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Frontispiece. 



col 

wjD A N 



C I N G 



AS AN ART AND PASTIME. 



BY 



EDWARD SCOTT, 

AUTHOR OF 

"DANCING AS IT SHOULD BE," "DANCING AND DANCERS; 

OR, GRACE AND FOLLY," ETC. 



d£*k 




LONDON : 
GEORGE BELL AND SONS, YORK ST., COVENT GARDEN. 

1892. 

[Ail rights reserved.] 



Richard Clay & Sons, Limited, 
London & Bungay. 



THE LIBRARY 

BRIGHAfl YCUiNG UNIVERSITY 

PROVO, LTAH 



PREFACE. 

The purpose and plan of the present volume are set forth 
in the introductory chapter ; but it seems only right that I 
should express my thanks to those pupils who have been 
kind enough to aid me in illustrating the various attitudes 
that may or may not properly be assumed in dancing. If 
the positions described as good appear in some cases to 
fall short of the ideal of perfection, it should be remembered 
by those disposed to be hypercritical, that there is a great 
difference between assuming a difficult attitude momentarily 
in dancing, and remaining in one without movement, 
sufficiently long for even a rapid photograph to be taken. 
It was found that in this case a really instantaneous process 
would be impracticable, and many good negatives of groups 
were spoilt through a slight movement on the part of one 
of the subjects. Beyond this, the work of reproduction 
necessarily involves a slight loss of detail. 

I should mention that the original photographs, from 
which the plates herein have been reproduced by the 
Kensington Art Reproduction Company, were taken by 
Messrs. Mayall and Co., of Brighton. 

The various short pieces of music to be found in the work 
are, as explained in the third chapter, not put forward as 
specimens of composition. They are merely arranged so 
that each note is played in exact coincidence with some step 
or movement, the nature cf which is indicated by the sound. 
Subject to these conditions I have endeavoured to make 
them as melodious as possible. 



vi PREFACE. 



Expression has been given to a conviction that, with the 
present rapid advance of culture, the day cannot be far 
distant when dancing will resume a recognized position 
among the fine arts, and be generally taught and studied in 
its higher phases, like music and painting ; when it will once 
more form an essential and important branch of education, 
as it did long ago in ancient Greece; when proficiency 
of performance among amateur dancers will again com- 
mand admiration, as in our own Elizabethan era. The 
greatest philosophers and deepest thinkers of all ages, from 
Plato to Herbert Spencer, have looked upon dancing as a 
subject not unworthy of their attention. The latter would 
indeed seem to regard dancing, even in its purely social 
aspects, as something more than a frivolous pastime, for in 
speaking of the aesthetic sentiments in his Principles of 
Psychology ', he says : " The feelings from time to time received 
along with perception of graceful movements were mostly 
agreeable. The persons who exhibited such movements 
were usually the cultivated, and those whose behaviour 
yielded gratification. The occasions have usually been 
festive ones — balls, private dances, and the like." 

There has unfortunately been of late a tendency to sub- 
stitute the practice of mere gymnastic exercises for dancing 
lessons at schools. But such exercises, however useful they 
may be for developing the frame, will never suffice to give 
that ease and grace of bearing which result from the practice 
of those beautiful movements of the body and limbs that 
properly belong to the art we are about to consider. 



Edward Scott. 



17, Compton Avenue , 

Brighton. 



CONTENTS. 



CHAP. frAGE 

I. INTRODUCTORY I 

II. ADVICE TO PUPILS CONCERNING INSTRUCTION IO 

III. DANCING TO MUSIC l8 

IV. THE FIVE POSITIONS AND THEIR MODIFICATIONS 22 

V. ON NATURAL AND ARTIFICIAL MOVEMENTS, WITH 

PREPARATORY MUSCULAR EXERCISES 31 

VI. STEPS AND MOVEMENTS USED IN DANCING, 

WITH EXERCISES FOR PRACTISING THE SAME 41 

VII. RULES OF GRACEFULNESS TO BE OBSERVED BY 

THOSE WHO WOULD BECOME GOOD DANCERS 7S 

VIII. SPECIAL EXERCISES TO PROMOTE GRACEFULNESS 

IN MOVEMENT AND POSTURE 93 

IX. ORNAMENTAL AND SOLO DANCES IIO 

X. DANCING AS A PASTIME 120 

XI. STYLE IN DANCING 129 

XII. QUADRILLES OR SET DANCES 1 36 



viii CONTENTS. 



CHAP. PAGE 

XIII. A DESCRIPTION OF MOVEMENTS AND EXPLANA- 
TION OF TECHNICAL TERMS USED IN QUADRILLE 

DANCING 141 

XIV. MODERN SQUARE DANCES ISO 

XV. THE CORRECT POSITION OF PARTNERS IN ROUND 

DANCES l62 

XVI. MODERN ROUND DANCES 164 

XVII. THE WALTZ 183 

XVIII. A FEW PLAIN WORDS TO TEACHERS 2<X) 



DANCING. 

CHAPTER I. 

INTRODUCTORY. 

In undertaking to write the following chapters, I am 
animated by the hope that observations founded on actual 
experience in teaching, and careful investigation into the 
more scientific aspects of dancing, may prove useful alike 
to professor and pupil. In order, however, that the matter 
contained in these pages maybe rendered clear and compre- 
hensible to every reader, it will be assumed at the outset 
that he or she has no knowledge of the art which it will be 
my endeavour to explain. 

The student who would seek real information concern- 
ing dancing, finds it necessary to make research into old 
volumes treating of the subject, as, for instance, those of 
Tabouret, Gallini, Blasis, Rameau, etc. These and similar 
works appear, for the most part at least, to possess the 
merit of having been compiled by men of culture and dis- 
cernment; but, unfortunately for the general reader, they 
seem to have been designed chiefly for the use and 



DANCING. 



edification of those who are already acquainted with the 
technicalities of dancing. 

I can imagine the disappointment that would be experi- 
enced by an inquiring pupil or embryo teacher who, having 
purchased some ancient work on the subject in the hope of 
finding therein reliable descriptions of old-time dances, dis- 
covers on perusal, that at a given juncture the dancers 
perform " assiettes de pied" " coups de ciseaux" or a " demi 
queue du chat" 

If, as is usually the case, he be unacquainted with Terp- 
sichorean technology, the terms will convey to his mind a 
very indistinct notion — if indeed any notion at all — of the 
nature of the required movements. The words are French, 
it is true, but even a perfect knowledge of that language will 
fail to enlighten him in regard to their signification. If the 
reader be ignorant of French, the most painstaking research 
in dictionary and grammar will but lead him to the con- 
clusion that the terms must imply something more than 
their actual meaning. He ascertains that there is some- 
thing about plates of feet, a stroke of the scissors, and half 
a cat's tail — information which certainly does not tend to 
make the matter clearer, and only leaves him, if anything, a 
little more hopelessly bewildered than he was before. 

With regard to modern works on dancing it is not neces- 
sary to say much. They are for the greater part made up 
of promiscuous extracts taken from old books, by compilers 
who appear to have no very profound knowledge of the 
subject. In some respects they resemble the treatise of the 
learned Shimei on " Effecting Impossibilities," which con- 
tains not a single original observation, and makes equal 
sense read backward or forward. 1 Most of the " Ball-room 
Guides/' as they are termed, contain merely perfunctory 

1 Alroy, by Lord Beaconsfield. 



INTRODUCTOR Y. 



descriptions of certain society dances, without even an 
allusion to those preparatory exercises and movements, by 
the practice of which alone a pupil is enabled to execute 
even the simplest dance with any degree of gracefulness. 

Of course one can scarcely expect to find an elaborate 
dissertation on dancing in a work of waistcoat pocket 
dimensions \ but really it would seem as if it were the aim 
of some compilers to give as little information as possible 
for the money. Like the celebrated Frenchwoman, they 
might almost write, "Je commence par ceque je rCai rien a 
faire. Je finis parceque je n'ai rien a dire" 

Sometimes it happens that writers of books on dancing 
are better acquainted with the art practically than they are 
with the proper application of the words they use to express 
their ideas. In one of the best of these small works, I find 
the fifth position thus explained, " Place both feet parallel 
and quite close together, with the toes turned outward, so 
that the heel of the front foot touches the toes of the rear 
one." There is absolutely no meaning whatever in the 
above description, because if the feet are parallel side by 
side, the toes cannot be turned outward, and if the toes are 
turned outward, one foot being before the other, then the feet 
cannot be parallel — at least not according to Euclid's defini- 
tion of the word. The same writer informs us that when 
the traverse figure of a quadrille is " performed simulta- 
neously by two couples, the gentlemen cross in a semi-circle 
to the left . . . ." Clearly, the gentlemen could not cross 
in a semi-circle without knocking the side couples out of 
their places. What the writer means is that the gentlemen 
in crossing describe an arc of a circle — a circle much larger 
than could be contained within the area of the figure formed 
by the dancers. I do not think that these and other 
inaccuracies of statement are the result of carelessness, 



DANCING. 



because the author seems to have been at great pains to 
make his sentences euphonious, and has succeeded in com- 
pressing a great many long adjectives into a very small 
space. There are a few instances in which sense has been 
sacrificed to sound; but in this peculiarity the writer errs 
in good company. Do we not find, if we come to analyse 
many of the finest sounding passages in our literature, that 
there is very little real meaning in them ? Does not Words- 
worth tell us of a sensible lady, who, hearing Professor 
Wilson read the lines — 

" Where Andes, giant of the western star, 
With meteor standard to the wind unfurled, 
Looks from his throne of clouds o'er half the world " — 

and express great admiration for them, declaring they were 
splendid, asked, " But what do they mean f n " Mean ! " 
exclaimed the professor in his broad Scotch accent, as he 
dashed the book on the ground, " I'll be daumed if I can 
tell ! » 

M. Coulon, who was one of the first professors, if not the 
first, to introduce the polka into England, commences his 
description of the dance with the following remarkable 
statement : — " There are only three steps in the polka, which 
are all jumped, and occupy one bar of music, the fourth 
interval being only a repose to give time to prepare for the 
next foot." There is something unique about the expres- 
sion, "Prepare for the next foot" Young ladies, when 
dancing with clumsy partners, find it necessary to hold them- 
selves in readiness for "the next foot," lest it should chance 
to descend upon their own ; but that is not what the writer 
means, he means the next step. What, however, is most 
peculiar about M. Coulon's description is, that after telling 
us that the steps of the polka " are all jumped" he proceeds 
in the next paragraph to explain that " the gentleman for 



INTRODUCTORY, 5 



the first step springs lightly upon the right foot, and almost 
simultaneously slides the left foot to the side, finishing on 
both feet with the knees bent." The instructions to slide 
the left foot hardly agree with the previous statement that 
all the steps are jumped. The two following steps of the 
polka M. Coulon describes as jettes, and he tells us, in 
concluding, that " this description of the polka step may be 
danced either to the right or to the left." The words 
certainly convey the impression that it is the description which 
may be danced; but of course the author means the step 
according to his description. 

I have quoted these instances, especially the last, because 
I wish to show how easily a person who thoroughly under- 
stands his art may fall into errors of description, even when 
attempting to explain a dance with which, in the nature of 
things, he must be perfectly familiar ; and if a man of M. 
Coulon's experience and skill has occasionally blundered in 
his descriptions, I trust the present writer may be pardoned 
if he should chance to do the same The late Mr. Proctor, 
in one of his books, has a remark to the effect that if any 
one would test his literary powers, let him sit down and 
try to describe clearly some simple game, say a game of 
cards. He will be surprised to find how difficult it is. To 
describe a movement in proper terms is ten times more 
difficult. In the present work I will endeavour to make my 
meaning clear, in giving explanations; but should the 
reader fail to grasp it, he will, I trust, be lenient to the 
author, and not say very unkind things about his stupidity. 

I have hinted that as a rule the compilers of modern 
works on dancing, whatever may be their shortcomings in 
other respects, cannot be accused of prolixity. It may be 
that like Sam Weller they consider the great art of writing 
is to cause one to "wish there was more," and that this 



6 DANCING. 



principle applies to ball-room guides as well as to love 
letters. Perhaps by the time the reader dips well into the 
present treatise he will begin to " wish there was less." That 
will be an unfortunate state of things, for if he be tempted 
to skip any part of the book, he may not be so well able to 
understand what follows. I will promise him, however, that 
if he takes the trouble to go through the different chapters 
carefully, and in their proper order, he will find that there 
does not occur a single technical term or expression, unless 
some attempt is, or has been, made to explain the same 
intelligibly. 

I am only too well aware that the reader who does me the 
honour to peruse the descriptions of movements carefully 
will find some dry reading. But it may be assumed that 
whoever wades through the practical part of this work will 
do so with the idea of deriving profit rather than amusement 
therefrom. If, then, he will set himself the task of con- 
scientiously practising according to the instructions given — 
beginning at the beginning, and not attempting the more 
difficult dances until he has satisfactorily mastered all the 
preliminary exercises, he will find, I trust, that the result will 
repay him for the time and trouble expended. 

In the present section, I intend to treat of dancing both 
as an art and as a pastime, apart as much as possible from 
all those artificial, frivolous, and too often injurious sur- 
roundings and accessories with which the practice has 
somehow come to be almost inseparably connected. It is 
the wish of my publishers that, consistently with the pur- 
pose of their " Handbooks," dancing should be regarded 
as a healthful exercise, 1 that may be practised beneficially 

1 When Socrates was caught by his friends practising the dance 
Memphis, he observed that "Dancing was a gymnastic exercise for 
.every limb/* — Deipnosophists of Athenceus, Book I. 37. 



