couples forward, back and turn; then head couples the same. Note 2.First and third times, ladies to the centre; second and fourth times, gentlemen to the centre. THIRD FIGURE. To National Guard, East . Forward and Back (first and second ladies) 4 measures. Cross Over (first and second ladies) 4 measures. Side Ladies the same 8 measures. Salute Corners 2 measures. Salute New Partners 2 measures. Turn New Partners with Right Hands 4 measures. All Promenade 8 measures. Note .-First time, the first and second ladies forward and back and cross over; then side ladies the same. Second time, the first and second gentlemen forward and back and cross over; then side gentlemen the same. Third time, the third and fourth ladies forward and back and cross over; then head ladies the same. Fourth time, the third and fourth gentlemen forward and cross over; then side gentlemen the same. FOURTH FIGURE. To National Guard, West . Forward and Back (first and second couples) 4 measures. Lead to the Right and Salute 2 measures. Form Two Lines; first and second couples separate from partners and join the sides; the first lady now goes to the left of third gentleman, and the first gentleman goes to the right of third lady; the second lady goes to the left of fourth gentleman, and the second gentleman goes to the right of fourth lady 4 measures. All Forward and Back 4 measures. All Forward Again, and the first and second couples stop and face partners; side couples retreat to places 4 measures. Turn Partners to Places 4 measures. Second time, head couples forward and back; lead to the left , &c. Counterpart for the others. FIFTH FIGURE. To United States Army . Introductory 4 measures. Four Ladies Exchange Places to the right, and all salute. Turn with right hands 8 measures. The Ladies Pass to the Next Place on the right, all salute and turn 8 measures. The Ladies Pass Again to the right, all salute and turn 8 measures. The Ladies Pass into Places, all salute and turn partners with right hands 8 measures. Tiroir.-First and second couples cross over, first couple gliding (with hands joined and crossed) between the second couple; return, second couple between the first 8 measures. Tiroir on the Sides, third couple passing between the fourth; return, fourth couple between the third 8 measures. All Turn Corners with Right Hands and partners with left 8 measures. This Figure is performed four times precisely the same, except the Tiroir figure, which is as follows: FIRST TIME. Head Couples Cross Over, first couple between the second; returning, second couple between the first 8 measures. Side Couples Cross Over, third couple between the fourth; returning, fourth couple between the third 8 measures. SECOND TIME. Head Couples Cross Over, second couple between the first; returning, first couple between the second 8 measures. Side Couples Cross Over, fourth couple between the third; returning, third couple between the fourth 8 measures. THIRD AND FOURTH TIMES. Side Couples Cross Over and Return, then head couples, in manner analogous to the first and second times. After the entire Figure has been performed four times- CODA. All Forward and Salute, vis-a-vis 4 measures. Salute Partners 3 measures. THE PLAIN QUADRILLE. FIRST FIGURE. Head Couples Right and Left Across. -The first and second couples cross over; each gentleman and opposite lady touch right hands in passing, the gentleman then extends his left hand to his partner, turning her half round, occupying opposite couple's place. This takes eight counts This same movement is repeated in returning, which brings the couples to their original positions. Head Couples Balance. -Each gentleman crosses hands with his partner, and promenades to the opposite side, passing opposite couple to the right, counting eight . Return to places again, passing to the right, counting eight . Head Couples, Ladies Chain. -The ladies of head couples cross over, giving right hand in passing, and then left hand to opposite gentleman, who turns her half round, eight counts; the ladies then return by repeating the same movement, which brings them back to their original places. Head Couples Balance. -This is performed the same as explained above. The entire foregoing figure is then repeated by the side couples. SECOND FIGURE. Head Couples Forward and Back. -First (and second) gentleman joins right hands with his partner; the head couples advance together four steps and retire to places, eight steps. Cross Over. -Again advance, drop hands, and proceed straight across, each lady passing between opposite couple; count eight . Chassez to Partners. -The partners face each other and chassez four steps to the right and four steps back again to the left; count eight . Cross Over. -Straight to places as before, each lady passing between opposite couples. Head Couples Balance. -In same manner as described in the First Figure. The whole movement is then repeated by the head couples, and performed twice by the sides. THIRD FIGURE. Right Hand Across. -Move entirely across the set, extending the right hand, and moving on the right of the opposite lady or gentleman's place, and turn half round, so as to face the same lady or gentleman, four bars; returning, perform the steps very short; move on the left of the same lady or gentleman; at the same time give and retain the left hand; turn slowly to the left and give right hand to partners, forming a close square, four bars . In this position ladies' hands or arms form a cross, and the gentlemen's arms extended to the right and left. "Balance" in one place by simply sliding right foot to second; left behind to third, count two; left to second, right behind to third, count four; right again to second, and left behind to third, count six; left to second and right behind to third, count eight, four bars . Ladies Forward. -The two ladies forward and back, four bars. Gentleman Forward. The two gentlemen forward and back, four bars. Forward Four. -Both couples advance and retire, four bars . Half Right and Left. -Both couples return to their respective places, moving on the right of the one directly opposite, and give left hand to partner, turn half round into places, four bars; thus completing the number in eight half figures during sixty-four bars of music. FOURTH FIGURE Head Couples Forward Four. -Each gentleman of the head couples joins right hands with his partner, advances four steps and retires, count eight . Again advances four steps; first gentleman leaves his partner, who joins left hands with opposite gentleman, who retires with both ladies, the first gentleman retiring to his place alone; eight counts . Forward Three. -The second gentleman and two ladies advance four steps, and retire; he again advances and hands the two ladies to first gentleman (who advances to receive them) and retires, the three retiring at the same time; eight counts . The first gentleman and two ladies advance four steps and retire; advance again and meet the second gentleman, all joining hands in a circle; count eight . Four Hands Half Round. -The four dancers turn half round to the left, and each couple then retires to opposite couple's place; count eight . Half Right and Left. -Both couples cross over, the ladies passing between the opposite couple, and partners turn left hands to places; count eight . The same figure is repeated, the second gentleman leaving partner with the first gentleman. The same is then performed twice by the sides, the third and fourth couples leading off in rotation. FIFTH FIGURE. This figure consists of repetitions of portions of the First and Second Figures. Head Ladies Chain. -The same as in First Figure. Head Couples Forward and Back. -The same as in Second Figure. Head Couples Balance. -After fourth "Balance," "All chassez." Performed twice by head couples, and twice by side couples. Very frequently "Hands all around" is introduced instead of "Ladies chain." This is performed by all joining hands in a circle, swinging to the left, taking eight steps, and back again to the right, taking eight steps, or sixteen steps to the left entirely around. THE LANCERS. FIRST FIGURE. Head Couples Forward four steps and back, forward again, and turn opposite person with both hands, and return to places. Cross Over. -The first couple join hands and cross over; the second couple separates to permit the first couple to pass through. Returning, the second couple joins hands, and pass through first couple. Balance to Corners. -All the ladles balance to the gentlemen on their right, at the same time all the gentlemen balance to the ladies on their left. Repeated by head couples, except in "Cross over," the second couple first passes between. The same for side couples. SECOND FIGURE. Head Couples Forward four steps and back, forward again, the ladies remaining in the centre, back to back, and salute partners. Chassez, and turn partners to places. Side Couples Separate. -The side couples separate and join hands with head couples. All Forward and Back. -The two lines forward four steps and retire; forward again and turn partners to places. Repeated by head couples. The same for side couples. THIRD FIGURE. Head Couples Forward four steps and retire; forward again, and salute opposite couple and retire. Ladies Chain. -The same as described in the First Figure of the "Plain Quadrille." FOURTH FIGURE. Head Couples Lead to the Right, and salute side couples on their right; then lead to the side couple on their left and salute. Return to places and salute partners. Right and Left Across. -The same as in First Figure of the "Plain Quadrille." The second time the head couples execute this figure, they lead to the side couples on their left and salute, and then to the couple on their right. The same for side couples. FIFTH FIGURE. Right and Left All Round. -See Fifth Figure of the "Plain Quadrille." One Couple Waltz Round. -Each couple take their turn in waltzing round the set, a different couple each time this figure is performed. March. -Each couple in turn march up and down the set and back to place. All Forward and Turn. -All join hands, forward and back, forward again, release hands and turn partners to place. THE SARATOGA LANCERS. FIRST FIGURE. Head Couples to the Right. -The head couples lead to the side couples on their right, the side couples advancing to meet them; both salute and turn opposite person with both hands. Cross Over. -The head couples pass through the side couples; returning, the side couples pass through the head couples, and return to places. All Turn Corners with the right hand, and partners with the left hand. This figure is repeated by the head couples leading off to the left. The same is repeated twice by side couples. SECOND FIGURE. All Forward and Back. All Forward Again, ladies remaining in the centre. All Chassez, and Form in Basket. Hands All Round (or Promenade). This figure is executed four times, third and fourth time gentlemen in centre. THIRD FIGURE. All Forward and Back. All Forward Again and Salute. Ladies Double Chain. -This is similar to the "Ladies Chain," except that the side couples perform the figure at the same time with the head couples, and is executed in the following manner: The four ladies cross right hands, go half round, and turn opposite gentleman with left hand; cross right hands again, go half round and turn partners with left hand. This figure is performed four times, third and fourth times, "Gentlemen chain," or "Promenade." FOURTH FIGURE. Head Couples Lead to the Right, salute; lead to the left, salute; return to places, salute partners. Heads Cross Over, Sides Cross Over; heads return to places, sides return to places. Heads repeat by leading to the left. Heads and sides perform these movements twice, second time leading to left and right. FIFTH FIGURE. Grand Chain, as in Fifth Figure of the "Lancers;" or "All right and left half round, and return the other way back," as explained in the Fifth Figure of the "Waltz Quadrille," No. 2. First Couple Promenade and face outward; the other couples fall in behind. Couples face each other, and forward and back twice (or wave movement). All March. -The ladies countermarch to the right, gentlemen to the left, meeting at the foot; the ladies march to the head of the line by going on the inside, the gentlemen going on the outside then form two lines, all facing partners. All Forward and Back, and turn partners to places. This is repeated four times, the couples in their order taking the lead. THE CALEDONIANS. FIRST FIGURE. Head Couples Cross Right Hands. -Advance and cross right hands, the two gentlemen joining right hands above and the two ladies below; all take eight steps to the left half round, return by crossing left hands, taking eight steps to the right and return to places. The same as in the First Figure of the "Plain Quadrille." All Chassez. Ladies Chain. Balance. Same for side couples. SECOND FIGURE. Head Couples Forward four steps and retire; forward again and salute, and retire. Ladies Balance to the Right. -Each lady forward four steps to the gentleman on her right, and turns him with both hands, and remains at his side. In this manner each gentleman gets an exchange of partner. All Promenade. -The four couples then promenade with their new partners. This is repeated by the head gentlemen with their new partners; then the sides execute the same twice, which brings each lady to her own partner. THIRD FIGURE. Head Couples Forward four steps and retire; forward again and turn opposite persons with both hands, and return to places. Cross Over. -First couple join hands and cross over, passing between second couple; returning, second couple join hands and cross over, passing between first couple. Balance to Corners, and turn partners. All Join Hands and forward to the centre; retire, and turn partners to places. This is repeated again by head couples, and performed twice by side couples. FOURTH FIGURE. Head Couples Forward four steps and retire, and turn partners to places. Four Ladies to the Right. -Each lady advances to the gentleman on her right, gives him her right hand, and salutes. Four Gentlemen to the Left. -Each gentleman advances to the lady on his left, extends his left hand to her and salutes Repeat, the same as above. Four Ladies to the Right. Four Gentlemen to the Left. This brings original partners together again, but at opposite places. All Promenade. -All promenade to places. Repeated again by heads and twice by sides. FIFTH FIGURE. First Couple Promenade around the centre of the set, and return to place. Four Ladies Forward four steps and retire. Four Gentlemen Forward four steps and retire. All Balance to partners and turn. Right and Left Half Round. -All go right and left until they meet partners at opposite places, and return by joining hands and promenade to places. All Chassez and turn partners. This is repeated four times, each couple in order recommencing the figure. THE PRINCE IMPERIAL. FIRST FIGURE. Head Couples lead to the right and salute. Take Side Ladies, and go to Opposite Places. -The first and second gentlemen retain their partners' hands, and take with their left hands the right hands of the side ladies; each trio then retires to opposite couple's places-first to second couple's place, facing the centre. Ladies Grand Chain. -The four ladies (without the gentlemen) cross over, touching right hand with opposite lady in passing, then left hand to lady partner, turning to the left; returning, give right hand to opposite lady again, ending by facing partners the four Ladies having their backs to centre of set. All Chassez to partners and turn, the side couples remaining in their proper places, the head couples being in opposite places. The head couples repeat the figure as they stand; each head couple, therefore, gets a different side lady to retire with, and at the end of the figure, the head couples get back to their original places. The sides repeat the same, twice. SECOND FIGURE. First Gentleman and Opposite Lady forward and turn with both hands; the gentleman half round and the lady entirely round, and stop in centre, both facing the first lady. Cross Over. - The first lady passes between the couple in front of her, crosses over and turns second gentleman with left in second couple's place; at the same time, the first gentleman and second lady turn one another in first couple's place. Head Couples Forward and Back. Half Ladies Chain. -First and second ladies cross over, giving right hands in passing, and turn partners with left hands to places. This is repeated four times. THIRD FIGURE. First Lady to the Centre. -The first gentleman advances with his lady, and leaves her in the centre facing him, salutes, and retires. Second Lady to the Centre. -The opposite gentleman repeats the same. Third Lady to the Centre. -The third gentleman repeats the same. Fourth Lady to the Centre. -The fourth gentleman repeats the same. Ladies Hands Around. -The four ladies join hands as they stand back to back, and move around to the right, ending facing their partners they then let go of hands. Four Gentlemen Forward and take hands of ladies, giving right hand to partner, and left hand to the lady on the left, forming a ring, the gentlemen facing inward and the ladies outward. All Balance in place with joined hands. Turn Partners to Places. -Gentlemen drop hands of Ladies on the left, and turn partners in places. Repeat four times, continuing with second, &c. FOURTH FIGURE. Head Couples forward and back. First Lady and Second Gentleman to Sides. -The head couples forward again; the first lady places herself on the left of the third gentleman, the second gentleman places himself on the right of the fourth lady, the first gentleman and second lady then retire to their respective places. Forward Six. -The three on each side forward and back twice, taking four steps forward and back twice successively. Forward Two. -The first gentleman and second lady forward and retire; forward again and salute, and go to partners. Four Hands Half Round. -The four on each side join hands and turn half round in a circle. Gentlemen drop the hands of ladies on their left. The third and fourth couple retire to the places of the first and second couple respectively. This figure is repeated by the head couples, but the second time the second lady places herself on the left hand of the right side couple, and the first gentleman goes to the right hand of the opposite side, and the first lady and second gentleman return to their places. The sides perform the same, twice. FIFTH FIGURE. (This figure commences without the usual prelude.) Ladies to the Right. -Each lady takes four steps to the right, and turns right-hand gentleman with right hand, taking four steps in turning; each lady again forward to the next gentleman in the same way, till they reach partners and retire to places. First Gentleman and Opposite Lady Forward four steps and back. Forward Again, and Turn Half Round with right hands, so that each will face his or her partner. Chassez to Partners. -Head couples. Turn Partners with both to places. This figure is repeated four times, each gentleman in turn performing the second part of the figure with opposite lady. At the finish, the gentlemen place their ladies in the centre of the set, the ladies taking positions back to back, and all salute partners. THE WALTZ QUADRILLES. The "Waltz Quadrilles" have for some time past been very popular in society. They are the "Quadrille Waltz, Waltz (or Glide) Lancers," "Parisian Varieties," and "Waltz (or Glide) Caledonians." Having for some time held full sway, they are now generally curtailed. It is seldom that more than three figures of each are danced, viz.: first, second and third, in fact, at all balls where there is a long list of dances to be got through with, all quadrilles are generally reduced to three figures, with probably the sole exception of the "Saratoga," which. is so popular that all the figures are performed. The "Saratoga" is so popular, and the music for which being exactly the same as for the regular "Lancers," a great many sets, instead of performing the figures of the regular "Lancers," dance those of the "Saratoga" instead. It is not an uncommon occurrence to see some sets dancing the "Saratoga," and other sets dancing the "Lancers" at the same time. Before commencing the Waltz Quadrilles, it is advisable to first become acquainted with the Round Dances as described in another part of this book. A great many first learn the round dances before they study quadrilles, as when they have mastered and can dance a round dance successfully, they have no hesitation in attempting a quadrille, even for the first time in a crowded assemblage. There are two "Waltz Quadrilles"-one is wholly and the other partly adapted from the "Plain Quadrille." In No. 1, the figures are entirely similar, with the exception that "Waltz" is substituted instead of "Balance;" and in the last figure, in place of "Ladies chain," "Right and left half round is executed. In No. 2, the first three figures are similar to the first three figures of the "Plain Quadrille;" the fourth and fifth figures are different. The various movements of each figure (except the fourth and fifth) are explained elsewhere. WALTZ QUADRILLE, No. 1. FIRST FIGURE. Head Couples Right and Left Across. All Waltz. Ladies Chain. All Waltz. Side couples repeat the same. SECOND FIGURE. Head Couples Forward and Back. Cross Over. Chassez to Partners. Return to Places. All Waltz. Repeated by heads; twice by sides. THIRD FIGURE. Head Couples Forward and Back. Forward Again; ladies cross over and change partners. All Waltz. Repeated by heads; twice by sides. FOURTH FIGURE. All Join Hands and Forward and Back. Turn Partners to Places. All Waltz. Repeated four times. FIFTH FIGURE. All Right and Left Half Round. All Waltz Back to Places. Head Couples Forward and Back. Cross Over. Chassez to Partners. Return to Places. All Waltz. Sides repeat the same. WALTZ QUADRILLE, No. 2. FIRST FIGURE. Head Couples Right and Left Across. Balance. Ladies Chain. All Waltz. Sides repeat the same. SECOND FIGURE. Head Couples Forward and Back. Cross Over. Chassez to Partners. Return to Places. All Waltz. Repeated by heads, and twice by sides. THIRD FIGURE. Head Couples Right Hand Across. Left Hands Back. Balance in Centre. Half Promenade to Opposite Places. All Waltz. Repeated by heads, and twice by sides. FOURTH FIGURE. Head Couples Balance to the Right. -The heads face the side couples to the right and take four steps forward and four back. Gentlemen Exchange Ladies. All Ladies Chain. -Each head and side couple make the "Ladies Chain." All Forward and Back. Gentlemen Return to Partners and Turn to Places. All Waltz. Repeated four times. FIFTH FIGURE. All Right and Left Half Round. -Each gentleman joins right hands with his partner. The gentlemen start to the right, giving left hands to the ladies, who start to the left and give right and left hand alternately until they have got half way round and meet their partners. Turn the Other Way Back. -Each gentleman turns his lady with his right hand all the way round, drops hands, and returns right and left back to places. Head Couples Forward and Back. Forward Again and Salute. All Ladies Balance to the Right. -Each lady takes four steps forward to the gentleman on her right, and four steps back; the gentleman then turns her round and places her at his right side in the place his partner has left. In this manner, each gentleman receives an exchange of partner. All Waltz, with new partners. Repeated again by heads, and twice by sides, which brings each lady back to her own partner. THE PARISIAN VARIETIES. The four couples in this quadrille are numbered differently from the usual way: The leading couple being the first; the couple to the right, second; the couple opposite to the head, third; and the couple to the left, fourth. FIRST FIGURE. First Couple Lead to the Right Side Couple and salute; then lead to the side couple on the left and salute; retire to place. Head Couples Right and Left Across. -The same as in First Figure of the "Plain Quadrille," but without touching hands. All Waltz with partners. This is repeated four times, each couple in order recommencing the figure. SECOND