INTRODUCTORY. 



with ardour by the young of both sexes, and with greater 
moderation by those of more advanced age — an exercise 
and pastime that may be agreeably pursued upon the 
smooth lawn in the glorious summer daylight, or in the 
spacious lamp-lit room, or even cosy parlour when the 
evenings lengthen. The idea of dancing in a cosy parlour 
will seem strange to many readers with whom the word is 
almost synonymous with waltzing; but nevertheless there 
are not a few very enjoyable and beautiful dances that 
require but limited space for execution. 

-—Dancing itself, whether pursued as an art, exercise, or 
pastime, is healthful, grace-giving, beautifying, and refining, 
when practised with discretion and at proper times • but, like 
all other pursuits, however beneficial in themselves, it may 
become positively harmful when allowed to encroach on 
thtfse hours which nature intended should be devoted to the 
recuperation of exhausted energies in refreshing sleep. ■■•*»- 

Although in the course of my explanations and remarks, 
I may have frequent occasion to allude to ball-room 
practices, the work should not be regarded as a ball-room 
guide. It is to be taken rather as a treatise on dancing 
per se, in which natural gracefulness, and the scientific 
means by which that desirable but rare quality may be 
cultivated, will claim our attention before conventional rules 
of deportment and etiquette. These remarks are made in 
no disparaging spirit whatever. I merely wish to point out 
that such matters do not necessarily come within the scope 
of the present work, and will therefore be referred to inci- 
dentally, rather than as if they formed a part of the general 
plan. 

At the same time, in treating of dancing as a pastime, 
I shall not neglect opportunities of pointing out those 
qualities among ball-room performers which tend to elevate 



DANCING. 



or degrade the practice of dancing. Individual dances and 
styles of performing them may have a certain vogue, and 
then be heard of no more ; but dancing itself does not go 
out of fashion ; and in dancing, especially when performed 
by couples, there are certain elements of refinement and of 
vulgarity which no passing caprice of fashion can ever 
change. For example, at one time it may be considered 
"good form," as it is termed, to walk quietly through a 
square dance, while at another time it may be quite the 
correct thing to galop through the figures. These mat- 
ters are regulated entirely by custom. One or the other 
style may be out of date, but neither is intrinsically vulgar. 
On the other hand, it could never in any circumstances be 
considered correct, either from a standpoint of art, courtesy, 
or good taste, for a man to squeeze a lady to whom he has 
just been introduced closely against himself in executing a 
waltz. Such a practice would always be wanting in refine- 
ment and delicacy, even though princes should set us the 
example. Again, suppose that the objectionable, though 
unfortunately not altogether uncommon practice, among 
partners in round dances, of extending the arms outward to 
the annoyance and endangerment of other dancers, should 
ever commend itself to a few recognized leaders of fashion, 
and consequently, owing to the ovine tendencies of human 
nature, come to be regarded as "good form" — that fact 
would not cause the practice to appear any the less ob- 
jectionable from a rational point of view, and certainly it 
would not suffice to render it artistically correct. 

I shall not, then, in the following pages commend or 
condemn any practice simply because it happens to be 
fashionable or otherwise at the time of writing. My views 
on dancing are, I trust, based upon a foundation more solid 
than a passing caprice of fashion. I shall seriously advocate 



INTRO D UCTOR Y. 



only what is artistic, and discourage only what is inelegant 
and vulgar; but at the same time I shall naturally give 
preference to styles at present in vogue where they do not 
actually militate against the principles of gracefulness. 
' But, it may be urged, do not our ideas of what is graceful 
alter even as the fashions change? It may be so with 
regard to dress. That I admit But it is not so with 
regard to natural gracefulness. The rules of art, compared 
with the constantly changing decrees of fashion, would seem 
to be almost eternal, and are precisely the same in many 
respects to-day as they were two thousand years since. 1 Else 
why do we continue to study drawing from the antique? 
The attitudes of the figures in antique sculpture are surely 
taken into account as being worthy of imitation, as well as 
their proportion and symmetry. 

In the very highest sense, perhaps the finest lessons may 
be obtained in the art galleries of Rome and Florence. I 
do not of course mean lessons in practical dancing. But 
in these galleries the perceptive faculties may be gratified, 
the understanding enlightened, and, above all, the taste 
refined by the contemplation of all that has ever been 
accounted most lovely, most graceful, most perfect in art. 
There you may observe the vast superiority of the antique 
and also of the modern styles over the mediaeval and pre- 
Raphaelite — of the free, natural, and unconstrained over the 
stiff, angular, and conventional. Notice the freedom yet 
grace of posture exhibited in those priceless gems of antique 
sculpture, the Apollo Belvedere, the Perseus, the Satyr of 
Praxiteles and Capitoline Venus in Rome ; the Venus de 
Medici, the Dancing Faun, the Apollo, and others in the 

1 No one who has observed the beautiful attitudes of the figures 
known as the Dancers of Pompeii, which must have been painted 
previous to the destruction of the city in A.n. 79, will deny this. 



io DANCING. 



Uffizi Gallery at Florence. Or take more modern works. 
The lovely and familiar statuette of Cupid and Psyche, the 
Flying Mercury of Gian Bologna, Canova's Venus. From 
the study of these, and countless others of the world's art 
treasures, we may learn much that may be useful in dancing 
as well as in drawing. We shall perceive what positions of 
the body and limbs are by the universal consent of all 
civilized people in all countries and all ages, pronounced 
graceful ; and then, if we come to analyse these positions in 
detail, we shall perhaps succeed in discovering why they are 
pleasing, and eventually we may learn something of the true 
essence of gracefulness. 



CHAPTER II. 

ADVICE TO PUPILS CONCERNING INSTRUCTION. 

Two familiar observations occur to me in commencing 
this chapter. The first is, that " He who teaches himself 
has a fool for his master " ; and the second, made I think 
by Goldsmith, is that, " People seldom improve when they 
have no other model but themselves to copy." 

Neither of these observations is particularly encouraging 
to the beginner who intends to enact the double role of 
pupil and teacher ; but though it is far from my intention to 
advocate self-instruction, I feel constrained to hazard the 
suggestion that the masters of those who teach themselves 
are by no means the only masters who deserve to be 
included among that portion of the population whom Carlyle 
declared were in the majority. In all arts there are plenty 
of professors ever ready to impart to others knowledge in 



ADVICE CONCERNING INSTRUCTION n. 

hich they are themselves far from being proficient; but 

le domain of dancing seems to afford a regular happy 

unting-ground for charlatans of every grade of incompe- 

:nce, both male and female, whose only qualifications for 

caching are a superficial acquaintance with the steps and 

gures of a few easy dances, a moderate amount of executive 

bility, and unbounded assurance. 

I remember to have read in one of Haslitt's Essays a 

:'mark to the effect that a person who possesses a majestic 

nd imposing exterior, albeit of meagre intelligence, is far 

lore likely to achieve worldly success than is a person of 

}fty intellect who has the misfortune to be of humble 

iresence and address. Experience of men and things has 

onvinced me that there is much truth in this observation, 

.nd I am positively sure that the quality vulgarly but 

:xpressively termed " cheek " carries all before it among the 

mcultured many. Not a few teachers of drawing-room 

Bancing appear to owe their success to the fact of their 

paving been in a position, at the outset of their career, to 

kiopt the policy of the bad flute-players alluded to by 

kenophon. 1 But though there are undoubtedly many 

people engaged in teaching dancing who have never even 

troubled to qualify themselves for the undertaking, I 

must also admit that there are, scattered about the United 

kingdom, some excellent masters and mistresses. In the 

course of my professional duties I have personally made the 

acquaintance of between two and three hundred ladies and 

gentlemen who gain a livelihood by giving instruction in 

dancing, many being teachers of the highest established 

reputation ; and though the measure of their success does 

1 " If a bad flute-player would pass for a good one he must, like 
those of established reputation, expend considerable sums in rich 
furniture and appear in public with a large retinue of servants. " 



qualifications 1 will endeavour to set iortn Drieny ana 
concisely. 

Teachers really worthy to be placed in the foremost rank] 
are at present comparatively few ; but we will hope that ere 
long their numbers will greatly increase. They include only 
those who teach according to the recognized canons of the 
art, and who would scorn to countenance and propagate 
practice, however ephemerally popular, that was incompatible I 
with propriety, good taste, or true gracefulness. 

Teachers whom I would place in the second rank are 
those who, instead of teaching what should be done, simply 
teach what is done. Such teachers are popular, obtain 
a large clientele, and often get rich, because they make a 
special feature of imparting any style that happens to be 
fashionable, or is reputed to be so, be it good or bad — 
in short, they concern themselves more with what is new and 
fashionable than they do with what is true and artistic. If 
you ask teachers of this class why they tell you to hold 
your partner thus, or why dance in this or that particular 
manner, instead of explaining the scientific principles by 
which they are guided — for the obvious reason that they are 
not guided by any — they will simply aver that such a style 
is correct or fashionable ; and you will have to take their 
word for it that it is so. Such teachers generally dislike to 
be asked many questions. 

The distinguishing feature of the instruction imparted by 
third-rate professors is that instead of teaching dancing as it 
should be, or even as it is performed in society, they teach 
it simply according to their own notions ; and these notions 



rani 
hit 
onlj 
the 
?ate 
ible 



the fourth rank those teachers whose personal knowledge of 
dancing has been acquired — or shall I say " picked up " ? — -at 
places of amusement, public gardens, etc., and who having, 
as they think, perfected themselves in the art, are willing 
for a small consideration to impart to young men and 
maidens the steps of the round dances and the evolutions 
of the various " sets " — and wonderful evolutions they are 
too ! Of course the " style " which these professors impart 
is the style that obtains in the places where they graduated. 

Now if you should go for instruction to a teacher of the 
third or fourth class, I doubt if you will find the present 
work of much service to you ; for certainly the ideas con- 
cerning dancing herein expressed will not accord with those 
of your master or mistress. But as I do not for one moment 
suppose that you intend to do anything so unwise, I will 
proceed to give a few hints by which you may ascertain the 
qualifications of the instructor under whom you intend to 
or have already placed yourself, and my remarks will apply 
to male and female teachers alike. 

But first I would seriously advise you to try to discover 
a really first-class teacher. If the lessons should appear 
expensive, do not let that deter you from taking them. You 
will, in the end, find it far more economical to receive only 
the very best instruction. Surely it is far better not to take 
lessons at all than to learn what is imperfect. If you go at 
the outset to a good teacher you will not afterwards have 
anything to unlearn. Remember that a fee of even a few 
shillings spent in a profitless lesson is simply a waste of 
money ; while a guinea spent in a lesson which results in 



parents who from mistaken notions of economy are content 
to allow their children to receive terpsichorean instruction 
from amateur or second-rate teachers, should remember that 
dancing is pre-eminently an art in which a good foundation 
is all important. False habits of movement acquired in 
early youth are extremely difficult to overcome in after 
years ; and a child's future may be more influenced by the 
possession of a graceful carriage and elegant demeanour 
than people are generally disposed to admit. 

Many who call themselves teachers of drawing-room 
dancing are only acquainted with the five positions, the 
slide, the jump, the hop, and the balancing step. Beyond 
these simple movements, and of course the figures of certain 
dances, the whole art is to them a sealed book. Sometimes, 
if occasion requires them to do so, they will learn some 
particular fancy dance, which they will describe and impart 
as the Fan Dance, the Gavotte, etc. Such teachers may 
rightly be termed dance-teachers ; but between them and a 
master or mistress of the art of dancing there is a wide 
difference. Dance teachers know nothing beyond the par- 
ticular dances which they have themselves learned from 
other teachers, and even the movements of these they may 
be unable to analyse and technically explain ; but a master 
or mistress of dancing, in the true sense of the term, would 
be able to describe the true nature of each movement 
employed, and would teach you as many fan-dances or 
gavottes as you required, arranged with easy or difficult 
enchaznements according to the progress you had made. 

Now in order to find out if you are in the hands of a 
mere dance teacher, do not hesitate to ask questions about 



to give you information concerning it; but if you are put 
off with evasive answers you may conclude that your teacher's 
own information is limited. 

But do not expect your teacher to know everything about 
dancing. All of us have something yet to learn. If you 
ask a question, and your master tells you frankly that he 
does not know, then you may at least believe that he is 
honest. As a rule only teachers of very good reputation 
can afford to admit candidly that they do not know a dance . 
yet is it at all likely that any teacher can know every move- 
ment that exists or has existed ? When Dr. Johnson was 
asked by a lady how it was that he came to describe a 
certain word incorrectly — pastern, I think — he replied 
simply, " Ignorance, madam; sheer ignorance." Johnson's 
knowledge was known to be so extensive that he could 
afford to admit that there were things about which he was 
ignorant. It is only those who are really generally ignorant 
who imagine they know all there is to be known on any 
subject. 

Beware of teachers who adopt the course to which allusion 
is made by Bacon when he says — " Some are so close and 
reserved that they will not show their wares but by a dark 
light, and seem always to keep back somewhat ; and when 
they know within themselves that they speak of that which 
they do not well know, would nevertheless seem to others to 
know of that which they may not well speak." l Particularly 
is this the case with second-rate teachers, whose very aristo- 
cratic connections for the greater part reside in cloudland, 
1 Essay on " Seeming Wise." 



cUiu. icmicu. iiaituc xciuiu avuiu iiia-iviug 0,11^ vaiopici^ vj, 

aristocratic patronage. They consider it a greater honoui 
to be known through the intrinsic excellence of their style 
of teaching. 

Teachers of the stamp above alluded to, who obscurel) 
hint at exalted patronage, often disguise their personal 
deficiency by assuming what they believe to be a very dig- 
nified deportment, which forbids their making much use o] 
their limbs ; and if they be ladies they will sometimes affect 
a long train in giving lessons, which style of costume 
possesses the double advantage of giving them an air ol 
dignity, and of effectually hiding the movements of then 
legs and feet. 

If you are in doubt about the correctness or propriety ol 
any movement that your teacher may be imparting, do not 
hesitate to ask why you are thus taught. The answer, a Be- 
cause it is correct," should not suffice. A good teacher will 
always have a definite reason to give and explanation tc 
offer. At the same time you cannot always estimate youi 
teacher's skill by his loquacity. He may be a great talker, 
and yet a very poor instructor. It is by the quality and not 
the quantity of his utterances that you must judge. Solomor 
tells us that " he that hath knowledge spareth his words " — 
and, by the way, I dare say there are teachers who fullj 
recognize the force of another of this great writer's observ- 
ations, that " even a fool when he holdeth his peace is 
counted wise." Moreover, people do not as a rule learn tc 
dance so readily by explanation as they do by imitation, a 
faculty which has doubtless been inherited by us from a 
very remote line of ancestors, with whom some are strongly 



These observations will not, I trust, appear ungallant. In 
other respects women are much further removed from our 
simian progenitors— even Darwin admitted this; but they 
do not reason about things as do men. While a man is 
considering about how a step should be taken, a woman 
will have acquired it. 

A teacher who understands his profession, and has also 
some acquaintance with anatomy and physical laws, will in 
giving private instruction have recourse to endless expedients 
to bring about a required result ; but, as I have already 
hinted, he would, if pressed to do so, be able to give a satis- 
factory reason and explanation for everything he does. He 
would never trouble his pupil to learn needless movements 
or aimless exercises. In whatever he requires you to do 
there will be some definite purpose. If you find, after going 
a few times to a teacher for any particular dance, say the 
waltz, that you do not make progress, and that he always 
adopts precisely the same plan in teaching you, the chances 
are that if you took dozens of lessons of that teacher you 
would not succeed in becoming a good waltzer, even though 
he should have taught other pupils who have turned out 
excellent dancers. The reason will be that his system is 
empirical rather than scientific. He may, perhaps, have 
some particular " improved method " of his own, which he 
uses on all pupils alike. With some this method may 
answer admirably. If it succeeds with you, well and good ; 
but if not, and you find that you do not make progress, the 
better plan is to take lessons of some master who will teach you 
scientifically, and then you may have more chance of success. 



DANCING TO MUSIC. 

It is a general, but perhaps not altogether correct notion 
that the possession of a good ear for music is a sine qua non 
to him or her who would aspire to anything approaching 
excellence in dancing. Most undoubtedly it is a great 
advantage to the pupil if he be already to some extent ac- 
quainted with the grouping of measures ; but, at the same 
time, it is by no means essential that he should be able to 
distinguish the various notes of the scale on hearing them 
played indiscriminately. Doubtless with regard to those 
who would attain a perfect mastery of the " Poetry of 
Motion " in its highest form, a knowledge of music, com- 
bined with an exquisite ear for melody, will enable them to 
execute their steps and movements with more perfect grace 
and faultless expression than would be possible if they did 
not in a measure feel and enter into the spirit of the music 
by which they are accompanied. But so far as ordinary 
ball-room dancing is concerned, I have known some excel- 
lent and accurate performers who had so little ear for 
musical sounds that I do not believe they could have told 
the "Old Hundredth " from "Yankee Doodle" if the tunes 
had been played in equal time. How, then, did it happen 
that in dancing they were enabled to take their steps in 
strict accordance with the accompanying music? The 
reason is, I think, easily explained. Although their ears 
were sadly defective with regard to the relation of one note 
to another, so far as pitch was concerned, they could readily 
enough distinguish the rhythniic relation of the notes, and 



The musician requires both, of course, but the ordinary 
dancer can get on very well if he possesses only the former. 
He must not, however, be quite so insensible to music as 
was Lady Finch, who, while admitting to George III. that 
she had heard there was some difference between a psalm 
and a minuet, declared that she had never herself been able 
to detect it. 1 A dancer should be able to distinguish the 
minuet by its peculiar rhythm and accent on the second 
beat, in the same manner as he should be able to tell a 
waltz, a mazurka, or a polka. He must be able to distin- 
guish whether the rhythm of the music be anapaestic or 
dactylic, iambic or trochaic ; whether the time be triple or 
dupal \ whether there be three, four, or six beats in a bar. 

There are, of course, instances in classical composition 
when it is difficult even for an experienced musician to 
immediately detect the position of the primary beats, especi- 
ally in cases of syncopation ; but, as a rule, the time in 
dance-music is so well marked, that the grouping of the 
notes into bars of three or four intervals is readily perceived 
even by the untrained ear. 

The chief stress in all music generally falls on the first 
note of the bar, but this is more especially the case with 
regard to music that is arranged for dances. The pupil 
should therefore accustom himself, whenever he has an 
opportunity of hearing dances being played, to notice when 
the primary beats or ones occur. Generally speaking, the 

1 At the court of Charles IX. of France, the 6t Danses basses" were 
actually performed to Psalm tunes, and were so solemn that clerical 
dignitaries frequently took part in them. 



note that was struck in the preceding bar; or a rest of 
either a whole or half interval may occur before a note is 
struck; or, again, the strong 'accent may occasionally be 
shifted on to a note occurring later in the bar. But whether 
or no an accented note be present in the melody, it will 
almost invariably happen that the triple measure of the 
waltz is maintained by the accompaniment, or bass, in 
which the first note of each bar is strongly marked. 

I shall have occasion to revert more particularly to the 
relation existing between the steps and music of the various 
dances when I come to describe them. At present I may 
suggest, however, that in dancing to music the steps are not 
necessarily taken in strict coincidence with the notes of the 
melody ', but should agree rather with the accompanying bass, 
which generally marks the rhythm of the movement. 

This is a rule that the pupil will do well to constantly 
bear in mind. It is obviously correct, for, supposing the 
dance to be a polka or a waltz, the duration, accent, and 
position of the several steps will be precisely the same in 
each recurring bar ; but if the notes of the melodies were 
also arranged in this manner, the monotonous effect pro- 
duced thereby would very shortly become intolerable to the 
ear. Nevertheless it is a good plan, when teaching any 
particular dance or movement, to select tunes at first whose 
notes shall very readily accommodate themselves to the 
required steps or actions, or, if possible, exactly correspond 
with them. Afterwards, as the pupil practises and progresses, 
the nature of the melody may be varied and elaborated till 
he is able to keep a perfectly timed accompaniment with his 



that the treble notes are nearly always sounded in exact 
coincidence with the steps and actions of the pupil, and are 
also similar in character. Thus a slide denotes a glided 
step ; a long note a long step, and vice versa ; an appoggia- 
tura indicates an uncounted movement ; slurred notes 
express smooth actions, and dotted notes actions of a more 
vigorous nature, etc. The specimens are not advanced as 
possessing any musical merit whatever. On the contrary, 
the monotonous uniformity of the successive bars would be 
a decidedly objectionable feature were it not for the fact 
that a special object is attained thereby. All that is claimed 
for these musical specimens, which are merely offered as 
suggestions, is that they are exactly adapted to the purpose 
for which they are intended^ which is to indicate to the 
pupil the nature of the movement that is to accompany the 
sound. 

.- A pupil in learning to waltz will sometimes exclaim — "I 
am sure I could get on better if a tune were played for me 
to dance to ! " But so soon as he tries, he not unfrequently 
finds that the music, instead of facilitating matters, as he 
expected, only presents a new difficulty ; and very often it 
happens that the fonder he is of music, the harder it seems 
for him to make his steps accord with the rhythm of the 
movement. The reason is that he listens too attentively to 
the tune, and whenever he hears a prolonged note he is 
inclined to take a correspondingly long step ; while a suc- 
cession of short notes induces him to attempt rapid little 
movements with his feet, which altogether destroy the 
character of the dance. 



DANCING. 



In the examples of music given for the accompanying 
exercises, the pupils may listen to each particular note, since 
the sounds are arranged to correspond exactly with their own 
movements. But, as I have already suggested, such an 
arrangement, however serviceable it may be in the first 
instance for teaching purposes, would, if long continued, 
soon become intolerable ; therefore the pupil can hope to 
find no dance music written with a corresponding melodic 
note for each step. 

My advice to those who in learning a dance find, as they 
express it, that "the music bothers them/* is : Not to listen 
too attentively to the tune that is being played, but to 
concern themselves only with the accented beats of each 
bar • to pay special attention to the ones, or primary beats ; 
and dance to the accompaniment rather than to the air. 
By degrees they will become accustomed to the rhythmic 
flow of the music, and then the melodic variations will cease 
to give them trouble. 



CHAPTER IV. 

THE FIVE POSITIONS 
AND THEIR MODIFICATIONS. 



There are only five positions of the feet, of which it 
is necessary to take account in ordinary dancing. This 
statement may at first appear almost incredible, when we 
consider the infinite variety of steps employed ; but a little 
reflection will show that it is correct. In whatever posture 
we may be resting, or in whatever direction we may be moving, 



THE FIVE POSITIONS. 23 

it is clear that at a given juncture, one foot must either be to 
the side of, before, behind, or close against the other foot. 

If the feet be kept close together, with the toes turned 
outward, say at an angle of 90 to each other, which is quite 
sufficient for ball-room dancing, the heel of one foot may 
be placed either against the heel of the other foot, against 
the hollow thereof, or against the toe. Here, then, we have 
the three close positions. The remaining two, or open posi- 
tions, are those in which one foot is to the side of or before 
the other. The weight of the body may rest on both feet, 
or on one only, or both feet may, for the instant, be raised 
from the floor ; but their relative position is considered only 
as if they moved on a plane, and is not technically affected 
by elevation. Thus, if the foot be placed lightly on the 
ground, with the heel against the toe of the supporting limb, 
it is said to be in the fifth position. If now the foot be raised 
from the floor quite perpendicularly until it is as high, or 
even higher than the knee of the supporting limb, it is still 
said to be in the fifth position, the elevation of the foot 
being expressed by the addition of the word "raised" or 
en air. The latter technical term, however, is perhaps more 
usually employed to express open than close positions of 
elevation. 

Beauchamp, the celebrated dancer, to whom allusion is 
made in another section of this work, is, I believe, credited 
with having been the first to formulate these five positions 
in their present recognized order; the arrangement being 
such as to facilitate the movement of the limbs by the 
alternation of closed and open positions. 

Let us proceed to place the right foot in each of the five 
positions, taking them numerically. 

When standing in the First Position — viz., with the 
heels close together and the toes wide apart — it is usual, and 



DANCING, 



indeed it appears most natural, for the weight of the body 
to rest equally on both feet. But before we can move either 
foot into another position, it will be found necessary to 
transfer the balance entirely to the foot that is to remain at 
rest. 

Having, then, placed the weight on the left foot, which 
must be accomplished without lowering the left shoulder, 
by moving the whole body from the ankle upwards very 
slightly and imperceptibly to the left, extend the right leg to 
the side, letting the foot rest lightly on the floor, with the 
heel raised and the toe turned downward. When thus 
placed the right foot is said to be in the Second Position, 
faint — the word point implying that the foot is pointed 
downward, while the balance of the body is sustained by 
the opposite leg. 

From the above position it is only necessary to draw the 
right foot back, placing the heel thereof against the hollow 
part of the left foot, exactly midway between the toe and 
heel, and you will be standing in the Third Position. 

Now advance the right foot, as in walking, to a convenient 
distance, with the toe pointed downward lightly touching 
the floor, and it will be in the Fourth Position /<?//*/. 

From this position draw back the right foot until the heel 
thereof touches the toe of the left foot, and you will be 
standing in the Fifth Position. 

The above directions may for reference be very briefly 
condensed thus : — 



1st Position 


Heels together. 


2nd ,, 


Move right foot to the side. 


3 r d 


Bring right heel to hollow of left foot 


4th „ 


Advance right foot. 


5th 


Bring right heel to left toe. 



These five positions, which are shown in the accompanying 




Fig. 1 



Fie. 2. 



Pirn II, 



Rearward Positions. 



THE FIVE POSITIONS. 



illustration, Plate I., should now be practised with the 
opposite foot, the balance being sustained throughout upon 
the right leg, while the left foot is moved first to the side, 
then back again with the heel to the middle of the right 
foot, after which it is advanced and again drawn back till 
the heel touches the right toe. 

These positions may be taken in their regular order with 
astonishing rapidity. In the course of a conversation with 
Mr. John d'Auban, the well-known teacher of stage dancing, 
I happened to remark that I did not believe half the people 
who professed to teach ball-room dancing really knew the 
difference between a coupe and &jettL " Coupe and jetti !" 
he exclaimed ; " why they don't even know the five positions 
correctly." And as he spoke, without his being perhaps 
aware of the fact, his right foot took all the positions 
consecutively in an instant. 

It should, be remarked that to the intermediate open 
position no special name has been given, although certainly 
it might be reasonably argued that if the second position 
be taken immediately to the side, and the fourth directly in 
front, there would be ample room for another position mid- 
way between them. But if there were six positions, the foot 
in taking them, beginning naturally from a close position, 
would finish at the sixth in an open position ; and this would 
appear awkward and incomplete. In these circumstances 
we may assume that in the second position one foot may 
either be placed immediately to the side of or a little in 
advance of the other, and that in the fourth position the 
advanced foot may either be placed directly in front of, or a 
little to the right or left of the rear one. In the accom- 
panying plate, the pointed foot in the second position is 
represented as being slightly in advance of the stationary 
one, and in the fourth position as being slightly to the right 



25 DANCING. 



of the rear one, as in ordinary walking; these being the 
most natural positions for the feet to take in action. 