FIGURE. First Gentleman and Opposite Lady Forward and Back, and face partners. Chassez to the Right. -Both head couples turn half round with left hand, bringing the lady on the left. First Gentleman and Opposite Lady Forward Again; both couples chassez and return to places. All Polka with partners. Repeated by the others in their turn. THIRD FIGURE. First Gentleman Lead Ladies to the Centre. -The first gentleman leads successively each lady to the centre, commencing first by giving his left hand to the lady on the left, and leads her forward; he then gives his right hand to the opposite lady, his left hand to the lady on the right, and right hand to his partner, and places himself in the centre. Ladies Join Hands and turn to the left. Gentlemen Forward and turn partners to places. All Balance and Waltz, twice. Repeat four times, each gentleman leading the ladies to the centre in his turn. FOURTH FIGURE. First Couple Forward to the centre, and turn with both hands half round; they then separate and cross hands with side couples (the gentleman goes to the left and the lady to the right), and move round to the right. Three Hands Around. -The two partners forming the first couple are standing on the sides; the three, presenting right hands, turn and retire to places. Head Couples Cross Over. -The head couples cross over with three Mazourka steps, and turn into opposite places and remain standing there. Side Couples Cross Over. -The sides cross over in the same manner; the head couples repeat the same on returning, and the sides likewise. Repeated four times. FIFTH FIGURE. First Gentleman and Opposite Lady Forward and back. Head Couples Salute and separate to form two lines with side couple (same as in Second Figure of the "Lancers." All Forward and Back. All Forward Again and Salute. Ladies Cross Right Hands and give left hands to partners. All Balance, making two waltz steps; the gentlemen then advance to the next ladies and balance with two waltz steps, and continue on until they have completed the tour. All Waltz with partners. Repeated by the others in their turn. At the finish, All Salute Partners. QUADRILLE FIGURES. All Quadrilles are made up from a combination of figures, nearly all of which are used in the description of the foregoing quadrilles. After a person has become fully acquainted with those already given, they may take any of them which they fancy and arrange them to suit themselves, thus forming other quadrilles, always taking care to have the right amount of music for each figure. It will be noticed that some of the figures are used in mostly all of the preceding quadrilles such as "Right and left," "Forward two," "Balance," "Cross over," "Forward four." "Ladies chain," "Hands all round," "Right and left all round," &c. Advice to the learner is to commence with the Lancers, pay no attention to any other quadrille until that is thoroughly understood, then take up any other quadrille that seems to suit the fancy. It is poor policy to skip from one quadrille to another without understanding any thoroughly. Dancers must not feel concerned at any mistakes they may make, as it is common for good dancers to make mistakes, which they do through carelessness or inattention. Should a mistake occur it must not be noticed or commented upon , as it is foreign to all rules of etiquette and pleasure to say or do anything to cause annoyance, or that would make anybody feel uncomfortable. There are other figures that have not yet been explained; they are sometimes called quadrilles, but it is wrong to designate them as such, for they are merely figures . When they are used, they are used separately, in place of the last figure of the Plain Quadrille, as follows: First dance the Plain Quadrille as described, to the end of the fourth figure; omit they fifth figure , and dance any one of the following figures instead, with the exception of the "Nine pin," which is danced without any preliminary quadrille figures . Sometimes, when time is short , only the first figure of the Plain Quadrille is danced, then the fancy figure after; thus having omitted the second, third and fourth figure of the Plain Quadrille. THE BASKET FIGURE. The entire figure is the same as the second figure of the Plain Quadrille, the Basket only excepted. When the ladies are standing in the centre with hands joined all round, the gentlemen also join hands, forming a circle outside the ladies. In this position the gentlemen swing half round to the left, count eight , and back again to the right, count eight , stopping so that each gentleman is just on the left hand of his partner. During the pause in the music, the gentlemen raise their arms over the ladies' heads, and bring them down (hands still held together) in front of the ladies. The two circles become intertwined, and all balance, counting eight; and then all loosen hold of hands and turn partners to places; count eight . When the gentlemen go to the centre in the third and fourth times of repeating, the ladies form outside and perform the outer figure in the same way as the gentlemen did in the first and second times. Same as in the Second Figure of the Quadrille, Forward and Back. Cross Over. Chassez to Partners. Re-cross to Places. Balance. Ladies Forward and Back. -All the ladies take four steps forward and four steps backwards; then four steps forward again, and join hands in the centre. Gentlemen Forward. -All the gentlemen forward, and join hands outside of the ladies. Gentlemen Hands Around. -The gentlemen swing hands around, and stop when they arrive at the left side of their partners: Form Basket. -The gentlemen raise their arms over the ladies' heads, and bring them down (hands Still joined) in front of the ladies. All Balance in Place. -Hands still joined. Partners to Places. The head and side couples perform this figure twice. Finish with "All chassez." Third and fourth times, gentlemen join hands in the centre. THE STAR FIGURE. Eight bars of introductory music. Four Ladies to Centre. -The four ladies make four steps forward. and four steps back to places; count eight . Four Gentlemen to Centre. -The gentlemen do the same; count eight . Ladies Cross Right Hands. -The ladies step quickly to the centre, crossing right hands, and swing to the left in the form of a cross; count eight . Ladies Turn, Cross Left Hands. -The ladies all wheel half half round dropping their right hands and crossing left hands, and wheel back again opposite partners; count eight . Gentlemen Right Hands to Partners. -As the ladies wheel round in the latter part of last movement, they extend their right hands, which are taken and held in the right hands of their partners. This forms the star. In this position- All Balance two short steps to the right, raising right hands slightly; then two steps to the left, raising left hands. Repeat the last four steps; count eight . Turn Partners to Places. -All drop left hands, and turn partners with right hands to places. This figure is repeated exactly as before; it is then performed twice through, the gentlemen leading off and crossing hands in the centre, the ladies forming the outer ends of the star. THE MARCH FIGURE. Commence with the music. The first portion of the figure is performed in regular quadrille sets, and usually after two or more figures of the plain quadrille have been danced. First Couple Promenade. -The first Couple dance around the inside of the quadrille, back to places, but facing outwards; count sixteen . Remaining Couples fall in Column. -The third, fourth and second couples take their positions in succession behind the first couple, all facing in the same direction. THE MARCH. All the Columns Fall in Line. -During a pause in the music, each quadrille column marches in turn as they are, forming one line or column down the middle of the room. Ladies to the Right, Gentlemen to the Left, Forward March. -The music plays a march, the gentlemen turn to the left and march in line down the outside of the column; the ladies turn to the right and march down the outside of their side of the column. Up the Centre in Couples. -When the head gentleman meets his lady at the bottom of the room, he turns to the left, she to the right, and both march up the centre, followed by the other couples in rotation. This march, down the sides in single file and up the centre in couples, may be repeated or not, as desired. At this point, also, the "March by Platoons" (see page 33) may be introduced with excellent effect, being so managed that, at the close, the couples will be left in column up the middle of the room. All Turn and Face Partners. -Gentlemen turn quarter-face to right; ladies the same to the left, bringing partners facing each other. All Four Step Backwards. -The gentlemen and ladies all step backwards, forming a line on each side with a space down the centre between them, and partners facing each other. THE QUICKSTEP. The music now changes to a quickstep. Head Couple Forward Two and Back. -The head gentleman and his partner opposite, each take four steps towards each other, and back to places; count eight . Forward Again and Swing. -The same forward again and swing once and a half round with both hands. Down the Middle. -The same glide or chassez down the middle, and take places at bottom of the lines, each on the proper side. Each Couple the Same. -As soon as the first couple start down the middle the second commence "Forward two," &c., and the moment the second couple start down the middle the third couple commence, and so on, the lines gradually edging sideways towards the upper end, as each successive couple gets to the bottom. When the head couple have got back again to the top of the lines- All Forward and Back. -The two lines advance four steps, and back again; count eight . All Turn Partners. -All forward again and turn partners, ending in column as at the commencement of the march. If any other quadrille figures follow, the march column is divided into its former parts, and each quadrille set resumes its former position on the floor. THE JIG FIGURE. Hands All Round. -All join hands, and swing in a circle entirely round to places again. Ladies Balance to the Right. -Each lady forwards to the gentleman on her right, and turns him with both hands; she then repeats the same with the next gentleman, until she turns her own partner, and resumes her own place. Hands All Round. -As before. Gentlemen Balance to the Right. -Executing the figure in the same manner as the ladies. Hands All Round. -As before. All Chassez. THE CHEAT. The movement of this figure is very simple, and would be monotonous if it were not for the Cheat element in it. The entire point of the figure consists of a privilege enjoyed by each gentleman and lady just about to turn one another; he or she may refuse to turn or be turned; may turn alone, or go and get any one else in the quadrille to turn with. Ladies can indulge in the most pardonable coquetry, and gentleman can, at will, assert a high-toned independence, to cover, perhaps, their disappointments, and a great deal of good-humored sauciness can be indulged in, without being considered outside the bounds of etiquette. First Couple Balance to Third Couple. -The first couple take four steps to the right, facing next right-hand couple, and four shorter steps back, count eight; gentlemen turn opposite ladies (unless "cheating" goes on), count eight . First Couple to Second Couple. -The first couple pass on and balance to next succeeding couple on right, count eight . Opposite ladies and gentlemen turn each other (unless "cheated"), count eight . They proceed in the same manner with the fourth couple, and then balance and turn themselves in their own places. Each couple in succession makes the round of the quadrille, the third, second and fourth in turn. The "cheat" figure is sometimes followed by the "jig," already described. THE MINUET FIGURE. Head Couples Forward and Back. Dos-a-Dos. -Head Couples forward and pass each other; then each gentleman and opposite lady pass round each other back to back, without turning round, and go backwards to places. Sides Four. -Head couples forward to the couples on their right and back; forward again and join side couples, forming two lines as follows: first and third couples, second and fourth couples. Both lines then forward and back. Forward again, turn opposite partners, the gentlemen exchanging places with each other, the ladies remaining where they were, thus giving all different partners. All Ladies Chain. -All the ladies face each other; cross over, giving right hands to each other; then give right hands to ( and remain with ) partners. All Forward and Turn. -Both sides then advance four steps and back; forward again and turn partners to place with both hands. Danced four times, twice by head couples, twice by sides; first and third times lead to the right, second and fourth times lead to the left. THE NINE-PIN FIGURE. This is an amusing figure, danced by four couples in quadrille, and one gentleman more, who takes his position in the centre. The movements are entirely at the will of the leader; "Forward four," "Ladies chain," "Ladies to the centre," Gentlemen to the centre," "Right and left all round," or any other movements being called in succession. It is preferable to introduce mainly those movements which require all the dancers, or at least one partner out of each couple. At the most unexpected moment, usually in the middle of a movement where the gentlemen are separated from their partners, a signal is given, when each gentleman secures the nearest lady for a partner, the music stops, and each lady resumes her place with her new partner; the gentleman who fails to secure a partner becomes the nine-pin, and takes his place in the centre; the music strikes up and dancing proceeds again as before, until another signal is given This is repeated at will, generally ending with "All chassez." The signal is usually given by a "baby-cry" whistle blown by one of the musicians, or by the music ending abruptly with a sudden chord. CONTRA DANCES. This is a class of dances which derives its name from the manner in which the dancers are arranged. In the Quadrille, partners stand side by side, each couple forming the side of a quadrilateral figure or square. In the Contra Dances the partners of each couple stand opposite to and facing each other, the couples collectively forming two parallel lines. Dancing is essentially French in its derivation and nature; and the French names and technical phrases will continue to cling to the figures and movements used in dancing. The French "ContreDanse" became corrupted into the English "Country Dance," with that characteristic facility that the English have of calling and spelling foreign words to suit themselves. If the name be Anglicised at all, it would be Contra Dance, as adopted at the head of this chapter. The variety of Contra Dances actually in use at the present day is very small; and it has been deemed advisable to incorporate under that head such other dances as are, properly speaking, neither quadrilles nor round dances, but assimilate in their arrangements more nearly to the Contra Dance than to any other. THE VIRGINIA REEL. The Virginia Reel is the same lively dance that is known in England by the name of "Sir Roger de Coverley." The couples form in two lines down the middle of the room, all the gentlemen on one side and all the ladies on the other, partners facing each other (as seen in preceding diagram), the gentleman and lady of the head couple standing at the end of their respective lines at the top of the room. The couples, for the sake of description, may be numerically designated first, second, third , and so on (in their order as they stand) to the last couple; the top or bottom couple being that couple which happens during the dance to occupy the position at top or bottom of the lines. Each couple in turn becomes top couple and bottom couple at least once during the progress of the dance. The step used is an easy swing trot, and in exact time, commencing with the music. First Gentleman and Last Lady Forward and Black. -At the commencement the first and last couples are top and bottom. The first gentleman and last lady take four steps toward each other, and back, without turning; count eight . First Lady and Last Gentleman. -The same; count eight . First Gentleman and Last Lady Swing Right Hands. -They dance up to meet one another, join right hands, swing half round and straight back to places; count eight . First Lady and Last Gentleman. -The same; count eight . First Gentleman and Last Lady Swing Left Hands. -The same movement as the last reversed; count eight . The other opposites do the same; count eight . First Gentleman and Last Lady Swing Both Hands. -They meet in the middle as before, and swing half round to the left, holding both hands, and back to places; count eight . The other opposite do the same; count eight . First Gentleman and Last Lady Dos-a-Dos. -They advance to middle, pass each other on right hands, round each other to the right, back to back without turning, and back, passing to left of each other to places; count eight . The other opposites do the same. It would be well to remark here, that if the set consists of a large number of couples, and is therefore long, each pair of dancers may find some difficulty in traversing half way up and back in only eight counts . If this should be the case, the other pair of opposites must commence to move on time , avoiding collision with the dancers who are behind time on their way back to their places. First Couple Turn Right Hands. -The first gentleman and his partner join right hands across the head of lines, turn fully once round, and drop right hands; count four . Separate and Turn Second Couple, Left Hands. -The gentleman joins left hands with second lady, and swings her half round; at the same the first lady joins left hands with second gentleman and swings half round; the first gentleman and his partner meet face to face; count four . The first couple repeat these two movements with each other and each succeeding couple, until they reach the bottom. There the first couple join hands and dance up the middle to their former places at top. The gentlemen march to the left, all in line; the ladies to the right, and come up the middle again to places. The top couple dance down the middle to bottom, and become the bottom couple, the second couple at top. Formerly, after the march in two lines, when the first gentleman met his partner, instead of leading her up the middle, he joined hands with her, raised their arms, and allowed all the other couples to pass under them in rotation. This left them at the bottom of the lines. Top and bottom couples begin the figure all over again, the dance continuing until the first couple have got back once more to the top. POP GOES THE WEASEL. The name of this figure very naturally and correctly suggests a lively movement, and very scant time for confidential conversation. It is performed in the same position as a contra dance, the gentlemen in one line and the ladies in another line opposite partners facing each other (see preceding diagram), and is danced to the tune from which it derives its name. The music itself suggests the step used throughout the figure, which is an easy swinging trot, not violent, but decidedly meaning business. Commence with the music, and great care should be taken throughout that each movement begins and ends in exact time with the music. Head Couple Down the Middle, count eight (exactly); back again to place; count eight . Down the Outside. -The gentleman turns to the left, and the lady to the right, outside their respective lines, count eight; back again to places, count eight . Right Hands Across with Second Lady. -Head couple and second lady cross right hands and swing to the left; count eight . Left Hands Across. -The three drop right hands, turn, cross left hands and swing to the right; count four . The second lady passes quickly under the raised hands of the second couple to her place; all sing "Pop Goes the Weasel;" count four . Right Hands Across with Second Gentleman. -The head couples cross right hands with next gentleman, and swing round to the left, count eight ; change hands, and swing left hands round to the right, count four . Gentleman passes under the arms of head couple, "Pop Goes the Weasel," count four . As soon as a couple has been "popped," the gentleman and lady move up a step on their respective lines, so as to leave a gap between them and the next couple. The head couple repeat the whole figure, turning and "popping" the third couple, and so each couple in succession, until they arrive at the bottom of the lines. As soon as the head couple has finished with the third couple, the second couple (now the head of the lines) should also commence, and so keep as many couples in motion as can be done without mutual interference. This is one of the dances that always ends when the music stops. SPANISH DANCE. The dance can be performed by any even number of couples. The best arrangement is to place the couples in a complete Circle, each alternate couple facing the opposite way to the rest. This produces a series of squares or sets, each consisting of two couples facing one another. These sets may also be arranged in a straight line. In the diagram a few couples have been arranged in the position in which they should stand, each set of two couples occupying a space between the dividing lines. The same movements are executed in all the sets at once, so that the description in one serves for all. One set consists, then, of two couples, standing facing one another, the first gentleman and first lady constituting the first couple; the second gentleman and second lady the second couple. The square has four sides-two opposite two-the two opposite sides now occupied by the couples will be designated the ends ; the two other opposite sides will be called the sides . In counting waltz music, each bar or measure contains three counts or beats, and is, therefore, entirely different from quadrille time, which consists of two counts to the bar. THE SICILIAN CIRCLE. In this dance the disposition of the couples and sets is exactly the same as for the Spanish Dance (see preceding diagram); the figure is that of the first figure of the Plain Quadrille, the couples changing their location at the end of each repetition of the figure, as in the Spanish Dance. Music in 2-4 time. The calls are given here so that the figure may be better understood. Two Couples: Right and left across 4 bars. Back again 4 bars. Balance and turn partners 8 bars. Ladies chain 8 bars. Forward and back 4 bars. Forward and through to next set 4 bars. The change of sets is thus made in the same manner as in La Tempete. If preferred, however, the last eight bars may be danced in couples to polka Step, once and a half times round, bringing each couple into contiguous sets, as in the Spanish Dance; if the polka plan be adopted, couples must strictly confine themselves to the limits of their set , or the whole will be thrown into irremediable confusion. THE ROUND DANCES. ROUND DANCES. The illustrations on the preceding page show the five elementary positions as they occur in all the round dances of the present time; and in the explanation of the various round dances given in the following pages, these positions are constantly referred to, and may be described as follows: FIRST POSITION. Standing at ease, the heels near together, and the toes turned outward, nearly at right angles. SECOND POSITION. The heels twelve to eighteen inches apart, and the toes nearly at same angle as in first position. THIRD POSITION. The heel of the right foot resting against the inner side or hollow of the left, and the toes at right angles. FOURTH POSITION. The right foot extended a step forward from first position. FIFTH POSITION. Heel of right foot against the toes of the left, nearly at right angles. POINTS ON ROUND DANCES. The gentleman, prior to engaging in the dance, places himself in front of his partner, a little to her right, encircles her waist with his right arm, supporting her firmly, yet gently, and holds her right hand with his left, extending it nearly to the height of his waist, slightly bent at the elbow. The lady's left hand should rest lightly upon her partner's right shoulder, while the right arm should be extended nearly straight with the palm of her hand turned downward. The gentleman then places the inner side of the fingers of his left hand against the inner side of the fingers of the lady's right hand. The gentleman being at all times responsible for the guidance of his partner, he should, therefore, use the greatest precaution against colliding with other couples. He should regulate the proper distance to be maintained between himself and his partner neither holding her so close as to impede her freedom of action, nor stand too far aloof, which would prevent his rendering her sufficient support. The lady should allow herself to be entirely guided by her partner, without in any case endeavoring to follow her own impulses. In all the round dances, the lady commences with the right foot and the gentleman with the left. Both dancers should look squarely to the front, over one another's shoulders. THE POLKA. Music in 2-4 Time. In about the year 1840, London and Paris were fairly taken by storm by the introduction of this Hungarian dance. It must be recollected that in those days about the only round dances in vogue were the (now old style) Waltz and the Galopade, now known as the Galop. The former was danced with great rapidity and always in one direction; the latter had none of the abandon of the modern Galop. The times were then ripe for something new in the way of a round dance, and the Polka was just what was wanted. At first it was danced on the stage, but in a very short time it was the rage in every salon , public and private. Everywhere in London was heard, to the tune of a polka melody. "'Tis sweet, on summer eve, to rove By the banks of the river Tolka; But the joys of life but little prove, Unless you can dance the Polka. Oh! won't you dance the Polka? Oh! can't you dance the Polka? The joys of earth are little worth Unless you dance the Polka." GENTLEMAN. The left foot must be raised to the side of the right ankle. 