Throughout the following pages, whenever I wish to ex- 
press a forward position a little more to the side than usual, 
or a side position a little more in advance, I shall call it the 
second or fourth " intermediate " position, or if exactly mid- 
way, simply the u intermediate open position" 

In commencing this chapter I mentioned the fact that 
one foot in an open position must necessarily be either to 
the side of, or before, or behind the other foot, and as yet 
we have only considered the positions as they are taken in 
advance. But the possibility that the pointed foot may be 
placed to the rear of the supporting limb does not involve 
extra positions; it is merely a question of changing the 
balance from one leg to the other. 

For instance, suppose we are standing on the left foot 
with the right leg extended, and the toe pointed in the 
fourth position. If now without moving the feet we simply 
transfer the balance of the body from the left to the right 
leg, so that the heel of the left foot rises, then that foot is 
said to be in the fourth position behind. The same applies 
to other positions when the balance is sustained on the 
front leg, and it is useful to practise moving the pointed 
foot to the various positions behind (technically en arriere) 
as well as in front (en avant). 

For example, standing as before with the balance sustained 
solely on the left foot, which rests firmly on the ground, from 
the first position, which is always the same, extend the right 
leg, pointing the foot downward, a little to the rear in the 
second position. Then bring the foot back so that the hollow 
thereof comes against the left heel in the third position. Now 
move the foot back as if preparing to take a step backward, 
but let the toe only rest on the floor, and it will be in the 







bfi 




-^ 


fc 




,-— | 




1) 




r 




7J 




D 






THE FIVE POSITIONS. 27 

fourth position. Finally, bring the toe of the pointed foot to 
the heel of the supporting one, and it will be in the fifth 
position. The fourth and fifth positions en arriere are shown 
on Plate II. 

In addition to these five positions, in which the toes and 
knees of the dancers are, or should be, invariably turned 
outward, and which are sometimes designated the five true 
positions, account has also been taken of what have been 
termed the five false positions, in which the toes and knees 
of the dancer are turned inwards. 

These inward positions, however, although not unfre- 
quently legitimately employed in stage dancing, are by 
no means necessary for ordinary ball-room practice. More- 
over, the tyro need not be at any pains to acquire the false 
positions; they will come to him as readily as fibs to a 
child. Though not, as I have already hinted, proper for 
the ball-room, it would be quite a mistake to say that they 
are never exhibited therein — at least by bad dancers, among 
whom the second false position seems to be a general 
favourite. It is not at all an uncommon thing to see a man 
standing in a set-dance with his feet apart and his toes 
turned inward ; a position which, I need hardly suggest, is 
not impressively graceful. 

It should be remembered that in all circumstances when- 
ever the limbs are crossed, the toes of one foot should be 
pointed towards the toes of the other foot. Thus in the 
accompanying illustration, Plate III., the positions of the 
feet are good. Fig. 3 may be termed the fourth position 
over or croise. Fig. 1 shows a position of repose rather 
than of action. The feet in Canova's statue of Terpsichore 
are placed thus. Fig. 2 is the position taken in executing the 
rocking movement of the hornpipe, etc. It is more useful 
for ballet than for ball-room dancing ; but all the same it is a 



DANCING. 



good one for a pupil to practise, because it is far more difficult 
to turn the toes in their proper direction when the limbs 
are crossed than when they are free. I will refer more 
particularly to the judicious employment of crossed positions 
in a future chapter. Meanwhile I would suggest that the 
false position shown in Fig. i, Plate IV., is one to be par- 
ticularly avoided, more especially since it might appear to 
the eyes of a novice that the feet are not so very awkwardly 
placed ; but if from this position we proceed to uncross the 
legs, without altering the direction in which the toes are 
pointed, we shall discover that on placing the feet side by 
side they appear as in Fig. 2, a position which I venture to 
think will not commend itself to many of my readers. 

I will now describe two very simple exercises which the 
pupil may practise to acquire facility in moving from one 
position to another. The following music may be played 
to accompany the exercise, or if there be no one to play, the 
pupil may hum to himself, making a separate movement of 
the foot to each note. 




i^ll^iiliipipiililii 

ist Exercise. — Stand in commencing with the feet in the first post- 
tion> heels together and toes turned well out. One : Extend the right 
leg, pointing the toes downward, so that the foot touches the ground 
in the second position. Tzvo : Bring the right foot back till the heel 
thereof rests against the hollow of the left foot, and as it reaches this, 
the third position, transfer the balance of the body to the right leg. 
Three: Extend the left leg in the same manner, so that the left toe just 
touches the floor in the second position. Four: Bring the left foot back 




Fte. l. 



Tlate IV. 



Fig. 2. 



False Positions. 






THE FIVE POSITIONS, 29 

to the third position so that the heel rests against the hollow of the 
right foot, and again transfer the balance to the left leg. Continue thus 
till the last count, when, instead of closing the left foot to the third 
position, bring it to the first position, heel to heel, as at starting. 

These movements will carry the body gradually forward, half the 
length of the pupil's foot at each change of balance. 

After this, as the music is repeated, extend the right leg again till 
the foot is in the second position and then draw it back, this time to the 
third position behind, so that the hollow of the foot is against the left 
heel, and simultaneously transfer the balance to the right leg. The left 
leg should then be extended in the same manner, and the foot brought 
back from the second position to the third position behind, and so on 
till the last count, when the feet are to be again closed to the first 
position, as in commencing the exercise. These movements will natur- 
ally carry the body backward to the place whence the pupil originally 
started. 

N.B. — In executing these steps forward, the foot takes 
the second intermediate position ; but in going backward it 
should be pointed immediately to the side of the supporting 
limb, at a distance about the length of one of the feet. 
Also be very careful that the shoulders do not swing from 
side to side, but preserve the perpendicular attitude while 
the limb is extended. At present the arms may hang 
motionless, but evenly on each side. When, however, the 
pupil has studied the rules relating to gracefulness that will 
be formulated in a succeeding chapter, the arms may also 
be employed in accordance with those rules. 

2ND Exercise. — The manner of progression in this exercise is similar 
to that above described, only in going forward let the foot of the ex- 
tended limb be pointed in the fourth position (intermediate) instead of 
the second, and bring it back to the fifth position, or heel to the toe, 
when changing the balance. In going backward the foot is to be 
pointed in the second position, as in the former exercises, after which it 
is to be drawn back to the fifth position behind the supporting leg, viz., 
toe to the heel. 



3o 



DANCING. 



The progressive movement in the latter of these exercises 
will naturally be more rapid than in the former, since each 
alternation of balance will cause the pupil to go forward 
nearly the length of his own feet, of course allowing some- 
thing for the angle at which they deviate from the line of 
progression. 

When the pupil or pupils, if there be a class, have learnt 
to perform these movements with tolerable accuracy and in 
perfect time with the notes, it would be well to elaborate 
the music a little, and see if they are able to keep time. 
This of course must be done at the discretion of the teacher. 
For instance, it might be played thus : — 




** 










|=±=F=fc=tH= 



«— »- 



XX 



■m — •- 



JU i i I 



-* 



-T^l 



3*3 



In case it may occur to the reader that I have been un- 
necessarily prolix in treating of these rudimentary positions, 
I would suggest that we are laying as it were a foundation 
upon which a most elaborate superstructure is to be raised, 
and therefore it needs to be firm. The whole Art of Danc- 
ing is based on the five positions. In executing the most 
rapid and complicated steps, the feet of the dancer are 
continually passing from one to another of them, and the 
movements of the feet ought always to be such that if an 
instantaneous photograph were taken at any juncture, the 
position represented would appear correct. 



ON NATURAL AND ARTIFICIAL MOVEMENTS. 31 



CHAPTER V. 

ON NATURAL AND ARTIFICIAL MOVEMENTS, 

WITH PREPARATORY MUSCULAR EXERCISES FOR HOME 
OR CLASS PRACTICE. 

To proi?iote Firmness and Flexibility in the Lower Limbs 
and Power of Sustaining the Bala7ice. 



We will now suppose that the pupil has been made 
thoroughly acquainted with the Five Positions by the 
teacher; or, if he be endeavouring to learn only by the 
aid of this book, that he has been through them so fre- 
quently that he could, without hesitation, place his feet in 
any given position directly it was called. In order to test 
his familiarity with the different positions, let him request 
a friend to call out as follows, and see if he is able 
immediately to respond. 

First Position — Left to Fifth in front — Left to Second point — Left to 
Third in front — Right to Fourth behind — Right to Second point — Right 
to Fourth in front — Right to fourth croise — Right to Fifth — Right to 
Second — Right to Third behind — Left to fourth croise — Left to Fifth 
in front — Left to Second point — Left to Fourth intermediate — Left to 
Third behind— Right to Second point, and close to First Position. 

If the pupil is able to place his feet in all the above- 
mentioned positions accurately, and without a moment's 
hesitation, as they are called, he may at once proceed with 
the exercises that follow. If, however, there appears to be 
any uncertainty in his mind, or the feet are incorrectly 
placed, he should turn back and again study the chapter on 
positions carefully, before proceeding further. 



32 DANCING. 



The following exercises, which consist for the most part 
of movements that can hardly be said to belong to the 
domain of dancing proper, are designed to bring the 
voluntary muscles immediately under the control of the 
pupil; and if conscientiously and regularly gone through, 
they will enable him in a very short time to attain that 
apparent ease of movement that in the ordinary way is only 
acquired — if it ever be acquired at all — after considerable 
and long-continued practice. 



Balance. 

It may be postulated at the outset that it is absolutely 
impossible for there to be anything approaching grace of 
movement or elegance of posture on the part of a pupil 
until he or she has attained a certain degree of facility in 
adjusting the balance of the body. Mind, I do not say 
that gracefulness in dancing depends solely upon the proper 
adjustment of the centre of gravity. That would be absurd, 
because there are many other things to be taken into con- 
sideration, as will hereafter be pointed out ; but I do aver 
that no movement can be graceful, and that no posture — 
which is clearly the result of a previous movement — can be 
elegant unless a perfect balance be maintained during its 
execution. 

Seeing, then, how very important is the subject of balance, 
it seems proper that it should be the first to claim our 
attention. 

In the ordinary movements of everyday life we are con- 
stantly, though unconsciously, adjusting the centre of 
gravity in our bodies, or that point about which all other 
parts equally balance each other. If this were not done we 
should be continually falling down, as an infant does when 



ON NATURAL AND ARTIFICIAL MOVEMENTS. 33 

it is learning to walk. Thus in ascending a hill we lean a 
little forward, while in descending we incline the body back- 
ward. In rising from a chair, we first bend the body con- 
siderably forward and then draw the feet back. If the 
reader should feel inclined to doubt that it is essential to 
adjust the centre of gravity in making the simplest move- 
ments, let him stand with his heels against a wall and try to 
pick up something that may be lying on the ground before 
him. He will not be able to do so unless he puts one foot 
forward, because the wall prevents his throwing part of his 
body back to counterbalance the weight of his head and 
arms — an action that would be necessary if his feet remained 
in a close position. 

I have said that people in making ordinary movements 
are enabled to adjust their centre of gravity unconsciously 
— the required changes of attitude having through habit 
become automatic ; but in attempting to execute move- 
ments that are "unfamiliar to them, grown men and women 
experience something of the difficulty that an infant does 
when making its first efforts in locomotion, minus, of course, 
the muscular weakness of the limbs. 

We also find that in learning to dance, pupils are apt to 
utilize the methods of retaining their equilibrium with which 
they are most familiar, and which have become, as it were, 
natural to them. These methods they frequently feel con- 
strained to employ from custom, notwithstanding the mental 
effort they make to obey the injunctions of their teacher; 1 
for rather than run the risk of falling, as they imagine they 
will do if they trust solely to one foot for sustaining their 

1 Darwin relates that he made many determined efforts to keep his 
face pressed against the glass of a case containing a cobra capello ; but 
though mentally convinced that he was perfectly secure, he could never 
succeed in overcoming the natural tendency to draw back when the 
creature darted at him. 

D 






34 DANCING. 



balance at a given juncture, they will plant the other foot 
squarely down on the floor, and sometimes it will require a 
good deal of persuasion, not to say patience, on the part of 
the teacher before the pupil can be induced to make a 
movement in conformity with the rules of dancing. 

What we have to remember is this : — That in order to 
sustain the equilibrium, it is necessary that a vertical line 
from the centre of gravity — the position of which is con- 
stantly shifted by any extension of limb or inclination of 
the body from the perpendicular — should fall within the 
base formed by the feet or foot on which the body rests. 

Clearly, the broader the base, and the more directly the 
centre of gravity is above the middle of that base, the more 
firmly we shall be balanced. Thus, standing in the fourth 
position, with the weight supported equally by both feet, we 
should be better prepared to meet a forward or backward 
resistance, than if we were resting in the fifth or third 
position ; and, similarly, if we were standing in the second 
open position, we could resist pressure from the side better 
than we could if our feet were closed in the first position. 
For the same reason we feel more secure when resting on 
both feet than when we are supporting the weight of the 
body on one foot only ; on raising the heel from the ground 
the sense of security is still further diminished, and the 
pupil, until he has had considerable experience, feels con- 
strained, when thus poised, to wriggle about till he is 
actually compelled to put the other foot down in order to 
save himself from falling. 

But provided that no opposing force be brought to bear 
upon the human body — such, for instance, as would be 
encountered in a strong current of wind — it is not at all 
a difficult matter to sustain a perfect equilibrium on one 
foot, or even a part thereof; and I will now proceed to 



ON NATURAL AND ARTIFICIAL MOVEMENTS. 35 

describe a few simple exercises, by means of which trie 
pupil may in a short time learn to sustain his balance with 
ease in performing all the steps and movements of ordinary 
dancing. 

3RD Exercise : To sustain the balance on one leg in close positions. — 
Be standing say in the first position with the arms hanging down on 
each side, the shoulders even, and the weight of the body resting on 
both feet. Now, before attempting to raise one foot from the floor, 
take care that your balance be shifted completely on to the other leg. 
To accomplish this, let the whole body, from the ankle upwards, incline 
slightly to that side ; but there must be no lowering of the shoulder or 
curving in at the waist on either side. You will find when you have 
thus adjusted your balance, that you can raise one foot from the floor, 
and sustain the equilibrium of your body on the other leg without the 
slightest difficulty, provided you keep still ; whereas had you neglected 
the precaution of throwing your balance directly over the supporting 
foot before raising the other, you would have been wobbling about and 
stretching your arms out in all directions in trying to keep from falling. 

This exercise should be practised repeatedly in the three 
close positions, until either foot can be raised without the 
body deviating in any appreciable degree from the per- 
pendicular. The toe of the foot that is raised should be 
pointed downward. 

4TH Exercise : To sustain the balance on one leg while the other 
is in motion. — Having raised one foot from the floor in the manner 
just described, extend the leg forward till the foot is in the fourth 
positioji, with the toe pointed downward and raised from the floor {en 
air). As the foot is carried forward, the body will incline a little 
backward to counterbalance the leg. Now, let the limb that is out- 
stretched swing backward from the hip joint, until the foot is in the 
fourth position behind, and it will be observed that, as it passes rear- 
ward, the body takes a slight inclination forward from the ankle 
upward. This movement should be made repeatedly with the muscles 
relaxed but without flexion of the knee, allowing the limb to swing 
freely by its natural pendulum action from the ball and socket joint by 
which the bones are articulated at the hip. The limb, in swinging 



?6 DANCING. 



forward and backward may describe an arc, and the toe should be 
turned well outward and downward, so that when in passing it reaches 
the second position it just escapes the floor. With regard to the sup- 
porting foot, it is obvious that if it be turned well out in these exercises 
it will give the pupil a broader base to rest on, and he will be less 
likely to lose his balance and fall to the side, than he would be if he 
kept the foot pointed directly in front of him. 

5TH Exercise : To retain the equilibrium with one limb raised and 
extended in the second position. — As in the first exercise, the whole body 
must incline slightly to the opposite side as the foot is raised from the 
ground, and great care must be taken that there be no bending inwards 
at the waist to cause an awkward downward movement of the shoulder. 
An extension of the opposite arm would naturally tend to counterpoise 
the raised leg ; but at present I would prefer that the pupil kept the 
arms rigidly pressed against the side, so as to prevent any possibility of 
its curving inward at the waist. The deviation of the line of the body 
from the perpendicular will necessarily be more pronounced, when 
changing the relative position of the feet in this exercise, than it was 
in the first. 

6th Exercise : To retain the equilibrium of the body zvhile turn* 
ing on one leg, — Raise one foot from the floor and place it a little in 
front of the supporting leg, say in the fourth position, but with the 
uplifted heel only a few inches removed from the toe. Now raise the 
heel of the foot on which the body rests very slightly from the floor, 
and swing the head and shoulders one quarter round, the arms hanging 
freely on either side. The impetus thus given will cause the foot to 
turn, making what may be described as a quarter pivot. Do not at 
first attempt to turn more than a quarter round, and immediately you 
have done so drop the heel of the supporting foot, and allow the whole 
weight of the body to fall thereon. If you neglect to do this after 
turning, you will feel inclined to topple over. As soon as you have 
made sure that your balance is once more firmly sustained, again raise 
the supporting heel, simultaneously turning the shoulders, and drop 
the heel directly another quarter pivot has been made. Proceed thus 
by quarters until you have made a complete revolution. Do this 
several times, making a complete turn of four quarters, first on one 
foot and then on the other foot. Turn sometimes in the direction of 
the limb that is raised and sometimes in the opposite direction. 

When you find that you can make these quarter pivots with ease, 



ON NATURAL AND ARTIFICIAL MOVEMENTS. 37 

and are able to balance yourself after each turn without experiencing 
any decided inclination to wriggle about, you may attempt the half turn, 
being careful to alight on the heel of the supporting foot directly you 
are facing the opposite direction. Make this half turn both to the right 
and left on each leg ; but mind that throughout these exercises one 
limb only is to sustain the balance of the body. Finally, you may 
attempt a whole turn ; but do not make the effort until you have practised 
the quarter and half turns a great deal, and if on completing a revolution 
you find that you are obliged to lower the raised foot in order to save 
yourself from falling, it were better to content yourself with half turns. 
It is only those who have obtained a thorough mastery of the art of 
balancing the body who can successfully make a complete revolution, 
beginning and ending solely on one foot. In order to obtain a sufficient 
impetus to turn in this manner, it is necessary to swing the arms in the 
direction of rotation. 

N.B. — It should be remembered that these are merely 
exercises to improve the balance. The various ways in 
which half turns and pirouettes should be executed in dancing 
will be described later on. 

7TH Exercise : To sustain the balance in progressive movement. — One ; 
Pointing the toe well downward, step forward with the right foot, letting 
it fall flat on the ground in the fourth position, and transfer the balance 
to the right leg. Two : Swing the left leg forward from the hip joint 
till the foot is in the fourth position, raised, with the toe pointed down- 
ward. Three: Swing the same leg backward till the foot is in the 
fourth position, raised behind. Four : Again swing the same leg forward, 
and repeat the four movements, stepping down on the left foot at one, 
and swinging the right leg. To remember this movement in practising 
say, "Down, forward, back, forward ; Down, forward, back, forward," 
etc. 

This exercise is an excellent one to practise in order to 
acquire a graceful carriage and easy gait. It may at first be 
accompanied by the following music, which is written to 
accord with the movement. Afterwards, when the pupil 
becomes accustomed to the time, it may be performed to 
any march tune that is well marked. 






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DANCING. 



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Flexibility. 



No attitude or movement of the body will appear graceful 
in which there is evidence of constraint or rigidity in any 
part or member other than what is consistent with the nature 
of the attitude or movement For instance, the supporting 
limb may be kept firm, because in this an appearance of 
exerted muscular effort and power is pleasing. The extended 
arm may be kept rigid, with the hand clenched in an attitude 
of defiance; but any unnecessary expenditure of muscular 
effort should always be avoided. Indeed, we may safely 
take it as a general rule that in dancing all parts of the 
body should be kept flexile and free, except the limbs that 
are actively employed in supporting one's own weight or 
sustaining the balance of a fellow-dancer. 

But even the supporting limb should be rigid only with 
the rigidity that is capable of immediate flexion. In other 



ON NATURAL AND ARTIFICIAL MOVEMENTS. 39 

words, the dancer should have perfect command over all his 
muscles, and be able, if occasion requires, to employ the ex- 
tensors of one limb without in the slightest degree contract- 
ing the corresponding muscles of the opposite member. Then, 
in an instant, he should be able to make rigid the limb that 
was previously flexed, and simultaneously relax the one that 
was rigid, so that it hangs perfectly free and pliant by his side. 

I think that a great deal of the awkwardness exhibited by 
most beginners in dancing may be attributable to the diffi- 
culty which they experience in employing a different set of 
muscles in opposite members. If they contrive to keep the 
limb on which they are balanced sufficiently firm, they also 
stiffen the limb that is in motion ; or if they endeavour to 
relax the muscular tension in the moving limb and allow it 
to swing freely, they at the same time relax the supporting 
limb, and their dancing has in consequence a weak and 
undignified appearance. 

The same thing occurs with the arms in round dancing. 
A man will often allow both his arms to remain limp, and 
neglect altogether to support his partner ; or if, on the other 
hand, he contracts the muscles of the supporting arm to the 
requisite degree of firmness, he finds himself unable to avoid 
stiffening the opposite arm, in which no rigidity whatever is 
required, and in which the only muscles that need to be 
actively employed are the deltoid muscles, or those by which 
it is raised at the shoulder. 

Some beginners have a tendency to habitually bend the 
knees, while others incline to keep the limbs rigid ; of these, 
the latter are perhaps the more hopeful pupils. 

The practice of the following exercises will help the pupil 
to obtain ready control over the muscular action of his limbs. 

8th Exercise : To give flexibility to the hip-joints. — Stand firmly 
balanced on the right leg, stretching yourself up and contracting the 



40 DANCING. 



muscles till the whole limb is quite rigid, and there is no bend whatever 
at the knee-joint. Now swing the left leg to and fro like a pendulum 
from the hip-joint, keeping it perfectly limp and as it were lifeless. 
Take care, however, that the knee does not bend appreciably, and that 
the toe just touches the ground as it passes the supporting foot in 
the second position. Do this several times, first swinging one leg and 
then the other several times in succession from the fourth position in 
front to the fourth behind. Afterwards start from the second position , 
so that the swinging leg crosses the supporting one behind. You 
will doubtless at first find that it is difficult for you to keep one limb 
quite firm and the other quite limp ; but by practice you will in a little 
while be able to accomplish this. 

9TH Exercise : To give flexibility to the knee-joijits. — Stand firmly 
balanced on the left leg, with the right extended so that the toe 
touches the floor in the second position. Bring the right foot smartly 
up to the left knee, so that the sole of the foot is parallel with the leg, 
and let it fall again on the second position. Repeat this several times 
in succession, making the movement quicker and quicker, and taking 
care to bend the knee well outward ; then balance yourself on the right 
leg, raise the left foot, and proceed in a similar manner. 

ioth Exercise : To give flexibility to both hip and knee-joints. — 
As in the preceding exercises, stand balanced firmly on the left leg, but 
have the right foot raised behind in the third or fifth position, with the 
toe pointing downward. Now throw the right foot out to the second 
intermediate position, raised, and bring it quickly back again to the 
same position as before, letting the sole of the foot that is thrown out 
strike the ground audibly as it passes and repasses the supporting leg. 
Do this slowly at first, counting one, two ; one, two. Afterwards 
make the movement more and more rapid till the taps made by the foot 
on the floor sound as if you counted and one, and one. Repeat this, 
making the taps with the sole of the left foot, and balancing the body 
on the right leg. Finally, make the double movements with each foot 
alternately, dropping suddenly on the supporting foot, with a slight 
flexion of the limb at each accented count, and projecting the other 
foot to the second position to strike the ground in passing and repassing. 
In doing this exercise you can either remain stationary, or travel 
backwards, according to the position in which you drop the foot that 
has passed behind. Thus, if you drop the supporting foot each time in 
the first position, you will remain in the same place, and you will travel 



STEPS AND MOVEMENTS USED IN DANCING. 41 



backward gradually or rapidly according as you drop the foot in the 
third or fifth position — the latter of course taking you more quickly 
over the ground. 

I have treated this movement as an exercise, but the 
reader will perceive that it forms the foundation of many 
steps used in ornamental dancing. 

The movement may at first be practised to the music 
that follows and afterwards to any well-marked jig tune. 



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CHAPTER VI. 

STEPS AND MOVEMENTS 
USED IN DANCING. 

With Exercises for Practising the same. 

The foregoing exercises have been given chiefly with the 
idea of getting the limbs and muscles into working order, 
so to speak. One limb has been employed in supporting 
the body, while the other has been allowed to swing freely, 
and to a certain extent automatically. If, however, the 
action of the free leg is more immediately controlled by the 
volition of the dancer, and is made to assume positions in 
accordance with conventional rules, the movements are 
technically called — 



42 DANCING. 



Battements. 

In what are termed grands battements, the dancer stands 
fairly balanced on one leg, while the other is extended out 
as high and far as possible, either to the side in the second 
position, or in front or behind in the fourth position. After 
the battement the leg falls so that the foot is in the fifth 
position, before and behind alternately if the battement has 
been made in the second position. In practising for theatri- 
cal dancing, the foot is raised as high as the hip, and the 
, pupil at first supports himself by holding a rail. In this 
position the angle made by one leg with the other would be 
one of ninety degrees — a right angle; but for ordinary 
drawing-room dancing it will be sufficient to raise the moving 
limb, and extend it at an angle of forty-five degrees only. 

In what are termed petits battements, the toes of the 
dancer do not leave the floor ; but the foot of the flexed 
limb passes from the second positio?i to the fifth in front and 
the fifth behind the supporting foot alternately. The third 
position may also be employed ; but the fifth is better for 
practice. 

Petits battements may also be made with the upper part of 
the limbs kept open, the flexion being made chiefly at the 
knee-joint. These are termed petits battements on the instep, 
and they may with practice be performed with amazing 
rapidity. 

The constant practice of these battements will be found 
useful in all cases ; especially to pupils who aspire to the 
performance of solo dances, as they give brilliancy and free- 
dom to the movements of the limbs. I will endeavour to 
explain quite clearly how they should be done. 

Commence by standing fairly balanced on the left leg 
with the right foot in the second position, the toe just touch- 



STEPS AND MOVEMENTS USED IN DANCING. 43 

ing the floor. Cross the right foot before the left, chiefly by 
bending the knee, so that the heel is quite raised, and with- 
out closing the thighs. Extend the right leg again to the 
second position, and bending the knee as before, cross the 
right foot this time behind the left to the fifth position, with 
the heel quite raised. Open out the leg again to the second 
position, and repeat the movement, crossing before and 
behind alternately. Continue to do this, gradually increas- 
ing the rapidity of the crossings. Practise with both legs, 
and also resting on the toes only of the supporting foot. 



Downward Flexions. 

The flexions already treated of have been those only in 
which one limb is drawn upward, or the muscles thereof 
relaxed, while the other limb supports the body at its normal 
elevation. When, however, the knee and hip joints are 
bent in such a way that the trunk of the body sinks, such 
movements may be termed downward flexions. 