1. Spring on the right foot, and at the same time slide the left foot forwards; count one . 2. Draw the right foot close up behind the left, in the third position; count two . 2. Slide the left foot forward; count three . 4. Spring on the left foot, at the same time turn half round, bringing the right foot behind, raised-from the floor, and close to the ankle of the left; count four . Recommence with the right foot; using each foot alternately to begin the step. When dancing forward or backward, use only three counts, and pause for the fourth. LADY. Same as the gentleman, except the feet are reversed, she starting with the right foot instead of the left. THE REVERSE. It must be remembered that a complete revolution requires two polka steps, one with the left foot first and the other with the right foot first, ending with the weight on the right foot. The reverse movement is the same step as the other, except that in starting on each revolution, the gentleman steps back with the left foot, drawing his partner round, right foot first, in the same direction as his left foot is going. The entire movement either way is facilitated by bending the head slightly in the direction of the outstepping foot, left and right, alternately. THE WALTZ. Music in 3-4 or 3-8 Time . Stand with the right foot in the hollow of the left. Move the right foot out from the hollow of the left about six inches; count one . Move the left forward beyond the right, so that the heel of the left foot will be almost close to the hollow of the right, about two inches space between the heel of the left and the hollow of the right; count two . The heel of the left foot should not touch the floor. Raise the heel of the right foot, and turn to the right on both feet; use the ball of the foot in turning, both heels being about one half inch from the floor, so as to bring the heel of the right foot to the toe of the left; count three . Move the left foot back from the right about two inches; count one . Bring the toe of the right foot to the heel of the left; count two . Raise both heels and turn to the right as before; count three . This is called waltzing to the right. To waltz to the left perform the same movements, but commence with the left foot and turn to the left as follows: Stand with the left foot in the hollow of the right. Move the left foot out from the hollow of the right about six inches; count one . Move the right foot forward beyond the left, so that the heel of the right foot will be almost close to the left-about two inches between; count two . The heel of the right foot should not touch the floor. Raise the heel of the left foot, then turn to the left on both feet, so as to bring the heel of the left foot to the toe of the right; count three . Move the right foot back from the left about two inches; count one . Bring the toe of the left foot to the heel of the right; count two . Raise both heels and turn to the left; count three . First practice turning to the right, so as to be able to go round the room continuously without stopping, then practice turning to the left in the same manner; after which practice by turning from one direction to the other without stopping. The same should be done with all the round dances; and turning to the left should be practiced most, as it is the most difficult to accomplish correctly. THE MODERN PLAIN WALTZ. LA VALSE A TROIS TEMPS . Music in 3-4 Time . Our grandfathers and their stately partners used to waltz around each other almost on a pivot, as it were, and they needed only two bars, or six beats, to perform a complete revolution; this method of rapid gyration unceasingly in one direction induced giddiness and fatigue in a very short time. In the modern style of waltzing the steps are more open and extended, and four bars or twelve beats may be occupied in completing one entire turn, this renders it equally easy to turn forwards or reverse, or, in fact, in any direction that the fancy may suggest or circumstances (a crowded room, for instance) may demand; and the movement becomes easy, undulating, and, if well danced, graceful in the extreme. The main distinction between the old and new style may be concisely summed up as follows: In the old style, the slide of the left foot in beat one , and the right in beat four , is sideways and partially turning at the same time; in the new style, the glide of the left foot in beat one is exactly backward, and that of the right in beat four is exactly forward in a straight line, without a "shadow of turning," the turn being confined solely to beats two, three, and five, six . GENTLEMAN. Take the third position, right foot in front. 1. Glide the left foot directly backward about twelve inches (fourth position); count one . 2. Pass the right foot two or three inches behind the left heel, at the same time turning on the ball of each foot; count two . 3. Complete the turn by bringing the right foot front in the third position; count three . 4. Glide the right foot directly forward about twelve inches (fourth position); count four . 5. Advance the left foot about six inches in front of the right, at the same time turning on the ball of each foot; count five . 6. Complete the turn by bringing the right foot in front in the third position; count six . LADY. The lady commences at No. 4, continuing thus: 4, 5, 6, 1, 2, 3, without changing. The gentleman executing 1, 2, 3, while the lady executes 4, 5, 6; this continues without variation throughout the waltz. THE REVERSE OR CHANGE TO THE LEFT. The movement in the reverse direction is effected by substituting the left foot for the right foot in the foregoing explanation. The left foot is glided directly forward at 4 (instead of the right); and the right foot glides directly backward at I (instead of the left). The steps coresponding with 2 and 5 are relatively the same, and the turn on 3 and 6 is in the opposite or reverse direction. It is easiest to change from the forward (or turn to the right) to the reverse when the gentleman is going to count four . Thus: GENTLEMAN. 1. Glide the left foot directly forward; count one . 2. Advance the right foot six inches in front of the left, at the same time turning on the bah of each foot toward the left hand; count two . 3. Complete the turn to the left, by bringing the left foot in front in the third position; count three . 4. Glide the right foot backward; count four . 5. Pass the left behind the right, at the same time turning towards the left hand, on the ball of the feet; count five . 6. Complete the turn to the left, by bringing the left foot front in the third position; count six . LADY. It seems almost needless to say that the lady accommodates herself to her partner by executing 4, 5, 6, of the above, while the gentleman performs 1, 2, 3, and so on until the turn to the left or regular direction is again resumed. THE GLIDE WALTZ. 1. Step straight backward with the left foot to 4th position; count one . 2. Draw right foot to the left, to first position; count two. 3. Step slightly backward to nearly 3d position; count three , making quarter turn. 4. Step straight forward with the right foot to 4th position; count four . 5. Draw left foot to right in 1st position; count five . 6. Step slightly forward with right foot toward 3d position, making quarter turn; count six . TO REVERSE TO THE LEFT. Step straight backward with the right foot to 4th position, count one ; draw left foot to right in 1st position, count two ; step slightly backward to nearly 3d position, making quarter turn, count three ; step straight forward with the left foot to 4th position, count four ; draw right foot to left in 1st position, count five ; step slightly forward with left foot to nearly 3d position, making quarter turn, count six . THE POLKA MAZOURKA. Music in 3-4 Time . Some years ago this waltz obtained a marked degree of popularity. It is a pleasing dance for those who enjoy subdued motion, but it was supplanted in popular favor by a prevailing taste for something fast. The returning desire for greater repose of movement may again restore it as a favorite in the salon , and it is to be hoped that it may soon supercede the dizzy whirl of some of its more rapid rivals. The dance consists of a combination of the mazourka and the polka, one step of each, counting three to each step. The first three counts being the mazourka, and the last three counts the polka step. 1. Slide the left foot forward to the left; count one . 2 Bring the right foot up to the left; at the same time raise the left foot, extending it, pointing the foot down; count two . 3. Bring the left foot back close to the right, at the same time springing on the right foot, without touching the left on the floor; count three . 4. Slide the left foot forward; count four . 5. Bring the right foot up to where the left was, raising the left foot in front; count five . 7. Face on the left foot, raising the right foot, resting at the same time, turning half way round; court six . Then commence with the right foot as at No. 1, &c. THE KNICKERBOCKER. Take three long galop slides with left foot on accent, and as right foot is brought up to the left for third time, rest and hold left foot slightly raised from floor. To make second step, change quickly on left foot and take three steps with the right foot accented, ending on left foot for third time, with right foot slightly raised from floor. To make third step, change quickly to the right foot and take three steps with left foot accented, ending on right foot with left foot slightly raised from floor. Repeat by beginning with right foot. THE NEWPORT. Music in 2-4 Time. Take three long galop slides with the left foot on accent, and as right is brought up to left foot for third time, rest, and hold left foot slightly raised from floor. To make second step, rest the left foot and raise the right foot slightly from floor. To make third step, rest right foot and raise left foot slightly from floor. To make fourth step, rest left foot and raise right foot slightly from floor. To make fifth step, rest right foot and raise left foot slightly from floor. Repeat by sliding with right foot, &c. THE VARSOVIENNE. FIRST PART. Execute one polka step, commencing with the left foot, counting one, two, three ; then point the toe of right foot in 2d position, and remain in that position during one measure, counting four, five, six . Then make a half turn with one polka step, beginning with the right foot, counting one, two, three ; then point the toe of the left foot in 2d position, and remain in that position during one measure, counting four, five, six . Repeat the same once again, beginning with the left foot, and once again with the right foot-in all four times. SECOND PART. Execute two Mazourka steps sideways, beginning with the left foot, counting six ; then turn half round with one polka step, counting one, two, three ; point the toe of right foot to 2d position, counting four, five, six . Repeat the same again, beginning with the right foot. DANISH DANCE. Step with the left foot to 2d position, count one ; draw right foot to 1st position, count two . This is executed four times, counting eight -the movement being made sideways to the left; then take eight short galop steps to the right. Repeat the same once again, then dance round, using 16 galop steps. THE RACQUET. Music in 3-4 Time . Take two long galop slides with left foot on accent, and as right foot is brought up to left foot for second time, rest and raise left foot slightly from floor. Repeat by sliding with right foot, &c. THE WAVE. Music in 2-4 Time . Take three long galop slides with left foot on accent, and as right foot is brought up to left foot for third time, rest, and raise left foot slightly from floor. Repeat by sliding with right foot, &c. THE BOHEMIAN, OR HEEL-AND-TOE POLKA. Music in 2-4 Time . Place left heel on the floor in second position, resting on right foot, count one ; bring the toe of left foot behind the right, count two ; and take full polka step, count one, two, three . Second Step .-Place the right heel on the floor, resting on left foot, count one ; bring the toe of right foot behind the left, count two ; then take full polka step, count one, two, three . Third and Fourth Steps .-Two full movements of the Wave (see above). THE GALOP. Music in 2-4 or 4-4 Time . The Galop is danced with the Waltz, Polka, and Schottische steps; the Galop step is hardly ever used, dancers generally selecting one of the above steps. Slide the right foot sideways, count one . Bring the hollow of the left to the heel of the right, count two . Slide the right again, as before, count three . Bring the hollow of the left to the heel of the right as before, count four . Repeat over again from beginning; then change by sliding the left sideways, count one. Bring the hollow of the right to the heel of the left, count two . Slide the left sideways again, count three . Bring the hollow of the right to the heel of the left, count four . Repeat change over again. Turn to right or left as desired. THE SCHOTTISCHE. Music in 2-4 or 4-4 Time . The Schottische is often danced with the Waltz step. It is very easy to learn the Schottische. All that is necessary for practice is to hop (about an inch from the floor) twice with the right foot, then twice with the left; by turning at the same time either to the right or left, one will soon get in the regular step. Spring the right foot forward to the right, count one . Then spring the left foot forward so that the toe of the left foot will be opposite the hollow of the right, count two . At the same time spring the right forward again, still turning to the right, count three. Spring the left foot back to the right, count one . Draw the right foot back so that the heel of the right will be at the hollow of the left, count two . Spring the left back again, still turning to the right, count three . Turn to the left same as above, by commencing with the left foot, &c., and turning to the left. THE DEUX TEMPS. The step of the Deux Temps is the same as that of the Galop, its characteristic feature consisting in a difference of accentuation, it being danced to Waltz music (3-4 time) and the Galop to 2-4 time. The movements of the Deux Temps occur and are counted on the first and third beats of the bar, a pause being made on the second heat, thus- one and two . GENTLEMAN. 1. Slide the left foot Sideways to the left, bringing the right foot behind, close up to the left, in the 3d position; count one . 2. Slide the left foot diagonally forward, turning half round on the left foot and bringing the right foot, toe pointing to the floor, behind and close up to the ankle of the left foot; count two . The same is now repeated with the right foot, using each foot alternately to commence the step. The couples may dance forward or backward, turning either to the right or left, as inclination may direct. LADY. Same as the gentleman, except the feet are reversed, she starting with the right instead of the left foot. THE SICILIENNE. Music in 6-8 Time. GENTLEMAN. 1. Spring on the right foot, and bring the left behind; count one . 2. Spring again on the right foot, and bring the left in front; count two . 3. Spring again on the right foot, extending the left foot diagonally (2d position), toe pointing to the floor; count three . 4. Spring once more on the right foot, and again bring the left foot in front of the right; count four . 5. Slide three steps forward with the left foot; count one, two three . 6. Turn half round on the left foot, bringing the right in front (3d position); count four . Repeat the same with the right foot, using each foot alternately to commence the step, and turning as in other round dances. LADY. Same as the gentleman, except the feet are reversed, she starting with the right instead of the left foot. THE GERMAN. The German, or-as it has been for years known in Europe-the Cotillion, has been for some time past the dancing amusement, par excellence , of American society. Unlike most other dances, the German depends very largely for its success upon the tact and knowledge of its leader. Many who are competent by reason of their experience to enact the part of leader of the German are really disqualified by an absence of tact and good judgment which is fatal to that common spirit of enjoyment which alone makes the German or any other dance a fitting amusement for ladies and gentlemen. The form of the German is as follows: No. 1, of course, is the leader, and the partner of each gentleman is placed on the right. The leader alone is responsible for the change of tune, acceleration of time, or for an indication to the orchestra when to stop and when to proceed. Hopeless confusion would be the result unless absolute confidence and authority were reposed in the leader, or if, during the performance of any figure of the German, couples not actually engaged in it were to promenade the room, waltz, or otherwise distract the attention of those actually engaged in it. The German, above all other dances, is supposed to be a purely social enjoyment, and as such should be entered into without any of that formal restraint which sometimes characterizes the more reserved square dance. The fact is, that it is a succession of dances, undertaken by such partners as the leader may designate. It is designed to give amusement as well as to inculcate elegance of carriage, and in the Old World is regarded as one of the most successful of modern innovations. At the beginning of each figure, the leading couples make the Tour de Valse (waltzing once around the room as far as the figure may require), and may be followed by one or more couples-just as many as the leader may designate. The leader gives the signal for the dancing to cease by clapping his hands or blowing a whistle, and all the couples stop waltzing as soon as they reach their respective seats. The leader designates each figure, and it is danced by all the couples successively from right to left. The German may be composed of any number of couples; but, in a large party of twenty-four couples or more, it is better for the leader to seat himself in the centre, and to select the dancers from each end of the circle alternately; this shortens the dance, and prevents it from becoming tedious. Should the ladies. be in the minority, the gentlemen who are without partners are always permitted to engage any of the ladies for a single figure without any formal introduction. Where ladies are without escorts, they are generally under the special care of the leader, who either dances with them himself, or presents them to some of the gentlemen. While it is absolutely necessary that all authority in regard to the German should be placed in a single individual, it is also necessary that the ladies and gentlemen who compose the set should render to the leader all possible assistance in carrying out his orders, or rather suggestions. This being done, it will be found a delightful amusement, as some of the following figures will show. THE FIGURES OF THE GERMAN. 1.-THE EXCURSION. The leading couple perform a tour de valse ; the gentleman leaves his lady and brings forward two other ladies; his lady brings for ward two gentlemen. They all forward and back, the gentlemen with ladies opposite them perform a tour de valse . 2.-TWO ROUNDS OF THREE. The first couple perform a tour de valse . The gentleman chooses two ladies, and the lady two gentlemen. They form two rounds of three, vis-a-vis, and revolve rapidly during four bars. At a signal the gentleman passes under the arms of the two ladies, and the lady under the arms of the two gentlemen, and meet each other. The two gentlemen, whom the ladies deserted, join the two ladies, and all waltz to places. 3.-THE HAT. First couple perform a tour de valse ; the gentleman leaves his partner in the middle of the room, and gives her a hat. All the gentlemen come and form a circle round the lady, turning their backs to her, moving rapidly to the left. The lady places the hat on one of the gentlemen, with whom she takes a tour de valse . The other gentlemen return to their places. 4.-THE GLASS OF WINE. Three chairs are set on a line, the centre one being placed in a direction opposite to the other two. The leading couple perform a tour de valse , after which the gentleman places his lady upon the Centre chair, gives her a glass of wine, and brings forward two gentlemen whom he seats on the two other chairs. The lady hands the glass of wine to one of the gentlemen to drink, and dances with the other. 5.-THE CHAIR. First couple perform a tour de valse ; the leader places a chair in the centre of the room, and upon it seats his partner, to whom he next presents two gentlemen. The lady dances with one of the gentlemen, and the other gentleman seats himself in the chair just vacated by the lady. The leader then presents to the gentleman two ladies; he dances with one of them, and the other takes the chair. The figure is repeated until all have danced. 6.-THE SCARF. The first couple lead off with a tour de valse . The gentleman stands in the centre of the room, holding in his hand a scarf, meanwhile his lady assembles the other ladies and they join hands in a circle and turn rapidly to the left, during which movement he places the scarf about the shoulders of the lady with whom he wishes to dance. The other gentlemen waltz to places with their ladies. 7.-THE CARDS; The first gentleman presents to four ladies the four queens of a pack of cards, while his partner presents the four kings to as many gentlemen, who rise and seek the ladies of their colors. The king of hearts waltzes with the queen, the king of spades with the queen of spades, &c. 8.-THE TWO FLOWERS. The leader takes two ladies and asks them each to name a flower. He then presents them to one of the gentlemen, desiring him to say which flower he prefers. When the gentleman has made his choice, he is presented with the lady, the name of whose flower he guessed; he dances with her, and the leader dances with the other lady round the room. The other couples perform the same figure in their turn. 9.