Whenever the lower limbs are bent in dancing, the knees 
and fore part of the thighs should be turned well outward. 
It is anatomically impossible to turn out the knee without 
also turning out the foot — that is, unless a special effort be 
made to move the joints in opposition ; but people who 
have their knees naturally turned inward, will sometimes 
turn out their feet readily enough. The teacher of dancing 
should particularly caution his pupils to turn their knees 
outward, as this habit gives an appearance of firmness and 
decision to a dancer's movements, while flexions of the 
limbs made with the knees bent forward look feeble and 
undignified. I have known men whose everyday move- 
ments appeared firm and vigorous enough, yet whenever 
they began to dance they would start with their knees bent 



44 DANCING. 



forward like those of a broken-down cab-horse, and all for 
the want of a little care and attention on the part of their 
teacher at the outset. 

My own practice, whenever I find that there is a decided 
tendency on the part of a pupil to bend the knees forward, 
is to cause him or her to pull with both hands a very strong 
indiarubber expander, fastened at one end to the floor. 
Simultaneously the pupil advances the foot, and the extended 
limb becomes rigid in making, as it were, an automatic effort 
to oppose the strain of the indiarubber, which is pulled at 
an angle that causes it to offer the strongest resistance, and 
bring the rectus femoris muscle into vigorous action. 

I do not know if other professors of dancing have ever 
tried this simple expedient ; but I feel sure that any teacher 
of experience will endorse the statement that if you can 
only get a pupil to feel what kind of action is required, and 
make the conditions such that he cannot conveniently help 
doing it correctly when practising, you are likely to obtain a 
better result in a few minutes than would accrue from hours 
spent in theoretical explanation. 

Downward flexions should be made in commencing, with 
the balance of the body sustained by both feet in various 
positions, at first vigorously, with the idea of giving freedom 
to the action of the joints, and afterwards very slowly, taking 
care to occupy precisely the same time in rising as in sinking. 
For instance, you may get some one to play a waltz tune, 
and count three (one bar) to perform the genuflexion or 
bending of the knees, and again three to straighten the 
limbs in rising. 

In practising downward flexions, take care that the upper 
part of the body retains its erect attitude, and that the 
shoulders are kept perfectly even. If the flexion be made 
with the feet in a close position, and the body be kept 



STEPS AND MOVEMENTS USED IN DANCING. 45 

perpendicular, the heels will rise off the floor in descending, 
and you may continue to go down till you appear to be 
sitting exactly over them. The fifth position is the most 
difficult one in which to perform this exercise, in consequence 
of the narrowing of the base on which you rest. If you 
make the flexion in the fourth position, it will be the heel 
of the hinder foot that will rise highest from the floor. The 
practice of these genuflexions gives great facility in perform- 
ing the courtesy; but above all things be careful about your 
risings, for nothing looks more undignified than to descend 
sedately, and then suddenly bob up like a Jack-in-the-box. 

After the downward flexions have been practised on both 
limbs in all positions, you may try them resting on one limb 
only, extending the opposite leg to the fourth position raised. 
Let the balance be well sustained on the supporting limb, 
which also makes the flexion, turning the knee well outward, 
and endeavouring to keep the body perpendicular in 
descending and rising. 

This exercise is very useful for strengthening the limbs. 
That it brings the muscles into vigorous action you may 
easily convince yourself by doing it several times in succes- 
sion, and then noticing how your legs and thighs feel on the 
following day. In some cases I have spoken of a limb as 
being flexed when the tension of the muscles is simply 
relaxed, or in other words, when it hangs limber; but in 
these exercises it is obvious that the flexor muscles must 
be strongly contracted in descending, while the extensors 
are brought vigorously into play as the body rises. 

Flexions and extensions of the limbs should now be 
made in combination with lateral progressive and retro- 
gressive movements. It will be readily understood that 
these combinations are capable of almost endless variety. 
I will here suggest a few only that will prove useful 



46 DANCING, 



as exercises and serve as a guide to the formation of 
others. 

These exercises may be accompanied by the following 
music, or something of a similar character having equal 
notes, so that the movements may be performed evenly : — 

For the nth, 12th, 13th, and 14th Exercises. 




iith Exercise. — Commence from the first position and make a 
movement for each note of the music. One: Slide the right foot to 
ike second position, and sustain the balance thereon. Two: Close the 
left foot to the first position, and balance the body equally on both feet. 
Three: Bend the knees outward so that the body, which must be kept 
perpendicular, sinks directly over the heels, which rise as the body 
descends. Four: Straighten the limbs ; but not too suddenly. Repeat 
this in the opposite direction by sliding the left foot to the second 
position and closing the right to first, etc. 

The technical term for "bend the knees " is "fitter les 
genoux." 

I2TH Exercise. — Same as the last, only instead of closing the foot 
to the first position at the second count, close it to the third position 
in front, and thus make the flexion. Then practise the same, closing 
the feet to the fifth position, and also to the third and fifth behind. 

13TH Exercise. — Step with the right foot from the first to the 
second position, and close the left foot, as before, to various positions, 
only, instead of bending the knees after closing the feet, raise yourself 
as high as possible on your toes. 

This action brings different muscles into play, and counter, 
acts any tendency to looseness of limb that might be induced 
by the too frequent practice of flexions only. Recollect 



STEPS AND MOVEMENTS USED IN DANCING. 47 

that in rising on the toes the limbs should be kept perfectly 
rigid, and that any movement made to the right should be 
alternated by a corresponding movement made to the left. 
Thus, if the left foot be closed to the fifth position behind 
in going to the right, so also must the right be closed to the 
fifth behind in going to the left. 

14TH Exercise. — Starting from the first position. One: Slide 
the right foot forward to the fourth position i and balance the body on 
the right leg. Two: Close the left foot to the first position, and 
balance on both legs. Three: Bend the knees outward. Four: 
Straighten the limbs. Five: Rise as much as possible on the tips of 
the toes. Six: Lower the heels, still keeping the limbs rigid. 
Seven: Again bend the knees outward. Eight: Straighten the 
limbs. Continue by stepping backward with the left foot, closing the 
right to first position, bending, extending, and again bending the limbs. 
Repeat all the above, starting with the left foot, and after the flexions 
and extensions, stepping back with the right foot to the fourth 
position, etc. 

N.B. — The above exercises may now be practised by 
bringing the foot at the second count to a raised position 
against the supporting leg, the toe of course turned down, 
and then performing the flexion on one limb only. Indeed, 
from the examples given, any teacher of an inventive turn 
will be able to arrange dozens of exercises of a similar 
character. 

We now come to the consideration of 

Movements in which Both Feet Leave the Ground. 

These may, I think, be broadly divided into five classes 
thus : — 

1. Movements in which the body springs upward from 
both feet, and also alights on both feet, as, for instance, in 
what is technically known as changement de pied — a very 
common form of step in solo dancing. 



43 DANCING. 



2. Movements in which the body springs upward from 
both feet and alights on one foot only, as in the pas dc 
sissone, etc. — also frequently used in solo dancing. 

3. Movements in which the body springs upward from 
one foot only and alights on both feet, as in the assemble ; 
employed also in solo dancing as a finish after a turn of the 
body, e?i air, when the foremost foot reaches the ground a 
trifle sooner than the hinder one, as in Plate XIX. 

4. Movements in which the body springs upward from 
one foot and alights upon the other foot, as, for instance, 
in the jette, or thrown step. This, of all leaping steps, is 
perhaps the one most frequently employed in ball-room 
dancing. 

5. Movements in which the body springs upward from 
one foot only and descends again upon the same foot, as in 
the common hop, or pas saute, as it is technically called. 

The above-mentioned steps will be explained in due 
course, but I think it will be seen that even in theatrical 
dancing, however high the upward spring may be, and 
whatever capers may be cut during the leap, as in the 
cabriole, entrechat, ailes de pigeons, etc., the movement, no 
matter how complicated, must necessarily be classed under 
one of the above five heads. 



Observations on Leaping Steps and Movements. 

In order to spring upward from the ground, so that the 
body reaches a higher elevation than could be attained by 
rising on the toes, it is essential that three angles be formed 
by the bendings of the limbs. One angle is formed by the 
forepart of the thigh and trunk, another by the back part 
of the thigh and calf of the leg, and a third by the upper 
part of the foot and the fore part of the leg. 




Plate V 



STEPS AND MOVEMENTS USED IN DANCING. 49 

If we stand in an upright position, and try to spring 
upward without previously bending the knees, we shall find 
ourselves utterly powerless to do so; but we may rise on 
the toes, and then suddenly release the feet from the floor, 
falling again upon them without any flexion of the knee 
joints. This might, and probably would, to a careless or 
unscientific observer, have all the appearance of a little 
leap ; but in reality the body reaches its maximum elevation 
while the foot presses on the floor, and what is apparently 
a leap is, strictly speaking, nothing more than a drop from 
a higher to a lower elevation. 

If, however, with our feet kept flat on the ground, we 
bend the knees, and then suddenly straighten the limbs by 
a vigorous tension, we shall find that the action tends to 
raise our feet slightly from the ground. If now, after 
bending the knees, in addition to the sudden tension of the 
limbs, we raise ourselves high on the soles of the feet, which 
we press strongly downward, immediately before they leave 
the ground, in order to obtain an upward impulse, and at 
the same time rapidly elevate the shoulders, we shall find 
that with a little practice we can leap to a considerable height. 

It should be remembered that if the leap is to be made 
in a forward direction, the body is so inclined at the moment 
of making the spring ; but in making an upward leap, in 
which it is intended that the foot or feet shall alight exactly 
in the position from which they sprung, the body should not 
be inclined forward, except it be in some graceful attitude, 
in which it is counterbalanced by a corresponding rearward 
extension of limb, as, for instance, in Plate XV. 

We have, then, to bear in mind that any leaping step or 
movement must always be preceded by a flexion of the limb or 
limbs that support the body at the time the spring is to be 
made ; and that in leaping we must rise on the sole of the 

E 



50 DANCING. 



foot, which should be pressed strongly downward and suddenly 
released, the toes being the last to leave the ground. 

The next thing we have to consider is the manner of 
alighting after the leap, which must be exactly the inverse 
of the above. As the toes were the last to leave the ground, 
so also must they be the first to reach it, and the limb or 
limbs must be flexed on alighting. If these instructions be 
not attended to, the movements will not only appear jerky 
and ungraceful, but they will be productive of an unpleasant 
and even injurious concussion that will be transmitted along 
the vertebral column to the head. For this reason, the 
movement familiarly known as the splits — or, more elegantly, 
as temps echappe — in the hornpipe is a somewhat trying one 
to the dancer, as he alights immediately on his heels when 
the limbs are stretched apart, and the shock incident on the 
foot striking the ground is unbroken by the elastic spring of 
the arch naturally formed by the instep. 

The only springing steps to which it will at present be 
necessary to devote our attention are the changement de 
pied) the jette, and the pas saute. These must all be well 
practised ; more difficult movements will be merely alluded 
to incidentally. First, then, we will take the 



Changement de Pied. 

This term implies a change in the relative position of the 
feet. The movement is performed thus : Suppose you are 
standing in the third position, with the right foot in front. 
Bend the knees outward in preparation, leap upward, and 
in doing so, quickly and simultaneously throw the right foot 
a little back and the left a little forward, but do not separate 
the feet, so that on coming to the ground they will still be 
in the third position, but with the left in front. Having 



STEPS AND MOVEMENTS USED IN DANCING. 51 



practised thus, proceed to change the relative position of 
the feet in the fifth position. 

It is possible for an experienced dancer to make several 
rapid crossings of the legs while executing the leap. Such 
movements are technically called entrechats?- They are of 
various kinds 3 in some the dancer leaps from one foot, and 
in others from both feet, and the crossings or beatings of 
the limbs may be made in various positions. Cabriole is a 
technical term for the striking of the feet or legs together 
while in the air. Such movements present a pleasing 
appearance when well executed, but it is needless to say 
that their successful accomplishment requires an immense 
amount of practice and considerable natural agility. 

The following examples of simple exercises for the 
changement de pied will perhaps be found useful. For the 
first let some such passage as this be played : — 




evS 



; B 



-X- 

Right close changements. 






Left 



close 



changements. 




Right close 



changements. 



Left close changements. 



1 This word is not derived from the French entre, between, and chat, 
a cat. That would signify nothing at all ; but the Italian word, 
intrecciare, from which it is really derived, means to interweave. 



DANCING. 



15TH Exercise. — Starting from the first position. One: Step 
softly with the right foot sideways to the second position, so that the feet 
are about twelve inches apart, and balance on the right leg. Two : — ■ 
Close the left foot to the third position in front, and balance the body 
equally on both feet. Three: Bend the knees and spring upward 
from the floor, changing the relative position of the feet, so that on 
alighting the right foot is in front. Four : Again bend the knees and 
spring upward, changing the position of the feet so that on alighting the 
left is in front. Repeat these four movements to the left, stepping with 
the left foot to the second position, closing the right to third in front, 
then changement de pied, falling with the left foot in front, and again 
changement de pied, falling with the right foot in front. 

After practising this exercise several times as above, try 
closing to the fifth position, and then making the changement 
de pied from fifth in front to fifth behind, and vice-versa. 

For the next exercise play or sing as follows, being very 
particular about the relative duration of the notes : — 




r — » 

Slide Rt. close 



3 changements. Slide Lt. close 3 changements. 



16th Exercise. — Starting as before from the first position. One: 
Make a gliding step (pas glisse) with the right foot, slowly, to the 
second position, and as it reaches its destination, allow the weight of the 
body to fall on it, at the same time stiffening the limb. Two : Close 
the left foot slowly to the third position with a gliding movement, the 
toe being pointed downward. As soon as the heel of the left foot 
reaches the instep of the right, make a slight and sudden flexion of both 
limbs bending the knees outward, and then, with a light springing 
action, make three changements de pied, one for each note, so that the 



STEPS AND MOVEMENTS USED IN DANCING. S3 

left foot passes behind, before, and again behind for the third crotchet— 
one, two, three. Pause one beat for the crotchet rest, and then repeat 
the whole movement to the left, sliding the left foot to the second 
position, closing the right in front slowly for the minims, and making 
the three changements de pied more rapidly, one for each crotchet— the 
right foot passing behind, in front, and behind again, 

This exercise should be practised repeatedly, the alterna- 
tion of slow gliding movements with more vigorous and 
rapid steps being calculated to impart facility not only in 
controlling the muscular action of the lower limbs, but also 
in assimilating such action to the various intervals occupied 
by musical notes. 

The above exercise should also be practised by closing 
to and making the changement de pied in the fifth position. 

The next springing movement which we have here to 
consider is 

The Jette. 

It is thus called because, in making the step, the weight of 
the body is thrown from one foot on to the other foot. To 
execute a pas jette^ stand with the weight of the body resting 
on one foot ; bend the knee in preparation for the spring, 
and throw the body in the required direction, coming down 
on the other foot. The toe should be the first part of the 
foot to reach the ground, and the limb should be flexed on 
alighting, as already explained. 

It is usual after making a jette to bring the disengaged 
foot into a closed position at right angles behind ; but this, 
in a great measure, depends on the nature of the movement 
which follows. When in a technical description of a dance 
you see the words jette non rapproche^ it means that the 
feet are kept apart ; while the term, pas jette releve^ indicates 
a rising after the jette in a closed position. 



DANCING. 



The Jette is often described as a leap from one foot to the 
other, but I doubt if the maximum elevation of the body is 
attained after the toe of the foot which commences the 
movement has been released from the floor — unless, of 
course, the body, as in jumping, is projected upward by a 
strong muscular tension of the limb and impulse of the foot, 
as in the demi capriole. But this, I think, is seldom the case 
in ordinary dancing. I should say that unless the nature of 
the movement be exceptionally violent, the action of the 
limbs in making jettes would be much the same as in run- 
ning, in which it has been shown by experiment that the 
legs are not withdrawn from the ground until the body is at 
its greatest elevation. 1 

The Pas Saute. 

In executing the pas saute or hop, the body is balanced 
on one leg only, the other leg being raised from the floor. 
The body is projected upward by the tension of the limb 
and impulse of the foot on which it rests, and descends 
again upon the same foot. 

Care must be taken to bend the knee in commencing the 
hop, and also on alighting, and it is essential, as in ordinary 
upright leaping, that the toe be the last to leave the ground 
and the first to reach it. It should also be remembered 
that a hop cannot be made from one foot to the other foot. 
A long series of hops may be made upon either foot, but to 
change from one foot to the other, necessitates the employ- 
ment of another description of step, which may be either a 
jettiy a glissade (glided step), or a coupe (cut step, hereafter to 
be described). 

The duration of time occupied in making a hop, or rather, 

1 See Professor Marey's work on Animal Mechanism, pp. 129, 130. 



STEPS AND MOVEMENTS USED IN DANCING. 55 

the actual time during which the body remains suspended, 
is necessarily very short, for no sooner does the foot of the 
dancer leave the floor than it is brought down again by the 
action of gravitation. The musical interval, however, is 
filled up by the preparation for the spring. 

The following are exercises for the jette and pas saute in 
combination. For the first, play as follows : — 




— S 1 >-f F — 1=+ ±± -P^ 



acz=PS 



r^ 



gg ^Egf^ipa^^ipg|j| 



/rtf/ hop jette hop, etc. close. 

17TH Exercise. — This exercise consists simply of alternated jettis 
and hops. It should be performed first sideways, and then forward in 
a direct line. The jette occupies the crotchet interval, for which count 
one. The bending of the knee in preparation for the hop occupies the 
half interval rest, for which count two, as the chord in the accompani- 
ment is sounded, and the hop itself should be made as the quaver in the 
treble is struck, for which say and. Commence with the right foot and 
at the finish bring the left to the closed position {assemble*), say the first 
or third position. Do not, however, let the weight fall entirely on the 
left foot, but arrange the balance so that you are ready to start again, 
this time commencing with the left foot, either continuing to go side- 
ways, forward round and round the room, or forward and backward 
alternately. In finishing, instead of descending on the disengaged foot 
and hopping, simply bring it against the other foot in a close position. 
In making the pas saute, let the disengaged foot fall in the third position 
raised behind the one on which you hop ; but in making the assembly 
throw the disengaged foot out a little before bringing it close against 
the other. In this, as in all exercises, the toes must be turned well 
out. 

For the next exercise let a passage in three-four time be 
played, as follows : — 



5<5 



DANCING. 



:lArf3= 



pipM 










r _ r _._^ 




i 8th Exercise. — Stand with rthe weight of the body resting on the 
left leg, the right foot being raised behind the left, with the toe pointed 
downward. One : At the first note throw the weight of the body from 
the left to the right leg, letting the foot fall in the second position, and 
at the same time raising the left foot behind in the third position. Count 
one, and, Two : At the first crotchet spring upward and alight again 
upon the toe of the right foot (pas saute), bending the knee outward. 
Count two. Three: Again hop upon the same foot, counting three to 
complete the bar. 

For the second bar repeat this movement by springing on to and 
hopping twice on the left foot. The third bar is precisely the same as 
the first, viz. , jette on to and hop twice with the right foot ; but the 
fourth bar consists of two jettes only, first to the left and then to the 
right. Pause on the right foot at the minim, with the left raised behind, 
and then repeat the exercise in precisely the same manner, only begin 
this time by throwing the weight of the body on to the left instead of 
the right leg. This exercise might be very briefly read off thus : — 
Right, hop, hop ; left, hop, hop ; right, hop, hop ; left, right ; left, hop, 
hop ; right, hop, hop ; left, hop hop ; right, left. 

This movement should also be practised forward in a direct line, as 
well as to the side, in which case each of the jettes should be made in 
the fourth instead of second position, and the hopping foot will not 
descend in precisely the same spot, but will make a little progress during 



STEPS AND MOVEMENTS USED IN DANCING. 57 

the interval of suspension. The body of the pupil will also incline 
slightly forward from the perpendicular. 

For the next exercise, which consists simply of a prolonged 
sliding step (pas glisse) and a pas saute, the following example 
of music may first be played, as it accords exactly with the 
movement ; but afterwards, when the pupil gets accustomed 
to the rhythm, it may be performed to any ordinary waltz 
tune, the glissade being prolonged to occupy the first and 
second interval, and the hop being made at the third interval. 
For the 19th, 20th, 21st, and 22nd Exercises. 






— U- 



1 1— r 1 \- T ->, 

1 J-4-- C & J-+-> 



-U-. 



■si- 



I 



3P- 



bees 









-1©- 



-— -<SJ- 






glide, hop glide, hop, etc. 



tef 



->e-^- 




fa 



-I- 






rz2: 



;©F : 



;si- 



"~& 



^jEiF F^T? : — he= 



;<9- 



— J — 



58 DANCING. 



19TH Exercise.— Stand with the right foot in the third position 
behind the left, the toe pointed downward, and just raised from the floor. 
One: Slide the right foot slowly and evenly to the second position. 
Two : Hop gently upon the right foot, raising the left behind so that 
the toe, pointing downwards, is just off the floor. Then repeat by 
sliding to the left and hopping on the left foot. 

N.B.— In executing a pas glisse in any direction, the 
weight of the body must not fall upon the foot which makes 
the slide until it reaches its destination, and then the balance 
must be transferred from one leg to the other so smoothly 
that it is impossible to discern precisely when the change is 
accomplished. 

20TH Exercise.— In this exercise the slides and hops are to be 
made in a forward direction, thus : — 

Stand balanced on the left leg, with the right foot just raised in the 
fifth position in front, the toe pointed well down, and the heel just over 
the left toe. One; Slide the right foot forward to the fourth position, 
gradually extending the limb, so that in finishing the glide it is fairly 
rigid. The pas glisse should begin with the toe only, and not until the 
right foot reaches its destination, and the weight of the body is actually 
on the leg, may the heel touch the floor. This is the first movement, 
which occupies the two intervals belonging to the minim or first chord 
in the music. Two: Let the left ]eg, which is now disengaged, swing 
in front of the right leg, so that the left heel is raised high above the 
right toe, and the toe of the left foot points downward just off the floor. 
Precisely at the instant the left foot swings before the right, bend the 
right knee a little and hop so that you come down again on the right 
foot at the third count ; these last movements being made quickly and 
almost simultaneously. Now slide forward again, this time with the 
left foot, which is raised ready in front. In finishing the glide, swing 
the right foot in front and at the same time hop on the left. 1 

2IST EXERCISE.— Tas glisse and saute in a backward direction. 
Commence by having the weight of the body resting on the right leg, 

1 These exercises look very graceful when practised with the proper accompanying 
arm movement, for which study "Axioms relating to gracefulness " in a succeeding 
chapter. 



STEPS AND MOVEMENTS USED IN DANCING. 59 



with the left foot raised in the third position behind the right, the toe 
pointing downward and just off the floor. One: Slide the left foot rear- 
ward to the fourth position, and gradually transfer the balance of the 
body to the left leg. Two : Let the right leg swing behind the left, so 
that the right foot comes near to the left heel in the third or fifth 
position, the toe downward and just raised from the floor. Simultane- 
ously hop softly on the left foot. Now slide backward again, this time 
with the right foot, which is already raised behind the left. Swing the 
left leg behind on completing the glide, and hop at the same instant on 
the right foot. 

22ND Exercise. — Pas glisse and saute en tournant (in turning). 
Let the balance of the body, in commencing, be sustained on the left 
leg, and place the right foot in the fifth position in front, the heel raised 
high, and the toe just touching the floor. One : Slide the right foot 
slowly forward to the fourth position, and transfer the balance of the 
body to the right leg. Two : Hop softly and lightly on the sole of the 
right foot, and in doing so, immediately before the body is raised, 
give the shoulders a twist as it were to the right, and directly your foot 
is off the floor give the leg a sudden twist also, so that when the foot 
alights again on the floor the toe thereof, and also your whole body, will 
be turned in the opposite direction to that in which you started. Mean- 
while the left, or raised foot, should fall as you turn, into the fifth 
position, the toe just raised from the floor behind the right heel. Three: 
Slide the left foot slowly backward to the fourth position, and transfer 
the balance of the body to the left leg. Four : Hop very softly on the 
left foot, and at the same time bring the right to the fifth position in 
front, with the toe pointed downward and just touching the floor, ready 
to be again slid forward in repeating the movement to regain your 
original place. 

When you have practised the above exercise several times, turning to 
the right, try reversing the action ; that is, slide the left foot forward, 
and hop in turning the body to the left to face the opposite way. Then 
slide the right foot backward and hop on it, bringing the left to the 
fifth position in front ready to re-commence. 

The hops in these exercises should be very much modified, 
the toes only just leaving the floor. When you have prac- 
tised a little it will scarcely be necessary in sliding forward 
to place the heel on the ground at all ; indeed, the exercises 






6o DANCING. 



should sometimes be practised without the pupil allowing 
his heel ever to rest on the floor. 

Simple as the above movements may appear, they require 
to be practised with great care and attention. The muscular 
action of the lower limbs in making them is very similar to 
the muscular action employed in waltzing. There is a slight 
difference, however, resulting from the fact that in waltzing 
the foot on which the dancer is balanced never actually 
leaves the floor, but is propelled forward or backward by a 
flexion and sudden contraction of the muscles akin to that 
employed in hopping, without the upward i?npulse of the 
foot The steps and movements proper to the waltz will be 
fully explained in another part of this work ; but meanwhile 
these exercises are particularly beneficial, as they tend to 
bring the muscles of the limbs immediately under the control 
of the pupil, and into the proper condition for executing the 
movements required in waltzing. 

The Coupe. 1 

The next preparatory movement which claims our attention 
is the coupe, or cut step, the word, like many similar ones, 
being used in its relation to dancing, as a substantive. The 
movement always commences from an open position, either 
the second {coupe lateral), the fourth in front {coupe dessus), 
or the fourth behind {coupe dessous). 

To execute the coupe lateral, stand on one foot, say the 
left, with the right foot raised in the seco?id position. Bring 
the right foot quickly down to the place which the left 
occupies, and as it descends raise the left foot, which has 
thus been cut out of place, and extend it to the second 

1 See also definition in the alphabetical list of technical terms at the 
end of this chapter. 



STEPS AND MOVEMENTS USED IN DANCING. 61 



position in the opposite direction, the body being now 
supported by the right leg. 

It will be seen that in performing this movement the 
position of the centre of gravity of the body is not changed, 
as it should neither sway to the right nor left. 

A coupi made from the fourth position behind is called 
coupe dessous, or under cut step. To execute this step stand 
with the body balanced on, say, the left leg, and let the 
right foot be raised behind in the fourth position. Bring 
the right foot smartly down to the position which the left 
occupies, simultaneously raising the left foot so that the 
right in descending passes under the heel. Throw the 
weight of the body on to the right foot as it touches the 
ground, and raise the left to the fourth position in front, with 
the toe of course turned very much down, to avoid the 
appearance of kicking. (See Plate V.) 

The coupe dessus, or upper cut step, is made from the last- 
mentioned position, by bringing the raised left foot down 
to the place occupied by the right foot, on which the body 
rests, so that it appears to descend over the supporting foot, 
which is, however, quickly withdrawn as the raised foot 
descends, and lifted to the fourth position behind, the balance 
of the body being transferred to the left leg as the foot 
reaches the floor. 