-THE MYSTERIOUS SCREEN. A tour de valse is performed by three couples; each gentleman selects an additional lady, and each lady a gentleman; the six gentlemen place themselves behind a screen or sheet, which must be held by them in such a manner as to allow only the ends of their fingers to be seen. The six ladies then select partners by taking the ends of their fingers. 10.-THE FLAGS. The leader performs a tour de valse ; he then procures about six duplicate sets of small flags, of any appropriate design, selects one of each pattern, and gives his lady the duplicates. The leader then presents his flags to the ladies, while his partner presents the corresponding flags to the gentlemen. The gentlemen then go in quest of the ladies possessing the duplicates, and dance with them, waving the flags. Repeated by all the others. 11.-THE BROKEN CIRCLE. The first couple perform the tour de valse . The conductor leaves his partner in the middle of the room and chooses two gentlemen, who form with him "Three hands round" about the lady. The gentlemen turn very rapidly to the left. At a signal, the lady chooses a gentleman for the waltz, and the other two gentlemen return to their places. When this figure is performed amongst intimate friends, the two discarded gentlemen may waltz together about the circle. 12.-THE MASK. The gentlemen mask themselves in ludicrous heads or faces. They then arrange themselves behind a screen, and raise their heads above it. The ladies then select partners from the group, and perform a tour de valse . The gentlemen keep their masks on until the finish. Repeated by the others. 13.-THE MYSTERIOUS HANDS. The leader and his lady execute a tour de valse ; he then leaves his partner in a room adjoining, and selects several other ladies whom he also places in the same room. The ladies then slip their hands through the door ajar, while the leader conducts as many gentlemen up to them as there are hidden. The gentlemen then take hold of the hands exposed, and dance with the lady so selected. 14.-THE REJECTED LADIES. The leading couple perform a tour de valse . The gentleman kneels in the centre of the room, while his partner introduces to him several ladies in succession. The ladies he refuses arrange themselves in a line behind him; as soon as he accepts a lady he dances with her; the rejected ladies are joined by their regular partners, and all waltz to their places: 15.-THE COQUETTE. The first couple perform a tour de valse . The conductor seats his lady in the centre of the room, and places a cushion at her feet. He then selects several gentlemen whom he presents, successively, requesting each to kneel upon the cushion. When the lady refuses any of the gentlemen she withdraws the cushion rapidly as he at. tempts to kneel. When a gentleman is presented who is acceptable the lady permits the cushion to remain, and the two perform a tour de valse . The rejected gentlemen form a line behind the chair, and their partners release them as soon as the first lady chooses a cavalier, and all waltz to places. 16.-THE ROPE. Three couples made a tour de valse ; the three gentlemen then choose other partners, and the ladies select other gentlemen. The ladies retire to one end of the room and the gentlemen to the other, while the leader and his partner stretch a rope across the room, over which the gentlemen must jump to regain their partners. As the rope is managed so as to trip the gentlemen as much as possible, a great deal of amusement is afforded to the lookers on. 17.-THE FAN. After a tour de valse , the conductor seats his partner on a chair, the middle one of three, placed in the centre of the room, and presents her with a fan. He then selects two gentlemen, and seats them on chairs, one on each side of the lady, who hands the fan to one of the gentlemen and dances with the other. The gentleman who has been favored with the fan is expected to use it for the benefit of the couple who are dancing, whom he must fellow, hopping about the circle. 18.-THE LADIES DELUDED. First couple lead off with the tour de valse . The gentleman leads his lady by the hand round the circle, and approaches several ladies, feigning to solicit them to dance. The moment the lady rises to accept him, he suddenly turns round and addresses another, and plays the same game till he has made his selection. The lady of the conductor dances with the partner of the lady on whom the choice has fallen. 19.-THE GENTLEMEN MOCKED. The first five or six couples perform the tour de valse , and place themselves in ranks of two and two, as soldiers march by the flank. The partner of the first gentleman deserts him to select a gentleman from the other couples. While this play progress the first gentleman should not look behind him. The first lady, and the gentleman whom she has chosen, advance noiselessly, one on one side and the other on the other side of the column, their object being to cheat the first gentleman and rejoin each other for a dance. If the first gentleman, who is on the watch, succeeds in capturing his lady, he performs a tour de valse with her, but if unsuccessful in his endeavors he remains at his post until he is able to secure a lady. The last remaining gentleman waltzes with the last lady. 20.-THE PHALANX. The couples perform a tour de valse . The first lady chooses two gentlemen, and stands up in line, hand in hand, between them; the first gentleman selects two ladies, with whom he stands, hand in hand, in line behind the first three; the second lady chooses two gentlemen, and the second gentleman two ladies, and they fall in behind the others, forming four lines of three each in column, each line of three standing hand in hand. The two gentlemen of the first row join their outer disengaged hands together, forming an arch over the head of the lady between them. The two gentlemen of the third line do the same. The two ladies in the second and fourth lines join hands over the head of the gentleman between them. All parade in this position round the room, keeping close together. Then the six persons in the first and third lines face half round and dance with opposite partners to places. 21.-THE CONVENT PORTER. First couple lead off with the tour de valse . The conductor selects from the circle a number of ladies, whom, together with his own, he leads into an apartment next the ball-room, the door of which remains ajar. Each lady, in a whisper, names a gentleman, whom the conductor calls upon aloud, to come and waltz with the lady who has selected him. The leader reserves for himself one of the ladies. This figure may be performed by the leader's lady, who imprisons the gentlemen she has chosen, and calls for the ladies they each name. 22.-BLIND MAN'S BUFF. Three chairs are placed in the centre of the room. First couple lead off. The conductor takes another gentleman, whom he blindfolds and seats on the centre chair. The lady selects another gentleman, whom she leads ( walking on tiptoe ) to one of the chairs next to the blind man, whilst she seats herself on the other. The first gentleman then invites the blind man to select from the right or left. If he hits upon the lady, he waltzes with her to her place; if he indicates the gentleman, he must waltz with him, whilst the conductor dances with the lady. 23.-BLIND MAN'S BUFF WITH SIX. Six chairs are placed in the middle of the room, back to back; two couples execute a tour de valse . The first gentleman blindfolds his partner and seats her upon one of the centre chairs, while the second lady blindfolds her partner and places him upon the other centre chair; the first gentleman then selects another gentleman. These two gentlemen seat themselves to the right and left of the seated lady. The second lady chooses another lady. These two ladies seat themselves on the remaining chairs. The blindfolded couple then select partners from the right or left The bandages are then removed from their eyes, and the lady and gentlemen who were blindfolded dance with the person whom they have selected. The rest join in the tour de valse . 24.-THE CARNIVAL. All the couples are divided, the ladies being arranged in one circle and the gentlemen in another, both circles facing outwards. A sufficient number of paper costumes, packed as "favors," being in readiness, the leader takes one of the ladies' "favors" and presents it to one of the ladies, whom he leads inside the ladies' circle, where costumes are put on, and then leads her to her seat. The leader's partner at the same time hands a gentleman's "favor" to one of the gentlemen, and leads him into his ring to be robed or decorated, and then is in turn led by him to her seat. The second Couple proceed in like manner, until all have been accommodated. The conductor then can organize some short figures for dancing, forming also groups and tableaux appropriate to the decorations. 25.-PUSS IN THE CORNER. Four chairs are placed in the middle of the room at set intervals, to represent four corners. The first gentleman, after performing a tour de valse , seats his lady upon one of the chairs, and brings the next three ladies to occupy the other chairs. He stands in the centre, as for the game of "Puss in the Corner." The ladies, who remain seated, execute the changes, not by running, but by holding each other by the hand for the exchange of seats. When the gentleman can possess himself of one of the chairs left vacant by any lady in the attempt to change places with her neighbor, he waltzes with her whom he has just dethroned. Another gentleman then places himself in the centre of the circle, and another lady takes the vacant chair. When the last gentleman has taken the place of one of the last four ladies, the partners of the remaining three should re-conduct them to their places, waltzing. 26.-THE FIGURE "8." Two chairs are placed in the centre of the room at certain distances from each other. The first couple starts off, passes behind a chair without ceasing to waltz, and then repasses behind another so as to describe the figure eight. Each couple in succession repeats the same figure. 27.-THE HANDKERCHIEF CHASE. The first three or four couples perform the tour de valse ; the gentlemen leave their ladies in the centre of the room; each lady holds a handkerchief in her hand. The leader then selects one more gentleman, who, with the others, form a circle about the ladies, presenting their backs, and turn rapidly to the left. The ladies throw their handkerchiefs in the air, and waltz with those gentlemen who have been fortunate enough to catch them. The unfortunate gentleman who does not.get a handkerchief selects a lady from the company. The figure is performed successively by all the other couples. 28.-THE BASKET. A tour de valse is performed by three or four couples; the gentlemen then choose another lady, and the ladies another gentleman. All join hands then in a circle, and take four steps forward and four back; again four steps forward, when the gentlemen take each other's hands above and the ladies below, as in the "Quadrille Basket." Then all balance in place; the leader then drops the hand of the gentleman on his left, and his partner drops the hand of the lady on her right; then all array themselves in a straight line. The gentlemen then lift their arms and disengage the ladies, who pass under and waltz forward, followed by the gentlemen. At a signal, the ladies turn round and dance with the opposite gentlemen. 29.-THE COLUMNS. The conductor leads off with a tour de valse , and leaves his lady in the middle of the room. He takes a gentleman, whom he places back to back with his partner; he takes another lady, whom he places facing the gentleman just chosen, and so on until he has formed a column of four or five couples, terminating with a lady. At the signal, every one turns round and dances with his or her vis-a-vis . A double column may he formed by two couples leading off at the same time. 30.-THE MAZE. Four couples perform a tour de valse , and then form a quadrille. Four other couples take up positions so that a new couple stand exactly behind each one of the couples that form the quadrille. The figure commences by the four inside ladies crossing right hands; they move entirely round, giving left hands to partners and swinging round to places. While the inner couples are thus engaged, the four outer couples waltz half round, outside the quadrille, to opposite places. Then the inner couples waltz entirely round, resuming their places, but facing outwards. All chassez at places; turn at corners with right hands, and turn partners with left hands to places. All the gentlemen then waltz to seats with the ladies standing opposite them. 31.-THE APPLES. Five ladies are seated in the centre of the room. The leader then selects seven gentlemen and conducts them in front of the ladies. Each gentleman is then presented with an apple, and at a signal from the leader commence to eat the apple; those finishing first axe privileged to select one of the ladies and waltz with her. 32.-THE TWO LINES. All the couples promenade; the conductor, with the other gentlemen, then form in a single line, while the ladies likewise form a line opposite to the gentlemen. The leading couple then dances down the line, passing behind the ladies; then between the two lines, and again behind the ladies a second time. They halt below the last couple, the gentleman retires to the side of the ladies, and the lady to the side of the gentleman. Each couple performs the same successively. 33.-THE CONTRA DANCE. Four couples proceed to place themselves in the middle of the room, as for a Virginia Reel. The first couple lead off by waltzing round the couple on their right, and in the same manner make a turn round the other couples. The other three couples repeat the same figure. When all the four have done so, they return to their places, waltzing. 34.-FOLLOW YOUR LEADER. The first four couples perform a tour de valse ; they form a circle with the leading couple in the centre. The leading couple waltz at pleasure, and endeavor to deceive the other couples, who must follow all their movements without disengaging their hands. At a signal, the first couple resume their seats, and the next couple place themselves in the centre and engage in the game of deception. The figure is performed by all the couples successively, and terminates with a general waltz. 35.-THE ENGLISH RIGHT AND LEFT. The first two couples set out, place themselves facing each other, and make the English "right and left," very much lengthened. The two gentlemen, advancing with their ladies, give each other the left arm crossed at the elbow, and make a very rapid demi-tour to change the ladies, and make with each other's partner a tour sur place . They recommence the figure to take their partners again, whom they promenade to their seats. 36.-THE GRACES. The first couple sets out. The gentleman passes his lady to the left, changing hands. He takes another lady with the right hand, and continues promenading between the two. When he finds himself at the place of the lady he has chosen, he makes the two ladies pirouette opposite each other, and takes them by the waist to make them execute a tour sur place to the left. He returns the lady he has chosen to her partner, making her pass under his arm and that of his lady, and continues the promenade to his place. The gentleman, to make the tour sur place , should have his own lady by the left hand, and the other by the right. When this figure is made in polka, instead of the tour sur place , you make the tour du salon a trois , abandon the lady chosen when you pass before her place, and continue to promenade with your own. 37.-THE PURSUIT. Three or four couples set out. Every gentleman of the cotillion has the right to go behind each couple and possess himself of the lady to dance or waltz with her. He should clap his hands to announce his intention of substituting himself for her partner. This figure continues until each gentleman has again got possession of his lady to conduct her to her place. To execute this figure with all the animation required, it is necessary that as fast as each gentleman possesses himself of a lady another should replace him. The Pursuit is one of the final figures of the cotillion. 38.-THE LABYRINTH. All the persons of the cotillion form a general round, going about to the left. At a given signal the conductor lets go the hand of his lady, who is on his left, and while continuing to turn in the same direction enters the circle, making a colimacon , while his lady turns to the right to wind about the other circles, that go on narrowing. A circular space should be contrived to be able to extend themselves in waltzing. In this position the conducting couple set out waltzing, and follow the passes of the labyrinth formed by the general chain rolling on itself till they have arrived at the last couple, to which the first lady gives her hand to renew the circle. As each new couple arrives it places itself behind the one previous. When all have arrived they conclude by a general waltz or mazurka. When this figure is executed in polka, you dance through the passes of the labyrinth with the waltz a deux pas , which requires less space; when the figure is executed in mazourka, you have recourse to the mazourka waltz. The Labyrinth is one of the final figures of the cotillion. 39.-THE LITTLE ROUNDS. The three or four first couples set out. Each gentleman chooses a gentleman, and each lady chooses a lady. The gentlemen arrange themselves two by two, and the ladies do the same in front of them. The two first gentlemen and the two first ladies circle one entire round to the left; when the round is finished, the two gentlemen, without stopping, raise their arms to let the two ladies pass underneath, and execute another tour with the two next ladies. The two first ladies turn in the same way with the two new gentlemen who present themselves; each one follows till the two first gentlemen have come to the two last ladies. When the two first gentlemen have made all the ladies pass, they arrange themselves in line, and the two next gentlemen place themselves on either side so that all the gentlemen form in one and the same line opposite to that which the ladies have also formed on their side. The two lines advance toward each other during four bars, and fall back during four bars, and then rejoin, and each gentleman takes the lady who is before him. General polka or mazourka for a finish. 40.-THE DOUBLE MOULINET. The two first couples set out. Each gentleman chooses a lady, and each lady chooses a gentleman. A general round is formed, and after a tour to the left, each gentleman makes a tour sur place , causing his partner to turn about him till she forms a moulinet of the right hand with the three other ladies. The four ladies being in the middle of the moulinet, and directing themselves toward the left, the gentlemen direct themselves toward the right, and turn till each has again found his partner, to give her his left hand and take his place in moulinet, while the ladies accomplish in the opposite way the round which the gentlemen have just been making. When the gentlemen have found themselves twice at the sides and twice at the middle, with the right hand they take the left of their lady, and conduct her in polka or mazourka promenade. 41.-THE DOUBLE PASTOURELLE. The first four couples lead off with a tour de valse , and place themselves as for a quadrille. The first and second gentlemen, still retaining the hands of their partners, take by their left hands the two other ladies, who leave their partners in their place. In this position, the two gentlemen, holding a lady by each hand, advance and retreat during four bars, make their ladies cross in front of them, causing the one on the left to pass under their right arm. This changes the whole position, as follows: The first lady crosses over to the right of the fourth gentleman, the fourth lady crosses to the left of third gentleman, while the second lady crosses to the right of the third gentleman, and the third lady crosses to the left of the fourth gentleman. The figure is executed four times, by which means the ladies regain their original places, and terminates with a waltz. 42.-THE PLEDGES REDEEMED. The leader and his partner commence the figure by making a tour de valse ; at the conclusion of which his lady carries around a hat to some of the ladies, receiving from each a handkerchief, ring, or other article as a pledge. She then offers the contents of the hat to an equal number of gentlemen, each selecting one of the articles, and dancing with the lady by whom it was pledged. 43.-THE STAR AND CIRCLE. This is started by four couples, of which each lady selects another gentleman, and each gentleman another lady. The eight couples are arranged in two lines, the four couples in one line facing the four in the other line. The four ladies belonging to the middle couples cross right hands, forming a moulinet , and swing entirely round to the left, returning with left hands across to the right. The gentlemen all join hands and form a circle around these four ladies. The remaining four ladies now advance, giving their left hands to the right hands of the ladies composing the mou linet, forming a star of ladies, and a circle of gentlemen. The gentlemen swing round to the right under the uplifted arms of the ladies, who move in an opposite direction. At the signal, the gentlemen regain their partners and waltz to places. This figure may be varied, the gentlemen forming the star and the ladies the circle. 44.-THE POLKA IN RIGHT AND LEFT. Setting out of the first four couples, who place themselves as for the French country-dance. Two couples placed opposite each other, follow an oblique line toward the right, and the two others toward the left. In this position each makes a complete right and ]eft with its opposite, after which the ladies make a half one among themselves to change their partners. All perform a complete tour in the pas de polka , still preserving their order. When every gentleman has got back to his place with another lady, the figure is repeated with the couple on the right. At the fourth time each finds himself with his lady, and all make a general polka. 45.-THE GENUFLEXION OF FOUR. Setting out of the four first couples, who afterward place themselves as for the French country-dance. At a given signal the four gentleman put one knee on the floor, and make the ladies turn about them, as was explained in the Genuflexion. The ladies make but a single turn, after which they cross on the right hand, and give their left hand to the right of the other gentlemen to do the like in tarn. They cross a last time on the right hand, and rejoin their partners, when they finish by a promenade. To exercise well this figure, one of the most graceful of the mazourka, the moment the two first ladies have finished their traverse, the two others of the opposite party should immediately set out and cross, while the two first turn about the gentleman. By the help of these intervals the ladies do not run the risk of clashing in the middle of their course. 46.-THE CHANGE OF THE MOULINET. Setting out of five or six couples. After the promenade, all the gentlemen, without letting go the hands of their ladies, form a moulinet with the left hand and make a complete turn. At a signal given, they take the place of their ladies, turning behind and placing their ladies in front. In this position they make a complete turn the contrary way. At another signal they again change, but this time turning in front and placing their ladies behind. After this last turn the couples disperse, and terminate all by a promenade. 47.-THE ZIGZAGS. Eight or ten couples start together and place themselves behind each other, couple by couple, keeping a certain interval. Each gentleman should have his partner at his right. The first couple sets out in waltzing, and passing zigzag through all the couples to the last. The second couple then makes its way to the last, while the conductor is returning with his lady to the head of the phalanx. The conclusion is by a general waltz. 48.-THE UNDULATIONS. The four first couple set out, forming a round. The conducting couple should be in the middle of the circle and waltz at pleasure, seeking to deceive the other couples, that ought to follow all their movements without letting go hands. At a signal given, the next couple place themselves in the middle to play off the same game, while the first resume their place in the circle, and the others successively execute the figure. The conclusion is made by a general waltz. 49.-THE INCONSTANTS. The first four couples lead off with a tour de valse , and range themselves in a column, the first couple at the head. The first gentleman tarns round and gives the left arm, crossed at the elbow, to the left arm of the gentleman behind him, with whom he changes place and lady. He continues the movement until he reaches the last lady. When he has arrived at the foot of the column, the second gentleman, who is then at the head of the phalanx, performs the same figure, and so on, until all have regained their places. A general waltz terminates the figure. 50.-THE FINAL ROUND. All form a general round as in the preceding figure. The conductor and lady separate from the circle, which immediately must be reconnected, and waltz in the centre. At a signal the conductor stops, and his lady retires from the circle. He then selects another lady with whom he waltzes in the midst. At a signal he retires from the circle, the lady takes another gentleman and the same figure is repeated. When only three couples remain, a general waltz terminates the figure. 51.-THE MARCH IN FILE. The leading couple march round the room, each successive couple falling in behind them in regular order. The march is then conducted in the same manner as described on page 32. At the conclusion, the music changes to a waltz, and all waltz to places. 52.-THE MARCH IN COLUMN. The leading couple march round the room, followed by the other couples in order. The movements described under the head of "The March in Column," on page 32, are then performed, concluding with a general waltz to places. 53.-THE MARCH BY PLATOONS. This march is conducted in the manner described under the same heading on page 33; concluding with a general waltz. 54.-THE ARBOR MARCH. The movements introduced in this march are described on page 33; concluding with a general waltz. 55.-THE SERPENTINE MARCH. The leading couple lead off in a march round the room, the other couples forming in after them. The movements of the march are described on page 34; at the conclusion a general waltz to seats. Wehman's Collection of Songs, No. 1. CONTAINING 100 SONGS. A handful of earth. A warrior bold. All on account of Eliza. Are you going to the hop this evening. A violet from mother's grave. Angel's whisper. Betsy and I are out- Recitation . Biddy, the ballet girl. Be home early to-night, my dear boy. Brave huzzars. Betsy destroys the paper- Recitation . Blue bells of Scotland. Baby's got a tooth. Beautiful leaves. Betsy and I hafe bust up- Recitation . Blue Alsatian mountains. Chickens in the garden. Cows are in the corn. Charge of the light brigade- Recit . Colored hop. Camptown races. Come where my love lies dreaming. Decision in "The Gipsy's Warning." Double-breasted mansion on the square. Dar am honey on dese lips. Down in a coal mine. Drunkard's dream. Dear Irish boy. Emmet's "Mountain Song." Father Tom O'Neil. Granite mill fire. Grant's trip around the world. Grave of Wolf Tone- Recitation . Gwine to cross the river by-and-by. Garden where the praties grow. Hang up your hat behind the door. Hard times, come again no more. I can't make it out, can you? I've a baby in Kalamazoo. I don't like a cur at my heels. In de lowlands, low. Irish fair. Joe Bowers. Keep in de middle ob de road. Kitty Tyrrel. Little brown cot on the hill. Little old house on the Rhine. Let Erin remember the days of old. Lost Rosabel. Little flower you gave me. Love's chidings. Mary Ann, I'll tell your ma. Moonlight at Killarney. Mother would comfort me. Mulligan's funeral. My pretty Jane. Mary Ann McLaughlin. Mary's gone wid a coon. Mr. and Mrs. Malone. Norah, the pride of Kildare. No one to love. Oh! Fred, tell them to stop. Our Army and Navy of blue. Over the garden wall. Old fashioned church on the hill. Old fashioned homestead. On the strict Q. T. Oh! breathe not his name. Old brown pants. Old mountain tree. Our grandfather's days. O'Reilly's billy goat- Recitation . Pallet of straw. Patrick, mind the baby. Patter of der shingles- Recitation . Sadie darling. Sarah's young man. Shamus O'Brien-Recitation. Spring, gentle spring. Same thing over again. Schneider's ride- Recitation . She is far from the land. Temple of fame. There is a fine ship on the ocean. Tramp- Recitation . True Irish gents. Turnpike gate. Twickenham ferry. Twinkle, twinkle, little star. Tam O'Shanter hat. True as steel. Tar's farewell. Torpedo and the Whale. Tramp ! tramp ! tramp ! the boy are [marching. Up at Jones' wood. When these old clothes were new. Wist! Wist! Wist! White cockade. Way down upon the Suwanee ribber. Wife's dream. Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent post-paid to any address on receipt of price, Address H. J. WEHMAN, Publisher, P. O. Box 1823. 130 Park Row, New York. Wehman's Collection of Songs, No. 2. CONTAINING 95 SONGS. Angel Gabriel. Annie Lisle. A rolling stone gathers no moss. Annie of the vale. A leaf of ivy from mother's grave. A lock of mother's hair. An Irishman's letter- Comic Reading . Barney McCoy. Believe me if all those endearing young [charms. Boys of Kilkenny. Boston burglar. Boston fire. Belie Brandon. Big sun-flower. Billy Grimes, the rover. Bold Jack Donohue. Cod liver oil. Captain Jinks, of the horse marines. Close the shutters, Willie's dead. Casey's whiskey. Death of President Garfield. Drifting with the tide. Dying soldier- Recitation . Don't call in the morning. Dreamy eyes haunt me still. Don't get weary, children. Eileen, sweet Eileen. Empty is the stable, Davy's gone. Evening star. Flags of all nations. Farmer's boy. Fisherman and his child. Flying trapeze. Gentle heart be true. German fifth. Good-bye, Susan Jane. Good-bye, Charley. Give bread to the poor. God save our president from every harm. Huckleberry picnic. Hungry man from Harlem. It's naughty, but it's nice. I hope I don't intrude. I love my love in de morning. I'll bet you a dollar you don't. I'm a man you don't meet every day. In de evening by de moonlight. I will be true to thee. I'd offer thee this hand of mine. I'm the governor's only son. I've got a donkey. In the days when I was hard up. It don't belong to me. I'd choose to be a baby. I long to be single again. I wandered by the brookside. John Brown's song; or, glory, glory, [hallelujah] John Mitchel. Johnny is gone for a soldier. Just landed. Jim Bludso- Recitation . Kitty Clyde. Leave not your Kathleen. Lecture on "Demperance." Love! love! love! Let the dead and the beautiful rest. Last night I was dreaming of you. Mid-watch. Muldoon, the solid man. KcKenna's dream. Minnie, hear the bluebird sing. My sweetheart, when a boy. Never empty cradle, twins are born. Not before pa, dear. Old zip coon. Old plantation's lonely. Paul Revere's ride- Recitation . She's a gal o' mine. Squire and Maria. Sunny days will come again. Sailing on the lake. Sheridan's ride- Recitation . Strawberries and cream. That's how you get served when you're [old. Things I don't like to see. Tiddle-a-wink, the barber. True to the core. Toss the Turk. True lover's discussion. Under the window she's sleeping. Violets dipped in dew. Why did they dig ma's grave so deep? We axe coming, sister Mary. Yankee doodle. Your lassie will be true. Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent post-paid to any address on receipt of price. Address H. J. WEHMAN, Publisher, P. O. Box 1823. 130 Park Row, New York. Wehman's Collection of Songs, No. 3. CONTAINING 97 SONGS. A hundred years to come. Atheist and acorn- Recitation . Annie o' the banks o' Dce. A man's a man for a' that. A motto for every man. Beautiful dreamer. Beautiful Venice. Blue and the gray. Baby's got a cramp. Bay of Biscay, O! Boys, keep away from the gals. Bread and cheese and kisses. Bright emerald isle of the sea. Buck Fanshaw's funeral. Captain with his whiskers. Clarabel Magee. College days. Come and kiss me. Digging for gold. Don't slam the gate. Duffy's opening night. Dan Maloney is the man. Dying Californian. Days of '49. Down by the river side. Dree dousand miles away. Ellen Bayne. Fearfully and wonderfully made. Flow gently, sweet Afton. Farmer sat in his easy chair. Gentle Annie. Guilty or not guilty?- Recitation . Goat, The. Gum tree canoe. Hazel dell. I'll hang my harp on a willow tree. Is it anybody's business? Irishman's shanty. It's funny when you feel that way. Indian hunter. Indian warrior's grave. Ingleside. Irish jaunting car. John Anderson, my Jo, John. Johnny Sands. Katy's letter. Kiss me quick and go. Kate Kearney. Little old duddeen. Little Yawcob Strauss- Recitation . Little more cider. Miss Gruber's boarding house. Maggie by my side. Merriest girl that's out. Mike Brady's shirt. Mistletoe bough. Meet me at the lane. Mulligan guard. Nettie Moore. Nicodemus Johnson. Nancy Till. O'Donnel Abu. Old arm chair. Our front stoop. Pat Malloy. Patriots of Ireland. Pat Maloney's family. Pretty Jemima, don't say no. Pull down your vest. Perhaps she's on the railway. Pirate's serenade. Polish boy- Recitation . Paddy Blake's echo. Rose of Allandale. Row of tenement houses. Ring, ring de banjo. Regular army, O! Rory O'More. Spade. Stump speech. Shelling green peas. Skin-tight pants. Tipperary christening. They've all got a wife but me. Three black crows. Twinkling stars. Tapping at the garden gate. Thou art gone from my gaze. Valley lay smiling before me. Walking down Broadway. Why should the spirit of mortal be proud- Recitation . Wait till the clouds roll by. When the band begins to play. What is home without a mother? Who will care for mother now? Widow Malone. Wrongs of ould Ireland. Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent post-paid to any address on receipt of price. Address H. J. WEHWAN, Publisher, P. O. Box 1823. 130 Park Row, New York. Wehman's Collection of Songs, No. 4. CONTAINING 99 SONGS. An Irishman's toast. Apple of my eye. Arthur and Martha. Asleep at the switch- Recitation . A knot of blue and gray. Always gay and free, boys. Bear it like a man. Bootblack- Recitation . Brother's fainting at the door. Beautiful snow. Carry the news to Mary. Coney Island, down der bay. Committed to the deep. Champagne Charlie. Dearest Mae. Douglas! tender and true. Deal with me kindly. Don't say I told you. Down the hill. Deer Island, down the bay. Fat Mickey. Feel for the eyes that are weeping. Five o'clock in the morning. Get a little table. Get thee gone, girl. Get away from dat window. Human harp. Hark! I hear an angel sing. Hildebrand Montrose. I'll wait till the clouds roll by. I had but fifty cents. 'Twas not my father. In the starlight. Ivy cabin in the lane. John Armstrong. Johnny Dougherty, the tailor. Just over. Jim, the carter lad. Lackawanna spooners. Light of other days. Limerick races. Little back parlor at home. Little Maggie Ann. McCarthy's mare. Mother's fool- Recitation . Mulcahey's gone away. Man who struck my wife. My dear little friend, Louise. Miller's daughter. My poor dog Tray. My pretty Irish queen. Mother, he's going away. No Irish wanted here. Near the banks of that lone river. Nelly was a lady. New York society. Oh! take me to thy heart again. Old Grimes' cellar door. Old rustic bridge by the mill. Old Dan Tucker. Ophelia Murphy's birthmark. O! 'tis nice to have a dummy. Old Grimes is dead. Parted. Pennsylvania tramp. Portrait that hangs on the wall. Peek-a-boo. Pretty Peggy. Robin Adair. Run for the doctor. Swim out for glory. Scenes that are brightest. Since Cordelia first wore bangs. Since Terry first joined the gang. Silver slippers. Steam arm. Sweet-scented handsome young man Shah Van Voght. Same old game. Ten little niggers. To the west. Tassels on the boots. There's a light in the window for thee. Things that I'd like to see. Vagabond. Villain still pursued her. Waterford boys. When Johnny comes marching home. When the Brooklyn bridge is done. When the pigs begin to fly. Widow Machree. Wreck of the "London." Where the ivy grows so green. When this cruel war is over. White squall. Would n't you like to know. Water cresses. What the old cock sparrow said. Whistling thief. Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent post-paid to any address on receipt of price. Address H. J. WEHMAN, Publisher, P. O. Box 1823. 130 Park Row, New York. Wehman's Collection of Songs, No. 5. CONTAINING 101 SONGS. AEsthetic Mick. After the opera's over. A hundred fathoms deep. A wet sheet and a flowing sea. Ain't you awful. All among the hay. Big aquarium. Brannigan's pup. Babylon is fallen. Bell goes a ringing for Sarah. Biddy Doyle. Brannigan's hand. Battle of Fontenoy. Bowery grenadiers. Beautiful bells. Best little wife in the world. Bridget Donohue. Bugaboo. Come back to your Irish home. Cobbler's daughter. Colleen Dhas Machree. Drummer- Recitation . Death of Nelson. Dot funny lettle baby- Recitation . Dude, The- Recitation . Fast freight- Recitation . Fine old English gentleman. Finest police in the world. Flirtation O'Toole. Female barber shop. General Grant's trip around the world. Gilhooley, your coat is half-mast. Good-bye, John. Gobble song. Gold, gold, gold. Great man that Ireland has seen. Good-bye, my lover, good-bye. Hang up the baby's stocking. I'll tell nobody. I'm proud I'm an Irishman born. I must be there on New Year's day- It's a cold day when I get left. [ Rec . I'll meet her when the sun goes down. I'll take you home again, Kathleen. I'm proud I'm an Irishman's son. I was despised because I was poor. Jumbo. Johnny Morgan. Just down the lane. Jenny who lives in the dell. Jessie, the flower of Dumblane. Kerry dance. Lorena. Lancashire lass. Lovely land of dreams. Life is but a game of cards- Recitation . Maud Muller (in Dutch)- Recitation . Montgomery guard- Recitation . Man who taught her to dance. Mattie dear. Mott Street, 499. My love Nell. My love she is a fairy queen. Moonlight walk. Nobody knows the trouble I see. Nobody knows what a racket was there. New York Police Gazette. Norine Maureen. No Irish need apply. Only a pin- Recitation . Only to see thee, darling. Oh! you little darling, I love you. One more fibber for to cross. Over the neighbor's fence. Old pine tree. Pool. Poor Irish minstrel. Romance of a hammock- Recitation . Rock the cradle, John. Ship that brought me over. Stuck ou our shape. Some one to love. Speak, oh speak to me again. Tail iv me coat. They're all getting married but me. Tom Bowling. Tommy, make room for your auntie. This little plain gold ring. Touch the elbow. Up in a balloon. Up in a mulberry tree. We never speak as we pass by. Wolf at the door- Recitation . Waterfall, The. We may be happy yet. Which shall it be?- Recitation . What will you do, love? When the robins nest again. You never miss the lager till the keg runs dry. Yellow meal. Yellow-haired Nellie- Recitation . Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent post-paid to any address on receipt of price. Address H. J. WEHMAN, Publisher, P.O. Box 1823 130 Park Row, New York. Wehman's Collection of Songs, No. 6. CONTAINING 96 SONGS. A lean banana. Ah, there my size, I'll mash you. AEsthetic dude, The. Angels meet me on the cross-road. A smile was all she gave me. Art of making love, The. A boy's best friend is his mother. Be quiet, or I'll scream. Burial of Sir John Moore. Bye, bye, Baby; bye, bye. Baby and I. Baby's lullaby. Billy's dream. Bitter beer. Black Hills, The. Call me back again. Convict's dream- Recitation . Call me your darling again. Curfew must not ring to-night- Rec . Chinese song. Darling Clo'. Dandy dude, The. Down the river. Fontenoy. Father will settle the bill. Fountain in the Park. Fond memories of home. Gaily the troubador. Good-bye, Biddy dear. Greenpoint Nell. Gambler's wife- Recitation . Hash. Hurrah for old Ireland. Hoolahan musketeers. Hush-a-bye, baby. Hoops. I'll await my love. Ivy green. I'm a man that's done wrong to my [parents. Juice of the forbidden fruit. Jeanette and Jeannot. Just to please the boys. Jakey Woolfenstein. Johnny Schmoker. Kind relations. Lover's telegraph. Last farewell. Lilly Dale. Lord delivered Daniel. Love song. Mary Ann, go get the growler. Mills shut down to-day. Mr. John Malone. Mulcahey's sooner dog- Recitation . Mahoney's fenian cat- Recitation . Maniac- Recitation . Man that stole the country. March of the Cameron men. Moneyless man. Marble arch. Mother keeps the gate locked now. Nineteen hundred and one. Not for Joseph. Newhall House fire. Only a dear little flower. Oh, Mr. Flannigan. Old church bell. Over the mountain. Old plaid shawl Old village blacksmith's shop. Our Jack's come home to-day. Oh ! boys, carry me 'long. People will talk. Plumber- Recitation . Poor little soldier's boy. Pat of Mullingar. Perverted proverbs. Patrolman Mulcahey and Flynn. Price of a drink- Recitation . Raven- Recitation . Sailing. Somebody's darling- Recitation . Springtime and robins have come. Tommy Dodd. Taffy was a Welshman. Ting, ting, that's how the bell goes. Timid awkward squad. To my wife. What I would do for her- Recitation . We reap what wesow- Recitation . What I live for- Recitation . Whiskey, you're the divil. Wreck of the "Atlantic." When the leaves begin to fall. Ye merry birds. Young recruit. Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent post-paid to any address on receipt of price. Address H. J. WEHMAN, Publisher, P. O. Box 1823. 130 Park Row, New York. Wehman's Collection of Songs, No. 7. CONTAINING 94 SONGS. Animals' fair. A dollar and sixty a day. A Yankee man of war. An agricultural Irish girl. A roller-rink romance- Recitation . As I read the paper through. Burke's dream. Banks o' Doon. Bed-bug- Recitation . Betty and the baby. Barney, take me home again. Boy with the auburn hair. Beans. Candidate for alderman. Cats in our back-yard. Climbing up the golden stairs. Colored band. Call her back and kiss her. Casey's awful grub. Coal oil Tommy. Don't leave your mother, Tom. Drummer boy of Waterloo. Dream faces. Duffy, the swell. Don't you cry so, Norah darling. Erin-go-bragh. Fashionable Fred. Far, far, away. Fine old Irish gentleman. Female smuggler. Free and easy. Good ship Cumberland. Good-bye, 'Liza Jane. Gipsy Davy. Gal with the Gainsborough hat. Hush, little baby, don't you cry. Here she goes and there she goes. House carpenter. Hornet's nest- Recitation . I'll ask my mother and I'll let you know [next Sunday afternoon. Irish Wife- Recitation . I'm in jail, my love. Jockey hat and feather. Jolly Jack, the rover. Keiser, der yer rant to buy a dog? Kitty of Coleraine. Knock at the window to-night, love. Leave not your Kathleen. Little brown church. Lord Bateman and the fair Sophia. Lay my head beneath a rose. Little fraud. Lost Charley Ross. Meet me darling Kate, by the cottage [gate. My trundle bed. Masonic song. McSorley's twins. My wife is so awfully thin. Mother, is the battle over? Not much. Nelly Bly. Old bog hole. Oh! Nicodemus. Old familiar faces. Oft in the stilly night. Old turnkey. Old gray mare. Old Simon, the hot-corn man. Popsy wopsy. Please don't sell father any more rum. Peck's bad boy- Part I . Peck's bad boy- Part II Pills. Railway guard. Rover's grave. Riding on the elevated railroad. Shanty boy's song. She was as handsome as a rose. Saint Patrick was a gentleman. Shamrock shore. See-saw. Star of Glengary. That young man across the way. That sweet-scented handsome young man. Up at Dudley Grove. Up in a back room. Up-stairs, in my bed-room Venita. Watchman. Willie's on the dark blue-sea. Wind blew through his whisker. Would I were a boy again. Windy man from Brooklyn. Written in letters of gold. Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent post-paid to any address on receipt of price. Address H. J. WEHMAN, Publisher, P. O. Box 1823. 130 Park Row, New York. Wehman's Collection of Songs, No. 8. Containing 104 Songs. A Yankee ship and a Yankee crew. An Irishman's dying request- Rec . Bonaparte on Saint Helena. Bring back the old folks, Willie darling. Bonny Irish boy, The. Bright Alfarata. Banbury Cross. Baby on the brain. Belleville Convent fire, The. Banks of Newfoundland, The. Charley, he's a masher. Cartie, dear. Come back to the old home again. Comet of the West, The Conductor with the patent bell punch. Clam soup pedler's daughter, The. Dan and Teddie's parting. Dear little Colleen. Donevans, The Daschen on the Rhine- Recitation . Down by the rustic gate. Ehren on the Rhine. Eggs for your breakfast in the morning. Electric light, The. Eddie McCarty. Fenians' escape, The. Fifth Avenue. Falling leaves. Flew-y, Flew-y. Gallant Sixty-ninth, The. George Constantine McKeown. Give me back my heart again. Green fields of America, The. Her lovers- Recitation . How we tried to whip the teacher- Rec . Hebrew wedding, The. I dreamed that old Ireland was free. In the shadow of the leaves. I'll go back to the old bridge again. If I was the President. I will stand by my friend. I'll name the boy Dennis or no name [at all. Isle of France, The. In the Louisiana Lowlands. Jordan is a hard road to travel. Johnny, fill up the bowl-No. 1. Johnny, fill up the bowl-No. 2. Johnny Doyle. Jeremiah, blow the fire. Jack is every inch a sailor. Let me dream again. Lady, art thou sleeping? Let us speak of a man as we find him. Lily of the West, The. Married life. Musical wife, The. My rattling mare and I. McCarthy s boarding house. Mother's last letter to me. My bonny laboring boy. Maryland, my Maryland. Mary Blanc. 'Neath the maple by the mill. Napolitaine. Nobody's mule- Recitation . Other side of Jordan, The. Oh ! I shall call dada. Orphan boy, The- Recitation . Orphan girl, The. Old Mousquetaire, The. Once again. Oh, Fred ! the boat is turning over. Our sailors on the sea. Poor old Jesse's blind. Poor married man, The. Pretty little Mary. Paddy's curiosity shop. Paddy on the canal. Sally Mackenally. Shamrock, rose and thistle, The. Song from "Nanon." Something to tickle the girls. Sparking Sarah Jane. Silver hells of memory. Sweet Alpine roses. Shoot the hat. Sweet dreams of mother and home. Swinging on the golden gate. There's a light in the window. Tommy, make room for your uncle. Ten little injuns. Three grains of corn. Ten minutes too late. Umbrella courtship. When we meet by the old bridge again. When the circus comes to town. What is life?- Recitation . Wax-work show, The. Woman is what man doth make her- Rec . When we went roller skating. You'll miss your mother when she's gone. Yes, we all will be there. Yaller gal that winked at me, The. Yarn of the "Nancy Bell," The. Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent post-paid to any address on receipt of price. Address H. J. WEHMAN, Publisher, P. O. Box 1823. 130 Park Row, New York Wehman's Collection of Songs, No. 9 Containing 106 Songs. America's emblem, the violet Au Irish fair day Am I not fondly thine own A private still As through the park I go Beautiful angel Bobbing around Bill it kept running up higher, The Calibre fifty-four- Recitation Cold stream guards, The Cradle's empty, baby's gone Canadian boat song Coat of other days. The Come in and shut the door Cousin Jedediah Cricket on the hearth Collier's dying child, The- Recitation Down went the captain Don't forget the old folks at home Dot ole bay mule of mine Dying girl's message, The Dandy Pat Diamond ring, The Five dollar note, The God bless you, Colleen Good-bye, Mike, good-bye, Pat Gal with the terrible feet, The Good-bye, my honey, I'm gone Good night, but not good-bye Gray's elegy- Reading Give a man credit for what he has done Grandma's vacant chair He tells me he loves me How is your sister Mary Hard-back family, The Home attractions- Recitation I'm a dude I stood on the bridge at midnight I'm off for Charleston I'm a dandy, but I'm no dude Irish Colleen, The I am a masher James Bird Jim Fisk Song Knocking at the gates of Jordan Little wife Nellie Little Mag and I Love not Little Mohe Lone starry hours, The My sweetheart's family MacGregor's gathering My pretty quadroon Man the life-boat "Mikado" Songs- A wandering minstrel I Brightly dawns our wedding day Derry down derry Flowers that bloom in the Spring For he's going to marry Yum-Yum Here's a how-de-do My object all sublime Our great Mikado Sun and I, The They'd none of them be missed Three little maids from school Willow, tit-willow Mary Le More Minstrel's dream, The Making love on a bench in the park Only a workingman's child Our Yankee college boys Old-fashioned photograph of mother Old play-ground, The Pride of Mayo, The Pretty as a daisy Rosy's Sunday out Roy's wife of Aldivalloch Reuben and Rachael Rhine vine Sharley Sheeney glaziers' ball, The Schneider's little boy- Recitation Sweethearts and wives Susan's Sunday out Such fanny things are done upon the sly Skidmore guard, De Twelve stone two Too utterly utter To the song seekers That's a matter of taste Take good care of mother Talk about your Moses Take it, Bob Take back those gems you gave me Thou hast wounded the spirit that loved [thee Van Dieman's land Whisper and a kiss Where the water lilies grow We are out on the ocean sailing What can the matter be Will o'-the-wisp, The Whistling coon, The Waiting for my ship to come this way Waiting for a Broadway stage What a blessing is to have money Whispering hope Walking for dot cake You put no flowers on my papa's grave [ Rec . Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehman's Collection of Songs, No. 10 Containing 98 Songs. Always take mother's advice Angel mother waits for me All on the quiet Always do your duty, boy A norrible tale of the suicidal family Avondale disaster Araby's daughter Alice Gray A yaller dorg's love for a nigger.- Rec . Be friends with your brother again Cure for love Called away Clementine Captain Cuff Creole girl, The Dar's a new moon in de sky Dear Robin, I'll be true Empty is the dog-house, Towser's piz- [ened Early Monday morning in 1805 For one day of turkey there's six days [of hash Fanny Gray Flanigan, the lodger Flowers of the forest, The Friar of Orders Grey, The Fine old Dutch gentleman, The Good-night, but not good-bye Good evening Give me a cot in the valley I love Gold digger's lament, The Gamboling man, The His heart was true to Poll He's never done anything since High daddie It's all a matter of taste I'm awaiting my love's return I wouldn't advise you to do it I'm saddest when I sing Just plain Jim Kissing in the street- Recitation Kiss in school, The- Recitation Larry O'Gaff Lora Vale Lord Lovel Lone rock by the sea, The Last link is broken, The Laugh in school, The- Recitation Lady Franklin, The Married Maid of the mill, The Mikado McAllister Morrisey and the Russian My love she's like the red, red rose Mulligan's daughter, Nell Maid of Judah, The Minnie Clyde My mother dear Mollie dear, come then with me Malone at the back of the bar Never take the bind shoe from a mule Neil McGulligan's daughter, Mary Ann New Jerusalem, The No, sir One word would call me back again Ocean burial, The Oh, you girls Old Susquchanna, The Old country circus, The Poor old dad Penny ballads Pat's not so black as he's been painted Pretty pond lilies Poor old tramp, The Phoebe dearest Paddy Carey Rat-catcher's daughter, The Rosa Lee Some other girl shall wear the ring Sullivan and Ryan Standard bearer, The Spencer's firey slope Sparking Sunday night Sock her on her kisser Sailor's widow, The They can't keep the workingman down Trust her not, she is fooling thee There is no harm in kissing Tick ! tick ! tick ! Tell me, Mary, how to woo thee Truth in parenthis- Recitation Three sailor boys, The Vinegar shoes and paper stockings Wash me, mother dear Wreck of the Hesperus, The- Rec . White Wings Waiting at the ferry What becomes of a lie- Recitation Wake. Dinah ! wake Young Charlotte Your little Liza loves you Yes, sir Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehman's Collection of Songs, No. 11 Containing 102 Songs. A sweet face at the window American star,The A kiss from dear old mother Antony and Cleopatra- Recitation Aunt Jemima's plaster Ballinamuck brigade Britannia reigns supreme Brave old oak Bridal ring, The Bruce's address to his army Blind boy's lament, The Bryan O'Lynn Buceannier's bride Broken-hearted milkman, The Come, sit by me, mother Captive bird's complaint, The Child's prayer, The Clap your hands till daddy comes home Does your mother take in washing Don't die an old maid Dearest spot on earth to me is home Don't you hear the builgine Fellow who stole my wife Fairy boy, The Goot lager bier, De Go it while you're young Grandmother's birthday Homeward bound In other respects we are doing quite [well I had $15 in my inside pocket Irish stranger, The I'm going to fiat tait Siegel Irish brigade, The Irish potheen I'll marry no man if he drinks I'm a broken-down man Jock o' Hazeldean Joe Hardy Johnny, get your gun Kitty, the baby and I Lass o' Gowrie, The Little old red shawl my mother wore Last hymn, The- Recitation Little octoroon Little hero, The My home by the deep rolling sea McCormack, the copper Mary Ann O'Holahan Dowd Mary Aileen My Nannie, O Miss Fogarty's Christmas cake Maryland, my home Manilla boy, The My mother's grave Mouse traps, a penny, who'llbuy Mother dear, write to your boy My moustache is growing Money My love is a Zou-zu Molly, put the kettle on Noble Knights of Labor, The Never go back on the poor Nora Creina Oyster maid, The On old Long Island's sea-girt shore Over the Jasper sea On the beach at Long Branch Och ! Paddy, is it yerself Oh, mamma! oh, mamma! oh, mamma 'Ostler Joe- Recitation Oh, bring me but my Arab steed Poor old horse, let him die Peanut stand, The Quilting party, The Raging canal Remember poor mother at home Root hog or die Rataplan Shall we know each other there She wore a wreath of roses Spot where I was born, The Sea, the sea, the open sea, The Sammy Slap, the bill sticker Soap fat man, The Since Maggie learned to skate Seeing New York sights Standing on the platform Thou art gone, but not forgotten That's where you make the mistake That hired girl- Recitation Three maids of Lee To show my respects to McGinnis They can't do it, you know Will my darling come again What I heard an old mind say Woman, lovely woman Wreck of the Haddingtonshire We fought in the same campaign Washington, star of the West What I'd like to know When 'tis moonlight Ye parliaments of England Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States or Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehman's Collection of Songs, No. 12 Containing 91 Songs. Any tinware to mend Alderman of the ward, The A soldier and a man Because she ain't built that way Bill Mason's ride- Recitation Bad whiskey- Recitation Chestnut bell, The Come along, my darling Cove rot spouts, The County jail Cast one little thought for me Captain Dwyer Cracksman's chant, The Cunard dock, The Cow that ate the piper, The Dying boy's request, The Don't blame the mother Drop the pink curtains Did you notice it Dat watermillion growin' on de vine Dream no more Darling Mignonette Down in Mobile Duck-foot Sue Excelsior- Recitation Far away from horne and mother Fifty miles under the sea Faster you pluck them the thicker they [grow, The German fun at Union Hill Golly, ain't I wicked Gideon's band Gathering the myrtle with Mary Hamtown base ball club Her own boy Jack Hail to the Statue of Liberty I'm only going out for the beer I could tell it if I felt it in the dark I'm not asleep Irish-American tea Jack's yarn Katy Drew Katy Ryan Little old mud cabin near the bogs, The Live, my love, oh, live Life's lot Little Eva to her papa Mr. Finagan My father sould charcoal Maureen Mavourneen My love beyond the sea Man that couldn't get warm, The Mountaineer's farewell My friend from Chicago Not married yet Never trust a nigger with a gun Owen Reilly Oh, George, tell me if you love me One penny portion Oh, love, will you be mine Package of old letters Please give me a penny, sir Polly Perkins of Washington Square Petticoat lane Remember, boy, you're Irish Remember me to all at home Remember that the poor tramp has to [live Swim out, you're over your head Sweet heather-bell She's the image of her mother in a 1000 [different ways Swinging on the old rustic gate Sarah Walker Simple Simon She'd have her way or die Shivering and Shaking out in the cold Something sweet to think of S. O. T. Something for the babies Scanlan's rose song Two little ragged urchins That's what puzzles the Quaker Trust to luck Where can the wanderer be Wreck of the Princess Alice, The Warrior's grave, The Winking at me Why Paddy's always poor What do you think of it Whiskers on the moon Widow McCarthy, The Whistler, The- Recitation You'll never miss your mother till she's [gone Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehman's Collection of Songs, No. 13 Containing 93 Songs. Australian exile, The America beats them all America A patch from my angel brother's pants A thousand years, my own Colombia 'Prentice boy Broken-stringed banjo that hangs on [the wall, The Bacon and greens Battle of Ball Run, The Barney, come home Brave boys are they Cumberland's crew, The Captain de Wellington boots Cod-fish balls Cabin with the roses at the door Can you, then, love another Christmas tree Clara Nolan's ball Dunderbeck's machine Dreaming of mother's angel face Dot leedle German band Dorkins was tight Don't put my father's picture up for [sale Embarrassment Ellsworth avengers Foot-print in the sand, The Foot-prints on the snow First time in twenty-four years, The Good-bye, lovely Lea God knows what we'll do before we die Grecian bend Ham-fat man, De Home once more, or remembrance of [home Henry Green, of Troy Hoist up the flag He said I said I'se gwine to weep no more It's enough to knock any one out Johnny, take it easy John, my boy, remember me John Bull Keep one little thought for me Lively flea, The Letter that never came, The Lost chord, The Light-house by the sea Must we leave the old home, mother Murrissey and Heenan fight My mother's wedding ring Maiden's vow, The Maguinness guards, The Miss Maloney on the Chinese question [ Rec . Molly Brallaghan McCarthy's silver wedding My heart is sad to-night Mr. and Mrs. Snibbs No sect in heaven- Recitation Norah, asthore Never take no for au answer Other arrangements O'Donnell, the avenger Oh, take me home to die Organ-grinder, The Plodding through the rain Paul Jones Paddy Maggie's dream Papa, come home Papa's footsteps Rollicking rams, The Since my mother's dead and gone Squinty Dan Sweet Summer roses Save my mother's picture from the sale Spitz dog, The Soldier's dream Style in which it's done, The There's a smile waiting for me at home They told me not to love him There she blows That's what's the matter with Hannah They all have a mate but me Two or three strings to my bow Upper and lower ton thousand Up went the price Vat's de brice of peans, Jake Why didn't you say so before Where is my wandering boy to-night Widow McGee Who stole the ham When you've got money You know vat I know You mustn't believe all you hear Yellow-haired laddie, The- Rec . Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States or Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehman's Collection of Songs, No. 14 Containing 92 Songs. Allan, O'Brien and Larkin, or the [Manchester martyrs All for money Assassination of Ellsworth Ah, there! stay there Alabama again A smart little bit ov a man Adam's ale American drinks Belle of Baltimore Billy Johnson's ball Black flag, the Crossing o'er de ribber Jordan Cushlamachree Castlebar boy, The Chicago police patrol, The Der Deitcher's dog Day I walked against O'Leary, The Eight years in Cherry Hill Flora Belle Far away Gems of old Ireland Ghost of Benjamin Binns, The Green mossy banks of the Lee, The Girl I left behind me, The God save Ireland Gal with a rogueish eye, The He'll be back bye-and-bye Have you seen Yum-Yum How I miss those little footsteps Home rule for Ireland Hat me father wore, The Heaven's my home Hungry boarding house, The It's hard when you can't trust a friend I kissed her under the parlor stairs I'll return bye-and-bye Is Maud in I haven't for a long time now I would not die at all If your foot is pretty, show it I would not die in Spring time If I only were a pretty little fly I would like to do it, but can't I'm a bum I've wandered by the hut side I would not die in Winter time It's English, you know If I was the man in the moon I shall never make a gentleman of you, [John Letters we carved on the tree, The Let my name be kindly spoken Land League band, The Leader of the band, The Little Meg and I- Recitation Letter came at last, The Lessons learned at a mother's knee Mrs. McLaughlin's party McGonigle's game dog- Recitation My queen No, never can thy home be mine Oh, no, certainly not Oh, my heart bleeds for old Ireland Oh, Moses, ain't it cold Origin of the harp, The Once in a while Over the hills to the bar-room One parting word, dear mother Orphan boy's lament, The Old red cradle, The Oregon gypsv girl, The Our flag is there Peggy O'Moore Patrick's day parade, The Patrol wagon, The Rock-a-bye, baby Riding on the cable cars Sweet dreams of Erin Song of the farmer Spree, The Three perished in the snow Thine, still thine Telephone, The That's the idea, exactly Under the daisies Ungrateful son, The When Bridget goes out on a mash Why do you coldly greet me Wedding of Ballyporeen, The Woman's tongue will never take a rest What a friend we have in Jesus We ought to be thankful for that Write a loving letter to your mother Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehman's Collection of Songs, No. 15 Containing 90 Songs. Absent-minded man, The As long as the world goes round Alonzo, the brave, and fair Imogine 'Way down in Maine Accent on, The A letter from Ireland All's well Angels ever bright and fair Army bean, The Botany bay Barbara Fritchie- Recitation Blarney The Barney Brallaghan Belle of avenue B, The Before and after marriage Buffalo gals Becky Miller- Recitation Creep into bed, my baby Clock on the wall, The Charleston earthquake, The Cork leg and James' crinoline, The Constantinople countess, The Dot beautiful Hebrew girl Dese bones shall rise again Dutchman's slate, The Dollars do the business every time Der shoemaker boy Donnybrook fair Friendship- Recitation Gal with the Balmoral, The Go, get a derrick and hoist it Hallelujah band, The Here's to the maiden of bashful fifteen Hall to the chief It's dudish, you know 'Twill all come out in the wash In the window a light I can see Ill-fated Huron, The I like it, I do I saw Esau kissing Kate Irish brigade, The-No. 2 It's nice Joys that we've tasted Just a little sunshine King of the Cannibal Islands Little Ah Sid Lovely Nell Look with thy fond eyes upon me My mother's old slipper My old scarlet coat My own sweet Nelly Bawn Man that couldn't get cool, The Mother, home and heaven Michigan, my Michigan Many happy returns of the day Mrs. Higgins' parlor floor Nelly Brady Old willow cradle, The Old church of my childhood, The Old-fashioned girl, The Outcast, The O, fair dove, o, fond dove One black sheep will never spoil the [flock Pat O'Hara Patter of the rain Queen of all flowers, The Rory of the hill- Recitation Scotch brigade, The Spree song, The Shall I ever see my old home any more Sheffield apprentice, The Sleep well, thou sweet angel Striker and his son, The Ta-ra-rum There's a little vacant chair There's nothing surprising in that There's no love like the love of a [mother U-pi-dee Wedding march, The While the blue laws are in force When you and I were boys Wrecked and saved We smile and speak as we pass by Who'll be an old man's darling Write me a letter from home Who's dat calling so sweet Woodstock bridge disaster, The Water mill, The You'll get there all the same Yes, we'll write you a letter from home Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States or Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehman 's Collection of Songs, No. 16 Containing 89 Songs. A flower I found in mother's bible American statues, The Alpine maid, The And so say all of us Boulanger's march Boss tramp, The- Recitation [mother's grave Bold privateer, The Bringing pretty blossoms to strew on Bye-low, baby bunting (Howard's [cradle song) Brigham Young Bismark guard, The Chestnut Green from wayback Come to my arms, precious darling Chewing gum Celebrated speech of Robert Emmet, Caroline of Edinburgh town Convivial man, The Come along, sinners Colleen Bawn Damsel that I longed for never came Dying cowboy's lament, The Don't go out to-night, Joe Dougherty's boarding house Dar's a lock on the chicken-coop door Dogs' meat man, The Down in dot restaurant Down among the coals Flying your kite too high First she would and then she wouldn't Green hills of [Erin, The Give me a house that's haunted Gala on the avenue Grecian Statues, The Grandmother's clock Home by the wave I am happy when you're near me I wonder what will happen next I'm so shy It didn't surprise me at all I have something sweet to tell you I cannot sing that song to-night I'm seventy-two to-day I'se a Methodist 'till I die Just to make a change in business all [around Just as of old Kitty Wells Light-house keeper, The Life of a soldier in the U.S. Cavalry, Let my people go Maid of sweet Gorteen, The My sweet little blossom Miss Maloney's growler Meet me to-night McCarthy's fancy ball Mamma's black baby boy Miner's life, The My Dutch girl's name Man with the terrible gaul, The Miss Julia Mariner's grave, The Monitor and Merrimac, The Names we should never forget Nobody's business but your own Oh! share my cottage Old oaken bucket, The Only remembered by what I have done Only a ringlet of hair Old street lamp, The Old King Cole Old red barn, The Patrick Riley Poor little newsboy, The Railway Guide, The Softly now, tenderly, lift him with care Spanish cavalier, The See where she goes, my own Sophia Simon, the cellarer She shook der dailor Sister Mary walked like that, pit-a-pat That's all Tom, if you love me, say so Two new sports in town Terry O'Rann Under the Moon Will the roses bloom again? When business picks up in the Fall Wreck of the Southern Pacific Express You know [Train at Tehachapi Pass Years have come and passed away You can do it, if you want to Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent by mail, post-paid, to any address on receipt of price, Address Henry J. Wehman, Publisher, [P.O.Boc 1823.] 130 Park Row, New York. Wehman's Collection of Songs, No.17 Containing 101 Songs. America is good enough for me America still ahead Annie, who played the banjo A button-hole bouquet A hundred years ago A girl's best friend is her lover A sad love story- Recitation Benny Havens, Oh! Blue glass Boy from County Clare, The Biddy Toole Bloated young aristocrat, The Copper and the cook, The Controllin' influence of drink, The Charlie's little dog- Recitation Don't count your chickens before they [are hatched Day we celebrate, The Danube river, The Drunk again Don't leave your father, Kate Ellsworth's body lies mouldering in [the grave Emmet's "Lullaby" Faire belle Farewell, my own Gipsy's warning, The German home upon the Rhine, The Harp that once thro' Tara's halls, The It makes a man feel like a fool I'll give you one more as you go Ireland will yet be free I believe it, for my mother told me so Irish volunteer, The Irish schoolmaster, The I never can forget I'm all broke up to-day It's all a matter of time I'm the father of a little black coon Is there no message here for me? Ireland I wish I was a fish I'm going to have my name above the [door Is my darling true to me? Johnny, get your hair cut Jesse James Jane O'Malley Kind words can never die Keystone Brigade, The Let her go, Gallagher! Let her go, Gallagher! (topical version) Little brother, Joe Lula Wall Lula Is gone Love among big noses Let's be gay Let me hug her for her mother Mary Ann Maggie, the cows are in the clover Maid of Monterey Meek and lowly May be you do, but I doubt it Mother, I was not to blame Mamma's baby boy My heart's in the highlands Minstrel boy, The Many changes have I seen On the beach at Long Branch Oh, how delightful! Out in the cold Out of work Pretty little Flora Poor old Jeff Put by for a rainy day Poor old slave, The Par excellence Papa's coming, bye and bye Rocked in the cradle of the deep Robert Emmet Shells of ocean She might have licked McCarthy Supposing Somebody's Mother - Recitation Song of the haymakers Saturday night, when the bar-room's [full Sunny hours of childhood Sunshine will come again Tell mother I die happy That big beaver hat Tidings of comfort and joy There's millions in it Three angel visitants, The Tom Collins is my name That's pretty good, what next? What shall we name the baby? Watcher The Wait 'till the bull-dog dies, Jennie When Ireland has an army and navy [of her own Will watch What do they care about that? What Norah said You'll remember me You'll never know a mother's'love [again Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States or Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehmans's Collection of Songs, No. 18 Containing 98 Songs. A mark from my angel mother's shoe A tress of baby's golden hair A man to knock Sullivan out Beauty of Limerick Bring back my bonnie to me Barney, the lad from Kildare Base ball- Recitation Boyne Water, The Bunch of shamrocks Dreaming of the loved ones Don't whisper no Dear little duck of a girl Dear harp of my country Donnelly and Cooper Dot stapporn pony- Recitation Death of Sarsfield, The Day we went tobogganning, The Farewell, farewell, my own true love From the cradel to the grave Give me back your smiles again Give an honest Irish lad a chance Hi! waiter, a dozen more bottles Hebrew clothing drummer, The Huldy Ann, how is your mother? I owe ten dollars to O'Grady It's all over now with the ladies I forgot In the gloaming I did it It's funny what lager will do Ireland's sword and shield If we only had our way Irish philosopher, The- Recitation Justine, you love me not Kathleen, my darling Killarney Little boy blue Little bright eyes watching for me Live on my heart and pay no rent Letter that came too soon, The Little Fishermaiden, The Little stars won't tell, The Larry's on the force- Recitation Limerick Races Lannigan's ball My bewitching Nell lvly daughter, Rachael Mr. Levy's doter Maid of Erin, The Me be like mellican man My Nellie's blue eyes My cot beside the sea My dear Savannah home Never push a man when he's going [downhill Only a girl- Recitatian Only an outcast, forsaken by all Old black Joe Out of the frying pan into the fire Over the hills and the valleys Old village bum, The Our stylish boarding house Puzzled census- taker- Recitation Pretty little Tommy with a squeak Pins and needles Please spare that old home Poor Robinson Crusoe Pickin' on a harp Puzzled Dutchman, The- Recitation Put on de golden sword Poor old Ned Rocky road to Dublin, The Song that will never die, The Song that reached my heart, The Sheeny glazier Song of all songs Some day Stand by your mother, Jack Sally Jones, the cook Ship that never returned, The That's my girl Three Little maids from school, parody Talmage's "Night side of life in New [York" Tickler.The There friends that we never forget Tim Finnigan's wake There never was a coward where the [shamrock grows Where is Kathleen? Will my robin come again? When we ran with the old machine What Biddy said in the police court- [ Recitation Whole hog or none Wearing of the green, The Wild Irish boy, The Walking mania, The When Muldoon is mayor Your mother's the bestfriend you've got Young man who used to live over the [way Price 10 Cents For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehman's Collection of Songs, No.19 Containing 103 Songs. As I sat upon my dear old mother's [knee An American's toast A little knot of blue A soldier to-night is our guest A pretty little baby to dandle on your [knee A whiff of the pipe Broken playthings on the floor Blue and the gray, The Be kind to the motherless child Boodle, The Baby that never came, The Constitution and Guerriere Call brigade, The Carrie Lee-.No. 1 Carrie Lee-No. 2 Drill, you terriers, drill Don't come in the parlor 'till the [company goes away Dorkhins' night Drinktug with Daniel Maloney Don't leave me, laddie Dear Italian girl Down by the old abbey ruin Dude, The- Recitation Don't shut out the sunlight mother Don't take the children from me Duncan Gray Evicted. Fellow that plays the kazoo, The French flats Grandnmther's garret Gladiator, The- Recitation Gliding up the stream Gilhooly's supper party Grandpa's donkey Hie away, ole Satan Honor thy father and mother How sweet the name of mother Hamlet's soliloquy on death- [ Recitation Hello! bab-by If the twinkling stars could tell I'll be true, love, to you Isn't that an awful shame? Ivy leaf, The Irene, good-night I'll await your smiling, face I wonder what they're springing on us [now I'm a jolly little fellow Judge Duffy told me so John L. Sullivan, the champion Jumbo, the elephant Kutchy, kutchy, coo Keep your eye on it Lullaby, from "Erminie" Little sister's gone to sleep Letter from over the sea, The-No. 1 Letter from over the sea, The-No. 2 Mrs. Grogan's boy My dad's dinner-pail My love's returned again Mister Dooley's geese Miller's song, The Man who never tumbled, The Ma's baby- Recitation Marguerite My old Kentucky home Maloney, the rolling mill man Never to meet again Nothing else Old fashioned cot in the lane, The Our brave little Volunteer Old doorstep, The Only a blue bell Orphan boy, The One of the bravest O'Hara, get the gag One pair of black eyes Piggy-back Papa, come home to your darlings Poor little newsgirl, The Postal card that never came, The Pretty Mary, the dairyman's daughter Remember, you have children of your [own Ring dat golden bell Red-haired girl and the near-by white [horse Rock and rye crazy She's the gawkiest gawk of them all Spray of four-leaved clover Sarah Jane's relations Sailing home to knell Safely rocked in mother's arms Steak that never came, The Sour grapes Side by side, the old folks sleep Sweet love, good-night to thee Soldier's song, from "'Erminie " That's not English, you know They all love Jack They're not asleep There's something in the cradle Twenty years ago- Recitation What the dickey birds say, from "Er- [minie" Wreck of the Alpena You're born, but you're not buried yet Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States or Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Welman's Collection of Songs No. 20 Containing 110 Songs. Adam and Eve Anchored A sister's lullaby At last A scentless rose All among the barley Angels took mama, The Bid me good-bye and go Ballyhooley Baby's footsteps on the sill Baby show, The Banks and braes o' Bonnie Doon Black Maria, O, The Bachelor's hall Be sure you're right, then go ahead Boys of the Bowery pit, The Bring back my sailor boy Brigade at Fontenoy, The Click of the latch, The Coon dat got de shake, De Dan O'Brien's raffle Do what de good book tells you Don't do this and don't do that Dear father, come down with the [stamps Dick Darlin', the cobbler Grandfather's darling Good-night request, The Glasses mother wore, The Golden wedding, De-No. 1 Golden wedding, The-No. 2 Garryowen Hail, Jerusalem, hail Hail Columbia Hear dem bells Her wedding night Hungry at somebody's door High born liver Daniel Hasten, sweet maiden, to me Harp, or Ireland's resurrection, The It's home, sweet home I'll never have her back again If the man in the moon could only [speak In a little fisher village I'll dance upon your grave I never can forget you I couldn't help laughing, it tickled me [so I likes a drop of good beer I'm flying high Tis folly to be wise Isht Mr. Dinglebender home? I've only been down to the club Ketch on Keyhole in the door, The Let us part friends Love, let your heart be faithful Listen to my tale of woe Little queen of May Little darling, I'll be true Letter that was written long ago, The Let me die with my face to the foe Lassie who loves but me, The Let's make a little home for the old [folks My dear old Irish home Maple on the hilt, The Meet a coon to-night Man, poor man My little tot's high chair Mother's locks of snow Major Gilfeather Many can help one Man that struck O'Hara, The My dandy cigarette Old step stone, The On Union Square Only a rose from mother's grave Oh! Molly Grogan Old and only in the way Old Rosin, the bean Red, white and blue Rocking the baby Remember mother's lessons when a [child Sam Devere's dream Star-spangled banner The Songs that we sing Some day I'll wander back again Sweet Jennie Bell Sweet bye-and-bye, The Slavery days' Some mother's boy That doesn't go for a cent True Irish hearts There's no one like mother to me Toboggan slide. The Tell me you are mine Two orphans, The There was a jolly miller Viva l'America Virgin, only nineteen years old, The Waiting. waiting, waiting When his mother-in-law's at home When yo' heah de big bell fine, When baby smiles in her sleep Waiting at the window When Nelly was raking, the hay Washington's grave Widow in the cottage by the sea, The Won't you dance with me, love Washing-day Wedlock is a ticklish thing You'll hear the bells in the morning Price 10 Cents. For sate by all Booksellers and Newsdealers in the United States and Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehman's Collection of Songs No.21 Containing 93 Songs. Auld Lang Syne Annie Laurie A dark and roguish eye Bring back my fisher boy Big and little of it, The Convict and the bird, The Come, haste to the wedding Carry me back to old Virginny-No. 1 Carry me back to old Virginny-No. 2 Cat's-meat man, The Casey's boarding house Come home, father Don't run down the Irish Dear little hands Dotlet ou the "I "The Dennis Grady s hack Drinane Duhn Drink to me only with thine eyes Did he get there? Day our mother died, The Father's last words to me Factory girl, The Fish-ball musketeer, The Father's come home Gypsy maid Grandfather Brian Hash, my baby Bunting How happy I could be with either Harbor lights, The Hibernia's lovely Jean Handy Andy Hush ! don't wake the baby Henrietta Pye Happy birds His funeral's to-morrow He's all right I've paid the $10 to O'Grady I wonder how long it will last. If the waters could speak as they flow I built a bridge of fancies I hope it don't happen again Is your mamma well? I never saw a saw saw like this saw [saws I wouldn't if I could Is marriage a failure? Just arrived from Harrisburg Judy McCarty Jakey, de butcher boy Kind, loving faces at home, The Let baby sleep Life in the army Lawn tennis Mother's letter My soldier boy Mistress Jinks wife of Captain Jinks Mill will never grind again with the [water that has passed Madam Duvan Man that knew the actors, The New York Base Bail Club Now 1 come to think of it Never in the wide, wide world Nancy No, 'tis not true Only a picture O whistle, and I'll come to you, my lad Our own boy, Jack Over there Old golden locket my mother used to [wear On board the Mary Jane Oh! write me a song of my father Picture on the wall, The Pictures of home Paddy Whack Pat and the priest Razzle, dazzle Songs I heard at home, The She's waiting on the quay Signor McStinger Save enough to send for me Saving it all for Mary Ship on fire, The Swiss boy, The True as the stars above That melody divine Thy name was once the Magic spell With all her faults I love her still When we sit in the president's chair We've both been there before, many a [time When the roses bloom in Spring When the Springtime flowers bloom Wait rib the tide comes in What a stunning pair of legs Why do Summer roses fade? Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States or Canada, or will be sent by mail, post-paid, to any. address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehman's Collection of Song No. 22 Containing 96 Songs. Am I right? Across the bridge he goes All on account of a woman Baby mine 'Neath the old maple tree Blonde that never dyes, The Broken pitcher, The Baby's prayer Bernard Reilly Can you tell me the reason why? Close to it Cry baby, cry baby Dimpled cheeks and laughing eyes Don't let it worry you Evening Telegram, The Ella Rhee Farewell, Marguerite Finnegan's masquerade Gently down the stream of time Give me a man of honest heart Good-bye, dearest heart Growler that never came, The How much would you give to find [out?- Rec . Here lies an actor Hannah's done stuck on a coon Happy times passed and gone away He's all right when you know him Harp of the wild wind I do feel so awfully loose I will return again I'd like to be a swell If I were a millionaire I left my love I was in it, fairly in it I doubt if it ever occurs Jamsetjhee Just a little Kerrigan's masquerade Let it be soon List to the convent bells List'ning for his coming step Little one's at home, The Larboard watch Little maid of Arcsdee List to the thrush My last cigar Magee's back yard McGinty, king of the rink Molly Flynn Mister Nobody McMullen, the squire Mrs. McCarthy's party My Magee Must we forever part? Mottoes that are framed upon the wail Near it Oh, let it be soon Old cabin home Old love and the new, The Once was enough for him Old granite state, The Pigs' head wid cabbage and praties Put a headstone over poor mother's [grave Raffle for Monaghan's stove Save a sunny smile for me Something a woman can do Scissors grinder, The Sally in our alley Such an education has our Mary Ann Spare the old homestead Scanlan's swing song Sweet love, be true to me Sheriff's sale, The T'ootsy wootsy To be there Terrance McMullin Terrible tragedy There isn't a law to prevent it That innocent kid Turn down the light That's where the laugh comes in Two lovely black eyes Uncle Jeff's return Villain never harmed her, The What did they ever do to get there? We've both been there before, many a [time (Sam Devere's) Waiting World is coming to an end, The Where mother is is home When mother puts the little ones to [bed Where's the white horse? Women of the day Won't you buy my pretty flowers? Where did you get that hat? You and I, love You'll have to be up with the times Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent by mail, post-paid, to any address on receipt of price Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. Wehmans's Collection of Somgs No. 23 Containing 95 Songs. Actor's dream. The As long as the world goes round A stitch in time saves nine Barney's courtship Be-eutiful Bill Bully old borse Call me darling once again Ching, ching Casey at the bat- Recitation Can you, sweetheart, keep a secret? Doncherknow Down upon the banks of Tennessee Day I first played ball, The Did you ever hear a girl say no? Eily Mavourneen From the source to the sea Grandfather's clock Give 'em string and let 'em went Girl of the period, The Go to sleep my baby girl Gal what I calls mine Good old friends of my youth Hello! Riley Hello, sweet "49!" He went glimming He's in the asylum now Hodman's lament, The Hattie May I'm a chappie from over the wattah I cannot see where it comes in Ill-gifted ring I went with him; or, my pal, Jack I do not watch alone Immenseikoff; or, the central toff I love him more than I can say I'll come back, my darling, to thee, Juliana Phebiana Constantina Brown Jack won't forget you Kate's secret Killaloe Kathleen Mavourneen Let each man learn to know himself Later on, later on Last sweet words of mother, The My pretty red rose My favorite, my queen My heart is sad to-day Mariner's daughter Michael Dwyer Mud Run disaster, The Martha, the milkman's daughter Meet me in the lovely twilight Mr. Bob Fubbs; or, the love chase Milwaukee fire, The McNally's row of fiats Never encourage the men Nancy Lee Nobody knows Old hats and rags O'Donnell, the avenger Oh! if I had some one who'd love me On yonder rock reclining On the sea Old musician and his harp, The Postage stamp flirtation Pretty little pigs in clover Prodigal son, The Paddy Shay Sweet forget-me-not Sandy-haired Mary in our area See that my grave's kept green She danced like a fairy Spare that old mud cabin Sam Devere's latest Song I'll ne'er forget, The Since Kate learnt how to play Sweet rose of dawn Some girls do, and some girls don't Snowy strands among the jet Since my daughter plays on the type- [writer Tilt skirt, The They cannot keep the working girls [down town Tit for tat There's no such girl as mine True as the stars that are shining Travelling man from Boston, The What a fool you would be to believe [her We've a million in the field Where was Moses when the light went [out? Whoa, Emma! When the robins nest again (parody) When Jamie comes over the sea When other friends are round me We'll raise de roof to-night Wreck of the "City of Columbus." Price 10 Cents. For sale by all Booksellers and Newsdealers in the United States and Canada, or will be sent by mail, post-paid, to any address on receipt of price. Address Henry J. Wehman, Publisher, [P. O. Box 1823.] 130 Park Row, New York. WEHMAN'S IRISH SONG BOOK PRICE 25 CENTS. This Book contains all the most popular Comic and Sentimental Irish Songs and Ballads of the Emerald Isle. This is the neatest, best, and most complete Book of Irish Songs and Ballads thus far published. It contains 138 Irish Songs and Ballads , and many of them are not to be found in any other book of its kind. We will enumerate a few of the Songs contained in this book, namely: Angel's Whisper-Donnelly and Cooper-The Blackbird-Bonny Bunch of Roses-Barney McCoy-Bingen on the Rhine-Father Tom O'Neil-Girl I Left Behind Me-Green Mossy Banks of the Lee-Killarney-Land League Band-O'Donneil Abu -Manchester Martyrs-Napoleon's Dream-Nell Flaugherty's Drake-O'Donnell, the Avenger-One Pound Two-Poor Pat Must Emigrate-Rory O'More-Patrick Sheehan-Shamus O'Brien, Recitation Soggarth Aroon -Star of Glengary What Will You Do, Love?-True Lovers' Discussion -Wedding of Ballyporeen Valley Lay Smiling Before Me-Pretty Maid Milking Her Cow-Willy Reilly-God Save Ireland-Lather and Shave -Home Rule for Ireland-Banks of Brandywine-Dear Irish Boy-Erin's Green Shore-Come Back to Erin-Wearing of the Green-Paddy is the Boy-Lay Me on the Hillside-I Left Ireland and Mother Because We Were Poor-Irish Girl-Young Dermot and Bridget Molloy-No Irish Need Apply- and 95 other equally popular Songs. This book will be sent to any address, by mail, post-paid, on receipt of TWENTY-FIVE CENTS. Clean and unused Postage Stamps, of any denomination, taken in payment for goods same as cash. Or will be sent to any address on receipt of price, by HENRY J. WEHMAN, Publisher, 130 PARIK ROW, NEW YORK THE WITCHES DREAM BOOK AND FORTUNE TELLER PRICE 25 CENTS. Old Arrah, the Queen of witches, was the most noted Gypsey of modern times. She gives you the Key to Unlock the Future, and makes every person their own Fortune Teller, with this book you can tell your own or any person's fortune far better than any Astrologer, Clairvoyant, or Medium can. It foretells exactly what will happen you. It gives the Hindoo Secrets of Love , how to Manage, what to Say and Do to gain the love, the heart and hand of the person you desire to marry. It given the Art of Telling Fortunes by the Lines of the Hand. It contains the old witches' dictionary of dreams, so you can Interpret any Dream as soon as you hear it. It gives you a Charm to Protect you from Danger. It teaches you how to know the Sex of Children Before Birth; to know how soon you will Marry, and what Fortune you will have; who your future Husband, or Wife will be; the Lover's Charm or old Witches' True Method of Telling Fortunes by the Grounds of a tea or coffee Cup; to know if your Love of a person will be Mutual; Fortune Telling by Cards. It tells your Lucky Days; What you will be Successful in; What your Absent Husband or Wife is Doing; What your Future Destiny is ; Whether your Wife, Husband or Intended is True to you; Whether you will ever Marry; Whether Money will be left to you; Whether your Marriage will be Happy; How to be Successful in your Love Affairs; the Number of Wives or Husbands you will Have; Whether you will be Wealthy. It teaches how to make the Magic Dream Rose and the Witches' Dream Chain; How to Read your Fortune by the White of an Egg; How to Write Love Letters Secretly, so that they may not be discovered; How to Converse to any person without Speaking. It teaches you the Leaves of Destiny, with Directions for Consulting the Sibyl. The Success of your Future may depend on your reading this great book, for it will guide you to Prosperity and Riches. The old Witch can bring you Good or Evil Fortune. Don't spurn her, and you can Control others and Find Lost or Hidden Treasures. She is Powerful. Remember, this wonderful book will be sent to any address, post-paid, on receipt of 25 Cents. U. S. Postage Stamps taken in payment same as cash. Special -Five Books for One Dollar, Get four of your friends to send with you and get your own book free. Liberal Discount to the Trade. Address all orders direct to HENRY J. WEHMAN, 130 Park Row, New York City. AUNT SALLY'S POLICY PLAYERS' DREAM BOOK, PRICE 15 CENTS. With this Book you have a Sure Guide to Lucky Dreams and Lucky Numbers. It gives you the True Interpretation of Dreams, and also the Numbers of the Lottery to which they Apply; Good Combinations to Play; Significations of Cards Dreamed of, and their Numbers; Combination Table for Saddles, Gigs and Horses; Table for Lucky Numbers; Numbers of Dreams of the Months; for the Days of the Weeks: The Oraculum, or Napoleon Bonaparte's Book of Fate; the Method of Working the Questions; the Oraculum Table; In fact this book gives all the sure signs. You can find out by any of these sure systems, from this book, whether you will be rich or poor, lucky or unlucky; whether you will get expected money, lovers, clothes or any other article that you may set your mind upon. Do you dream of love or gold, or of friendship, of foes, or of life or death? This book will explain everything clearly to you. You can tell your own fortune from its pages, without consulting any living fortune teller. This book will be sent to any address, post-paid, on receipt of price. Liberal Discount to the Trade. Address all orders direct to HENRY J. WEHMAN, 130 Park Row, New York. THE COMPLETE LETTER WRITER PRICE 25 CENTS. This is the first time that a book has been published that plainly teaches how to write a letter. It shows clearly all the blunders, and mistakes apt to be made by an inexperienced writer, and makes manifest in the simplest way the proper method of avoiding and rectifying such blunders and mistakes, whether they occur in the spelling, the punctuation or the grammar. This book explains all the details of correspondence, whether relating to the form, the penmanship, the directing, folding and sending of a note or a letter. There are in this book valuable hints about Love, Courtship & Marriage showing in what style lovers should indite epistles. There are given all the various letters that arise in the course of business: Asking of money, requesting time, enclosing remittance, asking assistance, reasons for refusal, from tenants to landlords on different subjects. with landlords' replies. Then- and this is a very important feature -there is shown the legal importance of a letter; and explanations are given upon the exact meaning of expressions used in writing, that may be brought into court in litigations. It also contains the art of abbreviating writing, so that any one can, with practice, write with the rapidity of the shorthand writer. In fact, the following persons all require the book: Young ladies and young gentlemen, wives and husbands, widows and bachelors, farmers of traders, the sick and the well, soldiers and sailors, mothers and fathers, daughters and sons, gives and receivers of presents, the educated and the illiterate. But it would take page after page to begin to enumerate all the different classes to whom "The Complete Letter Writer" would prove an invaluable companion. There is nothing worth knowing in any other letter writer not to be found here, while there are many things of importance here not to be found in any other book. Notwithstanding all these good points it is only Twenty-Five Cents a Copy and is sent at that price, postage paid, to any part of the United States or Canada. Special-Five copies of the above Book for One Dollar. U. S. Postage Stamps taken in payment same as cash. Get four of your friends to send with you and get your own book free. Liberal Discount to the Trade. Address all orders direct to HENRY J. WEHMAN, 130 Park Row, New York City. FUN AND MYSTERY! Endless Amusement for only 30 Cents, Have you seen it? The greatest collection of Games, Puzzles, Tricks, Songs, Riddles, &c., ever offered for anything like the money. AMUSEMENT FOR A WHOLE SEASON, for old or young. Our NEW BUDGET contains the following: Heller's Trick Cards. 11 Puzzles (Illustrated). 100 Popular Songs. 75 Riddles. 50 Conundrums. 2 Love Letters. Cure for Scandal. Guide to Flirtation. Office Rules and Regulations. Game for Evening Amusement. Rules for Love Making. 250 Motto Verses. Game of Fortune Telling. 18 Shadows on the Wall (Illustrated). Illustrated Rook of Curiosities (48 Pages.) ALL FOR 30 CENTS. in One or Two Cent postage stamps, by mail, post-paid. Two packages for FIFTY CENTS, or Five for ONE DOLLAR. SEND AT ONCE and get the greatest bargain ever offered. Send all letters to HENRY J. WEHMAN, Publisher, [P.O. Box 1823.] 130 Park Row, New York. WEHMANS'S SELECTION OF POPULAR RECITATIONS PRICE 25 CENTS. CONTENTS. Asleep at the switch Arab s farewell to his steed Annie and Willie's prayer A yaller dorg's love for a nigger Antony and Cleopatra A roller-rink romance Battle of Fontenoy Beautiful snow Bingen on the Rhine Bridge Barbara Frietchie Base Ball Curfew must not ring to-night Charge of the Light Brigade Der patter of the shingles Dying Californian Dot stupporn pony Dorkins' night Der baby Dot baby off rome Dying soldier Daschen, on the Rhine Excelsior Fast freight Guilty or not guilty Gambler's wife Gladiator How the gates came ajar Hornest's nest Home attractions I must be there on New Year's Day I would not live alway Irish philosopher Jim Bludso Last hymn Leedle Yawcob Strauss Life is but a game of cards Level and the square Lips that touch liquor must never touch [mine Laugh in school Little Meg and I Moneyless man Mule stood on the steamboat deck Maniac Mother's fool Maud Muller in Dutch Miss Maloney on the Chinese question Mahoney's Fenian cat No sect in heaven Nobody's mule Nobody's child Old man in the model church O'Reilly's billy goat Over the hills to the poor-house Old sayings Old oaken bucket Only Joe Only a girl Polish boy Please don't sell my father rum Raven Richmond on the James Rory of the hill Romance of a hammock Sheridan's ride Somebody's darling Somebody's mother Schneider's ride Song of the shirt Smack in school Shamus O'Brien Schneider's little boy Twenty years ago Tramp That hired girl Virginius Wolf at the floor Why should the spirit of mortal be proud Which shall it be What I would do for her What is life What became of a lie Wreck of the Hesperus What I live for When McGee's Nine played the Mets We reap what we sow You put no flowers on my papa's grave Yarn of the Nancy Bell This Book will be sent to any address by mail, post-paid, on receipt of price Liberal Discount to the Trade. Address all orders direct to HENRY J. WEHMAN, 130 Park Row, York City, SONGS One Cent Each. 1 Baby mine 2 Such all education has my Mary [Ann 3 Auld Lang Syne 4 Ella Ree 5 Old cabin home 6 Little ones at home 7 Old black Joe 8 Home, sweet home 9 Larboard watch 10 Many call help one 11 Killarney 12 See that my grave's kept green 13 Grandfather's clock 14 Emmet's "Lullaby" 15 The harp that once thro' Tara's [hall 16 My country, 'tis of thee 17 Sweet forget-me-not 18 Where was Moses when the light [went out 19 Nancy Lee 20 Write me a letter front home 21 Beautiful isle of the sea 22 Old folks at home (Suance ribber) 23 Come back to Erin 24 Sweet bye-and-bye 25 My pretty red rose 26 Whoa, Emma! 27 Katie's secret 28 You'll remember me 29 Rocked in the cradle of the deep 30 Kathleen Mavourneen 31 I dreamt I dwelt in marble halls 33 Wearing of the green 34 When you and I were young [Maggie 34 Cottage by the sea 35 We parted by the river side 36 When I saw sweet Nellie home 37 Sweet spirit, hear my prayer 38 Last rose of Summer 39 Shamus O'Brien 40 The exile of Erin 41 Maggie's secret 42 Or any other man-Stump speech 43 I cannot call her mother 44 Would I were with thee 45 Poor old slave 46 Casey social club 47 The Cumberland's crew 48 Take this letter to my mother 49 A model love letter 50 Female stratagem 51 How to kiss a lady 52 Dublin bay 53 The wife's commandments 54 The husband's commandments 55 Rules for bummers 56 The little old log cabin in the lane 57 Barbarie Frietchie- Recitation 58 Marching through Georgia 59 When I was a lad-Pinafore 60 The widow in the cottage by the [sea 61 Dancing in the barn 62 Fire in the grate 63 Wandering refugee 64 Blue-eyed Nelly 65 Minstrel boy 66 Letter in the candle 67 Star-spangled banner 68 Dancing on the green 69 Heart bow'd down 70 Take back the heart 71 The watermill- Recitation 72 Faded coat of blue 73 Hold the fort 74 Slavery days 75 Der mule shtood on de steamboat [deck 76 Little barefoot 77 My old Kentucky home, good- [night 78 Home again 79 Thou art so near and yet so far 80 Sword of Bunker Hill 81 Office rules 83 Gray hairs of my mother 82 Good Rhine wine 84 I'll be all smiles to-night, love 85 You've been a friend to me 86 Listen to the mocking-bird 87 When the corn is waving, Annie 88 She never blamed him, never 89 Silver threads among the gold 90 Little robin, tell Kitty I'm coming 91 Ring the bell softly, there's crape 92 Boy lost (laughable) [on the door 93 Her bright smile haunts me still 94 Sunday night when the parlor's [full 95 Gipsy's warning 96 Anchor's weighed 97 Moon behind the hill 98 Swinging in the lane 99 Sheridan's ride- Recitation 100 We met, 'twas in a crowd 101 Eilleen Allanna 102 'Tis but a little faded flower 103 Touch the harp gently, my pretty [Louise 104 Girl I left behind me 105 Little Buttercup 106 His sisters, cousins and aunts 107 Carry be back to old Virginny 108 Roses underneath the snow 109 Kitty Wells 110 Billy's appeal to his ma 111 When the swallows homeward fly 112 Old man's drunk again 113 Two orphans (Brooklyn theatre 114 Amber tresses tied in blue [fire) CAUTION.-No less than 10 of these Songs sent by Mail. Order Songs by their Numbers Only. 241 Kentucky Rose 242 Farmer's daughter 243 Oh, dem golden slippers 244 In the morning by the bright light 245 Nobody's darling 246 Poor, but a gentleman still 247 Somebody's mother- Recitation 248 Birdie darling 249 Nobody's darling but mine 250 Rock me to sleep, mother 251 Put my little shoes away [drops fall 252 Darling Nelly Gray 253 Somebody's coming when the dew 254 I left Ireland and mother because [we were poor 255 Little brown jug 256 Ben Bolt 257 Good-bye, sweetheart, good-bye 258 Erin is my home 259 Katty Avourneen 260 Sadie Ray 261 Bard of Armagh 262 Hush, my darlings, do not weep 263 Patrick's day parade 264 Poor Pat must emigrate 265 Speak to me, speak 266 Darling, I will come again 267 Bright-eyed little Neil of Narra- [ganset bay 268 Hail, Columbia 269 Little footsteps 270 Tim Finnegan's wake 271 McDonnel's old tin roof 272 Scotch lassie, Jean 273 Hat me father wore 274 Banks of sweet Dundee 275 I've only been down to the club 276 Dance me on your knee 277 Kiss me again 278 Emmet's "Love of the shamrock" 279 Vacant chair 280 Sweet sunny South 281 Our good ship sails to-night 282 Jersey Sam 288 Come home, father 284 Little Maggie May 285 Cackle, cackle, cackle 286 Mollie Bawn 287 Maid of Athens 288 Sallie in our alley 289 I'm sitting on the stile, Mary 290 Poor old Ned 291 Dorkins' night 292 Man in the moon is looking, love 293 When the flowing tide comes in 294 Don't give up the old friends for [the new 295 Broken down 296 Marriage bells 297 Have t not been kind to thee? 298 Flowers will come in May 299 Awfully clever 300 My little one's waiting for me 301 I'll go back to my old love again 302 Butcher boy 303 There's somebody waiting for me 304 Are you there, Moriarity? 305 I'se gwine back to Dixie 306 Bidalia Jane McCann 307 Isle de Blackwell 308 Where are the friends of my [youth? 309 Singing on the roof 310 Five cent shave 311 Hen convention 312 Red, white and blue 313 Old oaken bucket 314 Little sweetheart, come and kiss [me 315 My dream of love is o'er 316 They all do it 317 Old home ain't what it used to be 318 Wait till the moonlight falls on [the water 319 Linger not, darling 320 'Tis evening brings my heart to [thee 321 American National Guard 322 Johnny's so bashful 323 Daisy Dean 324 I wish mamma was here 325 Pulling hard against the stream 326 Dancing in the light 327 What is it? 328 There never was a coward where 329 Love letters [the shamrock grows 330 Delia Clancy 331 The tramp 332 Lamentation of Johnny Reel 333 Roll on, silver moon 334 When McGuinness gets a job 335 Give an honest Irish lad a chance 336 Down among the daisies 337 Down by the old mill stream 338 Do not heed her warning 339 Battle cry of freedom 340 Home rule for Ireland 341 Riding on the elevated railroad 342 When McCormick rules the State 343 Sweet chiming bells 344 Levi Kassiday 345 I want to see the cotton fields 346 Waltz with me 347 Meet me by moonlight alone 348 Do they miss me at home? 349 Lather and shave 350 Happy be thy dreams 351 Take it in 352 Stokes' verdict (Jim Fisk song) 353 Lardy dab 354 De golden wedding 355 My mother-in-law 356 What should make thee sad my [darling 357 The dear Italian girl 358 Banks of Brandywine 359 Old, and only in the way 360 Six feet of earth 361 Write a letter to my mother 362 Yellow rose of Texas 363 When my ship comes in 364 One pound two 365 We have met, loved and parted 366 Bummers' hotel 367 I'm getting a big boy now 368 I shall never be happy again 368 Soldier's farewell 370 Old kitchen floor 371 Sweet Belle Mahone 372 My dear Savannah home 373 Billy Barlow 374 Wild Irish boy 375 Dwendy-seven cents 376 A starry night for a ramble 377 Locked out after nine 378 Whip-poor-will's song 379 Day when you'll forget me 380 You'll miss me when I'm gone 381 Son of a gambolier 382 Golden stair 383 Your little Liza loves you 384 American boy 385 You get more like your dad every [day 386 Barney McCoy 387 Razors in the air 388 Sallie Horner 389 Willie Reilly 390 Sweet Aleen 391 Old sexton 392 Pull down the blind 393 Do they think of me at home? 394 Tell me where my Eva's gone 395 Barbara Allen 396 The 'longshoremen's strike 397 Bonnie, sweet Bessie, the maid of [Dundee 398 Bathing song 399 Carrie Lee 400 One wide river to cross 401 Moon is out to-night, love 402 Devil's in New Jersey 403 Rambler from Clare 404 Pretty little blue-eyed stranger 405 Faded flowers 406 Dark-eyed sailor 407 Rose of Killarney 408 Cot in the corner 409 Boys, keep away from the girls 410 Phantom footsteps 411 Bonny bunch of roses 412 Pat Roach at the play 413 Doran's ass 414 Banks of Claudy 415 What are the wild waves saying? 416 Her front name is Hannar 417 Sweet Evelina 418 Behind the scenes 419 Gospel raft 420 Don't put the poor working man [down 421 Cruiskeen lawn 422 I had but fifty cents 423 I'm leaving now the old folks 424 Irish Molly, O! 425 Ring, my mother wore 426 The blackbird 427 Little cherry blossom 428 Wist, wist, wist 429 A violet from mother's grave 430 Nelly Ray 431 Maggie darling, now good-bye 432 Rise it, Rielly 433 Meeting of the waters 434 Wait for the turn of the tide 435 Old farm gate 436 Oh, Fred! tell them to stop 437 McDonald's return to Glenco 438 Mantle so green 439 Uncle Tom's lament 441 Mary Ann, I'll tell your ma 442 Old-fashioned homestead 442 Emmet's "Mountain song" 443 Old-fashioned church on the hill 444 A handful of turf 445 Beauty of Limerick 446 Mrs. Brady's daughter 447 Mary's gone with a coon 448 Twinkle, twinkle, little star 449 In happy moments 450 Hi Jenny, ho Jenny Johnson 451 All on account of Eliza 452 Emmet's "I know what love is" 453 Down in a coal mine 454 Drunkard's dream 455 Joe Bowers 456 There's a fine ship on the ocean 457 Put me in my little bed 458 Little old house on the Rhine 459 Stolen kisses are the sweetest 460 Der brave huzzars 461 Little old log cabin by the stream 462 Paddle your own canoe 463 Within a mile of Edinboro' town 464 Gate's ajar 465 Arkansaw traveller 466 Grant's trip around the world 467 Old leather breeches 468 Rocky road to Dublin 469 Turnpike gate 470 Little old German home across [the sea 471 Beautiful girl of Kildare 472 Baby's got a tooth 473 My poor heart is sad when it's [dreaming 474 Pallet of straw 475 Low-back'd car 476 Your lassie will be true 477 In de evening by de moonlight 478 When these old clothes were new 479 Up at Jones' wood 480 Boston burglar 481 The Campbells are comin' 482 You never miss the water till the [well runs dry 483 Bonnie Eloise 484 River Roe 485 Murder in Cohoes 486 Poor little Joe 487 Along the Kansas line 488 The banjo now hangs silent on the [door 489 Wait till the clouds roll by 490 Over the garden wall 491 I'm a man you don't meet every [day 492 Blue Alsatian mountains 493 Charming young widow I met in [the train 494 Black-eyed Susan 465 Spanish cavalier 496 Grave of Bonaparte 497 Old dog Tray 498 Juanita 499 Moonlight on the lake 500 Mabel Clare 501 All that glitters is not gold 502 Marseilles hymn 503 God save the Queen 504 Rolling home in the morning 505 If ever I cease to love 506 Cheer, boys, cheer 507 Dixie's land 508 Mother says I mustn't 509 Fellow that looks like me 510 Watch on the Rhine 511 A lock of mother's hair 512 Stop dat knocking at de door 513 Virginia Rosebud 514 Red robin 515 Gospel train 516 We won't go home till morning 517 Lottie Lee 518 Who's at my bedroom window? 519 I have no home 520 It's nice to be a father 521 Won't yon tell me why, robin? 522 Only to see her face again 523 Kingdom coming 524 Barney O'Hea 525 Teddy O'Neal 526 Man with the sealskin pants 527 Medicine Jack 528 A leaf of ivy from mother's grave 529 Keep in the middle of the road 530 Lannigan's ball 531 Lula is gone 532 An Irishman's toast 533 Village blacksmith 534 Naughty Clara 535 Dying nun 536 When the leaves begin to turn 537 Larry O'Brien 538 Mother kissed me in my dream 539 I'll hang my harp on a willow tree 540 Dying Californian 541 Grandmother's birthday 542 Come where my love lies dreaming 543 Pop goes the weasel 644 Monkey's wedding 545 Mary had a little lamb 546 Wait for the wagon 547 The cork leg 548 Uncle Sam's farm 549 My old wife and I 550 I'm so lonely 551 Only as far as the gate 552 Peek-a-boo 553 Moonlighi at Killarney 554 I'll wait till the clouds roll by 555 We never speak as we pass by 556 Tipperary christening 557 Be hone early to-night, my dear [boy 558 Old rustic bridge by the mill 559 Paddy Magee's dream 560 Dreaming of home and mother 561 Shall we know each other there? 562 Jolly Irishman 563 Folks that put on airs 564 Rosalie, the prairie flower 565 If I bad but a thousand a year 566 Fisherman and his child 567 Swate Castle Garden 568 In the gloaming 569 Bring me back the one I love 570 Spider and the fly 571 A warrior bold 572 Tar's farewell 573 In her little bed we laid her 574 Dark girl dressed in blue 575 Separation 576 Pitcher of beer 577 Neil McGulligan's daughter 578 Nobody knows what a racket was 579 It's a cold day when I get left 580 Alice, where art thou? 581 Meet me, Josie, at the gate 582 Jessie at the railway bar 583 Ada, with the golden hair 584 Streets of New York 585 Courting in the rain 586 I'm dying for some one to love me 587 Is that Mister Reilly? 588 Let my name be kindly spoken 589 Dar's one more ribber for to cross 590 Napoleon's farewell to Paris 591 Poor old Mike 592 Good-bye, my lover, good-bye 593 A life on the ocean wave 594 I am dreaming 595 Gypsy Countess 596 She's as good as gold 597 Watchman, tell us of the night 598 Shoo, fly! don't bother me 599 Ten thousand miles away 600 Give my love to all at home 601 Mygel Snyder's party 602 Increase of crime 603 Ship on fire 604 Josephus Orange Blossom 605 Oh! Susannah 606 Old Bob Ridley 607 Bonnie blue flag 608 Nell Flaugherty's drake 609 John Barleycorn 610 Rules for love-making 611 Land League Band 612 Down by the old abbey ruins 613 Glorious 69th 614 Old willow cradle 615 Funny old gal 616 Religious card player 617 Paddy's the boy 618 Teddy McGlynn 619 Lads who live in Ireland 620 Worn-out sailor 621 Mott street, 449 622 Limerick is beautiful 623 Seven out 624 Let me kiss him for his mother 625 Pretty lips 626 Sullivan's boot in my eye 627 Villikins and his Dinah 628 Captain with his whiskers 629 A knot of blue and gray [down 630 Foley's hotel 631 I'll meet her when the sun goes 632 Never take the horseshoe from the [door 633 Woman, lovely woman 634 Napoleon's dream 635 When the robins nest again 636 Oh! you little darling, I love you 637 Just down the lane 638 Call me back again 639 Milwaukee fire 640 One of the finest 641 Over the mountain 642 Bell of the ball 643 Farmer's boy 644 When Jack comes home again 645 Hush-a-bye, baby 646 Where the ivy grows so green 647 Bridget Donahue 648 Down the hill 649 My Nellie's blue eyes 650 Ragged coat 651 Kitty Kimo 652 Little darling, dream of me 653 Juice of the forbidden fruit 654 Minute gun at sea 655 Some day 656 Sour krout 657 Don't give the name a bad blace 658 Racketty Jack 659 John Brown song 660 Tramp, tramp, tramp 661 A dollar fifteen cents [wake the baby 662 Roger O'Malley 663 Don't make a noise or else you'll 664 Bring back my bonnie to me 665 Belleville convent fire (Illinois) 666 I'll await my love 667 Hard times come again no more 668 Mulcahey's gone away 669 Nineteen hundred and one 670 Colleen Dhas Machree 671 Only to see thee, darling 672 Blue bells of Scotland 673 A boy's best friend is his mother 674 That's how you get served when 675 Dear little innocent things 676 Mother, I've come home to die 677 Just before the battle, mother 678 Down in a diving-bell 679 Kissing through the bars 680 Skipper and his boy 681 Young man from the country 682 I'll be dar 683 The midshipmite 684 Eleventh Regiment N. G. S. N. Y. 685 Naughty, naughty, men 686 Naughty naughty, girls 687 New coon in town 688 Will a monkey climb a tree? 689 Bold sogar boy 690 Heenan and Sayers 691 Come, landlord, fill the flowing [bowl 692 Sally come up 693 Sea king's burial 694 One-horse open sleigh 695 Baby show 696 Swim out for glory 697 Jessie Green 698 Duffy's grand open night 699 I'm a dude 700 Run for the doctor 701 Climbing up the golden stairs 702 My good-looking man 703 How a married woman goes to [sleep 704 I'm off for Baltimore 705 Bright little spot on the ocean 706 I tickled her under the chin 707 Lakes of Cold Finn 708 My Newmarket coat 709 He will come with the flowers of[May 710 Ten years in Cherry Hill 711 Maloney's the man [deep 712 Ship that never returned 713 Why did they dig ma's grave so 714 How much does the baby weigh? 715 A mother's watch by the sea 716 Uncle Bill's dream 717 Some day I'll wander back again [and-bye 718 High-water pants 719 Every day will be Sunday bye- 720 I'll send you down a letter from [the sky 721 Paddy stole the rope 722 Duffy, the swell 723 Not much 724 Don't leave your mother, Tom 725 Pretty little dark blue eyes 726 A rolling stone gathers no moss 727 Dream faces 728 Wind blew through his whiskers 729 Good-bye to my Southern sunny [home 730 Pretty little rosy cheeks 731 Knock at the window to-night, [love 732 Hard up 733 Forgive and forget 734 Captain Mishler 735 Butterfly dude 736 Bowery on Saturday night 737 Leaf by leaf the roses fall 738 Let me like a soldier fall 739 Enniskillen dragoon 740 Papa's baby boy 741 I ain't as young as I used to be 742 The Dreatnought 743 See-saw 744 What's in a kiss? 997 My bonny laboring boy 998 The dawning of the day 999 Wreck of the "London" 1000 The song that reached my heart 1001 The Scotch brigade 1002 I owe $10 to O'Grady 1003 I'm the father of little black [coon 1004 Where is Kathleen 1005 Waiting, waiting, waiting 1006 Maloney, the rolling mill man 1007 Dan O'Brien's raffle 1008 Just a little sunshine 1009 As I sat upon my dear old [mother's knee 1010 A letter from Ireland 1011 I'm going to have my name above [the door 1012 Judge Duffy told me so 1013 Man, poor man 1014 When baby smiles in her sleep 1015 Songs that we sing 1016 Listen to my tale of woe 1017 Meet a coon to-night 1018 Copper and the cook 1019 Bring back my sailor boy 1020 Where the sparrows and chippies [parade 1021 Old boss Barry 1022 Midnight squad 1023 Isabelle St. Clair 1024 Dont run down the Irish 1025 From the cradle to the grave 1026 The little fishermaiden 1027 You know 1028 Up went the price 1029 Honor thy father and mother 1030 Marguerite 1031 Bid me good-bye and go 1032 I'm so shy 1033 A button-hole bouquet 1034 I forget 1035 She might have licked McCarty 1036 Love, let let your heart be faithful 1037 Sunshine will come again 1038 Baby that never came 1039 I like it, I do 1040 It's funny what lager will do 1041 Isn't that an awful shame 1042 Ring dat golden bell 1043 Gems of old Ireland 1044 Jesse James [the way 1045 Young man that used to live over 1046 We've both been there before 1047 Now I come to think of it 1048 I paid the $10 to O'Grady 1049 With all her faults I love her still 1050 Dear little hands 1051 Just across from Jersey 1052 Salvation army, oh 1053 Four 'eleven forty-four 1054 Family overhead 1055 I wonder how long it will last 1056 Charleston Blues 1057 Major Gilfeather 1058 Boodle 1059 That's an old gag with me 1060 Valley lay smiling before me 1061 Little hedge school 1062 Old feather bed 1063 I never drink behind the bar 1064 McNally's row of flats 1065 I'll wear the trousers, oh 1066 Strolling on the sands 1067 Mulberry Springs 1068 Good-bye, my honey, I'm gone [dark 1069 Plum pudding 1070 I could tell it if I felt it in the 1071 Let Erin remember the days of [old 1072 Here lies an actor 1073 Mister Dooley's geese 1074 Ten thousand miles away on the 1075 Mother's last letter to me 1076 Pat and his little brown mare 1077 Water-cresses 1078 She lives on Murray Hill 1079 Eileen, sweet Eileen 1080 Hurry, little children, Sunday [morn 1081 My little side door 1082 It showered again 1083 The market on Saturday night 1084 Other arrangements 1085 Haul de wood pile down 1086 As we wander in the orange grove 1087 Drill, ye tarriers, drill 1088 Piggy-back 1089 Only a blue belt 1090 Little boy blue 1091 Where the sweet magnolia grows 1092 Old black crow 1093 Heigh, ho! lingo Sally 1094 Hunt the Buffalo [white horse 1095 Red-haired girl and the near-by 1096 Let her go, Gallagher 1097 Massa's wedding night 1098 Old barn floor 1099 Bridal march 1100 Slavery's passed away We will send 10 of the above songs, your selection, post-paid by mail for 10 cents; 50 for 80 cents, and 100 for 50 cents. Remember we will not send less than 10 of these Songs by mail. We will send the Sheet Music of any of the above Songs, arranged for the piano, words and music combined for 40 cents each, or three for $1.00. Postage stamps taken same as cash. We are selling a large number of these Songs and you can do well to order 100 or 500 and sell them to your friends and neighbors; most every person will buy from 10 to 25 Songs at a time. You can make large profits; as we add other Songs, you can sell to the same persons over again. You Call make money in the evenings. Try a lot and you cannot fail to make money. SPECIAL OFFER! We will send the entire lot for $4.00. DON'T write the names of Songs; give the numbers only. Address HENRY WEHMAN 130 Park Row, New York. THE WITCHES' DREAM BOOK AND FORTUNE TELLER Old Arra, the Queen of Witches, was the most noted Gypsey of modern times. She gives you the Unlock the Future, and makes every person their own Fortune Teller. With this book you can tell you or any person's fortune far better than any Astrologer, Clairvoyant, or Medium can. It fortells what will happen you. It gives the Hindoo Secrets of Love, how to Manage, what to Say and Do the love, the heart and hand of the person you desire marry. It gives the Art of Telling Fortunes Lines of the Hand. It contains the old Witches' Dictionary of Dreams, so you can Interpret any Dreams soon as you hear it. It gives you a Charm to Protect you from Danger. It teaches you how to know Sex of Children Before Birth; to know how soon you will Marry, and what Fortune you will have your Future Husband or Wife will be; the Lover's Charm, or old Witches' True Method of Telling Fortune by the Grounds of a Tea of Coffee Cup; to know if your Love of a person will be Mutual; Fortune by Cards. It tells your Lucky Days' What you will be Successful in: What your Absent Husband or is Doing; What your future Destiny is; Whether your Wife, Husband or intended is True to you will ever Marry: Whether Money will be Left to you; Whether your Marriage will be Happy. be Successful in your Love Affairs; The Number of Wives or Husbands you will Have: Whether be Wealthy. It teaches how to make the Magic Dream Rose and the Witches' Dream Chain: your Fortune by the White of an egg; How to write Love Letters Secretly, so that they may covered; How to Converse to any person without Speaking. It teaches you the Leaves of Destiny Directions for consulting the Sibyl. The success of your Future may depend on your reading this book, for it will guide you to Prosperity and Riches. The old Witch can bring you Good for Evil Fortune. Don't spurn her and you can Control others and Find Lost or Hidden Treasures. She is Powerful. PRICE TWENTY-FIVE CENTS, by mail, post-paid, to any address. THE COMPLETE LETTER WRITER This is the first time that a book has been published that plainly teaches how to write a letter. It clearly all the blunders and mistakes apt to be made by an inexperienced writer, and makes manifest the simplest way the proper method of avoiding and rectifying such blunders and mistakes, whether occur in the spelling, the punctuation or the grammar. This book explains all the details of correspondence, whether relating to the form, the penmanship, the directing, folding and sending of a note letter. There are in this book valuable hints about Love, Courtship and Marriage, showing in what lovers should indite epistles. There are given all the various letters that arise in the course of Asking for money, requesting time, enclosing remittance, asking assistance, reasons for refusal, tenants to landlords on different subjects, with landlords' replies. Then-and this is a very feature-there is shown the legal importance of a letter; and explanations are given upon the exact measure of expressions used in writing, that may be brought into court in litigations. It also contains the Abbreviating Writing, so that any one can, with practice, write with the rapidity of a shorthand In fact, the following persons all require this book: Young ladies and young gentlemen, wives husbands, widows and bachelors, farmers and traders, the sick and the well, soldiers and sailors, and fathers, daughter and sons, givers and receivers of presents, the educated and the illiterate. He would take page after page to begin to enumerate all the different classes to whom " The Complete Writer " would prove an invaluable companion. There is nothing worth knowing in any other writer not to be found here, while there are many things of importance here not to be found in any book. Notwithstanding all those good points it is only TWENTY-FIVE CENTS A CO. and is sent at that price, postage paid, to any part of the United States or Canada. WEHMAN'S IRISH SONG BOOK Contains all the most popular Comic and Sentimental Irish Songs and Ballads of the Emerald Isle. This is the nearest, best and most complete book of Irish Songs and Ballads ever published. It contains Songs and Ballads, and many of them are not to be found in any other book of its kind. We will enumerate a few of the Songs container in this book, namely: Angel's Whisper-The Blackbird-Bonny Bunny Roses-Barney McCoy-Bingen on the Rhine-Donnelly and Cooper-Father Tom O'Neil-Girl I Left Me-Green Mossy Banks of the Lee-Killarney-Land League Band-Manchester Martyrs-Nell drake-Napoleon's Dream-O'Donnell, the Avenger-O'Donnell Abu-One Pound Two-Poor Par Emigrate-Patrick Sheehan-Rory O'More-Shamus O'Brien, Recitation-Soggarth Aroon-Star of Gleng Smiling Before Me-Pretty Maid Milking Her Cow-God Save Ireland-Home Rule for Ireland-Lather a Shave-Banks of Brandywine-Dear Irish Boy-Erin's Green Shore-Come Bark to Erin-Wearing of Irish Girl-Young Dermot and Bridget Molloy-No Irish Need Apply-and 95 other equally popular So This book will be sent to any address by mail, post paid, on the receipt of TWENTY-FIVE CENT Clean and unused Postage Stamps, of any denomination, taken in payment for goods same as cash. Address all orders to HENRY J. WEHMAN, Publisher, 130 PARK ROW, P. O. Box 1823. NEW YORK.