N.B. Mark well the difference in the spelling of the above 

technical terms. If you cannot speak French it were better 
that you acquired the correct pronunciation of these and 
other terms from a Parisian before making use of them. A 
little girl residing in the North told a friend of mine not 
long since that she had learnt a " pass de ducks." " What- 
ever is that ! " exclaimed my friend. " Well," said the child, 
"that is what the teacher called it." A little further examin- 
ation elicited the fact that the children had been taught a 



62 



DANCING. 



pas de deux ; but I need scarcely say that their instructor 
did not belong to the foremost ranks of the profession. 

Another thing to which I would call your attention is 
this : There is no need to be afraid of coming down on 
your own toes in making the above movement. You will 
instinctively remove one foot from the floor before the other 
descends by a kind of involuntary muscular action. There 
is perhaps just a little danger that in your first attempt at 
making entrechats you will sometimes come down unawares 
with your heel just over your toe ; but you will not be likely 
to practise these movements until you have made consider- 
able progress in the art. Unfortunately it happens that, as 
a general rule, amateur dancers are far less likely to damage 
their own than their partner's toes. If men had to incur all 
the penalties of their own clumsiness, they would, I venture 
to think, be more inclined to learn how to dance properly 
than appears to be the case at present. 

The following is an exercise for the coupe lateral combined 
Play, for example : — 



with a glissade 










glide, cut, cut, glide, cut, cut, etc. 



.J 4 



m 



%- 



■a. 






* 



■ttdpz 



tttzjz 



STEPS AND MOVEMENTS USED IN DANCING. 6^ 



j 



23RD Exercise. — Commence from the first position. One: Slide 
J the right foot to the second position, and in finishing, throw the balance 
of the body on to the right leg. Two: Raise the left foot from the 
floor, bringing it down sharply in the place of the right foot, which must 
simultaneously be raised and extended to the second position. Three: 
Bring the right foot down to the place of the left, which must be 
raised as the right descends and extended to the second position. These 
three movements complete one bar, viz., glissade to the right and coupi 
to the right and left. The next bar is similar, only the movements are 
made in the opposite direction ; that is, glissade to the left and coupe to 
the left and right. Continue thus to the right and left alternately till 
the eighth bar, when, instead of making a glissade to the left, simply 
close the left foot to the first position (assemble). Then repeat the 
exercise, commencing with the left foot, and finish by closing the right 
to the left at the eighth bar. 

For an exercise on the coupe dessous et dessus y play thus, 
beginning slowly and gradually accelerating the movement : — 



W — p *— r p * r til r A *'s* — u 






under,over,under,round,under,over,under,round _ <*-8v. 



24.TH Exercise. — Be standing with the body balanced on the right 
leg, and the left foot raised behind in the fourth position. One : Coupi 
dessous. Bring the left foot smartly down to the position occupied by 
the right foot, which is simultaneously raised and extended to the fourth 
position in front, so that the left foot in descending just passes under the 
right heel. All this is done almost at the same instant, and occupies 
only one count of the music. Two : Coup'e dessus. Bring the right 
foot, which has just been projected to the fourth position in front, 
back again to the place it originally occupied, so that it appears 
in descending to pass over the left foot, which is removed to make way 
for it, and again raised in the fourth position behind, as it was at start- 



64 DANCING. 



ing. Three: Coupe 1 dessous. The same as just described for the first 
count. Four : Bring the right leg, which was extended in the last coupe* 
to the fourth position in front, round to the fourth position behind, 
keeping the foot off the ground, and causing it to describe an arc in 
passing the supporting limb, upon which make a slight springing 
movement. For the next bar repeat the steps above described, in the 
opposite direction, or that to which the left toe points, beginning by 
bringing the right foot, which has just passed behind the left leg, down 
in the place of the left foot, which is simultaneously extended to the 
fourth position in front. Continue thus with coupe" dessous, dessus, and 
again dessous, followed by the thigh movement, with the balance first 
on one leg and then on the other, to the end of the exercise. 

I may mention that the coupe dessous and dessus in com- 
bination are steps very frequently employed in solo gavottes 
and other so-called " fancy " dances ; but I believe that the 
" Versa," of which an explanation will be given in due course, 
is the first drawing-room dance for couples in which the 
movement has been introduced. The above exercise is an 
excellent one to practise for acquiring lightness, agility, and 
evenness of balance. 

It is not always necessary in making a coupe forward or 
backward to let the raised foot descend directly over or 
under the supporting one as it leaves the floor. The steps 
must in many cases be modified to suit the nature of the 
dance in which they are used. 



The Chasse. 

When a coupe is immediately followed by a transfer of 
balance to the foot that has been cut out of place, the move- 
ment is called a chasse, because in it — especially if the 
step be repeated in one direction — the feet have the appear- 
ance of chasing one another. Generally speaking, however, 
chasse movements are of a gliding nature, and are executed 



STEPS AND MOVEMENTS USED IN DANCING. 65 



with the feet close to or actually on the floor, while a coupe 
is more usually made from a raised position. The difference 
between a coupe and a chasse will perhaps be rendered more 
apparent to the pupil if he considers that in executing the 
former movement it is only necessary to make a single 
degage, or passing of the weight from one foot to the other ; 
while in a chasse the balance of the body must again be 
thrown on to the leg which originally sustained it. 

A succession of chasse movements may be made in a 
forward, backward, or sideways direction. The following are 
exercises for the step combined with ^ gliss'e and pas saute. 
Play as below : — 

For the 25 f h and 26th Exercises. 

g^- O J" - ^^g-^g-g-^ F^f# T H-# T ^-^g- #- g - - H :LL #- g - -j-g--g-H 

J — l ^9 9 W 9 • • • • 




chasse, ch. ch. \iv£{hass£,ch. ch. hop, etc. 



25TH Exercise. — Stand in the third position with the balance on 
the left leg, the right foot pointed behind, and just a little raised, ready 
to begin the movement. One: Glissade with the right foot to the 
second position, and let the weight of the body pass to the right leg. 
Two : Bring the left foot to third position behind the right to carry the 
weight, while you again quickly slide the right foot to the second position, 
and balance thereon, counting and two. Three : Do precisely the same 
as for the last count, viz., chasse, and three. Four: Hop gently on the 
right foot, raising the left in the third position behind ready to recom- 
mence the movement in the opposite direction. 

26th Exercise. — Stand on the left leg with the right foot just raised 
in front, the toe pointing well down in the fifth position. One : Start- 
ing obliquely in the direction to which the right toe points, slide the 

F 



66 DANCING. 



right foot to the fourth intermediate position. Two : Close the left 
foot to the fifth position behind the right, to carry the weight, while 
the right foot is again slid to the fourth intermediate position, and 
the balance is again transferred to the right leg — count and two. 
Three: Chasse again obliquely as just described, counting and three. 
Four: Hop lightly on the right foot, raising the left behind in the ffth 
position ready to make the movement in a backward direction obliquely 
to original place thus : — Slide backward with the left foot to the fourth 
position, then chasse, again chass'e, and hop on the left foot with the 
right raised in the fifth position in front as at starting. Repeat the 
movement forward and backward obliquely as explained above ; but at 
the last note of the music, instead of hopping on the left foot, as before, 
put the right foot boldly down in the fifth position behind, and raise the 
left with the toe pointed downward, ready to commence the movement 
obliquely in the opposite direction. 

The same movement may also be done forward and back- 
ward in a direct line, the feet changing alternately from the 
fourth to the third position. The exercise is to be performed 
first with the right foot continually in front till the last note, 
when, instead of hopping on the left foot, the right is put 
boldly down in the third position behind, and the left is slid 
forward as the music repeats. 

A chasse step may be made alternatively, first with 
one foot and then with the other. Such a movement is 
technically called chasse alternatif. 



The Rond-de-Jambe. 

This, as the term implies, is a circular movement of the 
leg. The rond-de-jambe is very frequently employed in 
theatrical dancing ; but is seldom brought into requisition in 
the drawing-room except in the execution of ornamental 
dances, and then always in a somewhat modified form. 

There are two kinds of ronds-de-ja7nbes — outward and 
inward, or those in which the foot commences to describe 



STEPS AND MOVEMENTS USED IN DANCING. 67 

the circle by moving backwards or by moving forward. 
The outward circle is perhaps more usually employed. 
Ro?ids-de-jambes should be first practised with the feet 
upon the ground, and afterwards, when a certain degree 
of facility has been obtained in executing the movement, 
the foot describing the circle should be raised from the 
floor. 

The outward rond-de-jambe is begun from the seco?td 
position. Suppose, for instance, you are balanced on your 
left leg, extend the right to the second position, and then 
commence the rond by making it describe a semi-circle in a 
backward direction till the right heel reaches the heel of 
the foot on which you are balanced. Then continue the 
circle in a forward direction, the foot going outward till it 
again reaches the position whence it started, and then the 
rond is completed. 

The inward rond-de-jambe is also begun from the second 
position, only the foot commences to describe the circle by 
coming forward and inward until it reaches the first posi- 
tion. It then continues the rond backward and outward till 
it again reaches the second position, and completes the 
circle. 

These ronds-dejambes should at first be practised slowly 
several times successively with one ]eg, and then with the 
other leg. Afterwards quicker, and with each leg alternately. 
In practising the ronds-de-jambes en air, the pupil should 
begin by resting his hand on some object to keep himself in 
an upright position, because the body ought properly to be 
balanced only on the toe of the supporting foot. 

In addition to the above, there is also a kind of leg twist 
frequently employed in burlesque dancing, in which a half 
turn is made on the toes of the supporting foot while the 
raised limb is twisted upward, its position being changed 



63 DANCING. 

_ 

from a rearward to a forward position by the turn of the 
body. In executing such a movement, great care must be 
taken that there is a free action of the thigh. Although it 
has a somewhat similar effect, this movement cannot properly 
be described as a rond-de-jambe. 



The Pas de Basque. 

One of the most beautiful steps used in terre a terre 
dancing is that known by the above name, and so-called 
because it had its origin in Basque, a province of Southern 
France. It is a step frequently employed in gavottes and 
other ornamental and solo dances, and it is also the found- 
ation of that now entirely neglected drawing-room dance 
called the Redova. 

The pas de basque is not, like the jette, pas saute : , etc., a 
simple movement ; but may be regarded rather as a com- 
bination of movements that have been already described. 
The step is composed of a demi (half) rond-de-j ambe par 
terre, 1 a jette, glisse, and coupe dessous lateral, or dessus, 
according to whether the movement be made forward, side- 
ways, or backwards. The pas de basque may be danced to 
music written in common or in triple time, the accentuation 
of the movement of the feet being made differently accord- 
ing to the measure and nature of the dance in which the 
step is employed. 

Suppose that the pas de basque is to be executed in 
a forward direction to music in common time, say as 

1 It is usual to describe the first movement of the pas de basque as if 
it were simply a light jett'e ; but this does not, I think, sufficiently explain 
the nature of the action. Finding that Mr. Gilbert, in his excellent 
description of the step, has used the term rond deja7nbe> I have ventured 
to do likewise, adding, however, the words par terre to distinguish the 
movement from the high rond. 



STEPS AND MOVEMENTS USED IN DANCING. 69 

below, the following is a description of how the movements 
should be made : — 



P 



ift/i r* 



AC 



fe 



m 



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- TT , 



£frr 



|E 



E 



Round 



Roundel 



/*#/ > close, jfetf/ > close, etc. 
glissi J glisse ) 



¥~ 




1=1 



^iiE=E=t 



* 



* 



t 



£ 



f: 



Be standing upon the left foot, with the right slightly 
raised from the ground, in the third ox fifth position in front. 
With the right foot describe a semi-circle {demi rond-de- 
Jambe), throwing it out to the second position, and then 
bringing it round to the third or fifth position behind the 
left. In finishing the rond y spring from the left on to the 
right foot (jette), and almost simultaneously slide the left 
forward to the fourth position. For this part of the step say 
and one, as the demi rond-de-jambe, like the appoggiatura intro- 
duced in the music, receives no special count. Now bring 
the right foot up to the place of the left, and at the same 
time slightly raise the left from the floor, counting two 
{coupe dessous). This completes the pas de basque forward. 
Repeat the step ad libitum, alternately beginning with the 
right and left foot. 



70 



DANCING, 



In practising the pas de basque sideways, bring the right 
foot from the second position slightly raised to the first or 
other closed position in front or behind — according to the 
nature of the movement required — spring from the left foot 
to the right foot, and almost simultaneously slide the left 
to the second position , counting and one. Bring the right foot 
to the place of the left {coupe lateral), and at the same time 
extend the left leg to the second position, ready to re-commence 
the step to the right, counting two. 




-*-o- 



m 



m 






£ 



i — *- 



^flf) &"'< cIose yX" d }^"^ close, etc. 



^ 



■*-•- 



w~w 



:W— 



—4—t. 



•«s> — 



•ft" 



-F-7 



m 



£ 



■$=*=*- 



3t*=t 



-P- ■#- 

-m — •- 



arm ,j84 






-5=R 



When the /dtf rffe basque is to be performed to music 
written in three-four time, say as above, the glisse, instead 
of being included in the " and one" may receive a separate 
count. 1 Thus the demi rond-de-jambe and the jette occupy 
the first beat, the glisse the second beat, and the coupe 
dessous the third beat of the bar. Or sometimes the glisse 
is included in the first beat — and one, the second beat is 



1 It is thus accented in Spanish dances. 



STEPS AND MOVEMENTS USED IN DANCING. 71 

occupied simply by a pause, and the coupe is made at the 
third beat. Each of these accentuations is correct, and 
may be employed according to the nature of the dance. 
The step should therefore be practised both ways. 

Sometimes, though more rarely, the pas de basque is 
done backwards. In this case the forward steps are simply 
reversed. For example, stand upon the left foot, having the 
right slightly raised in the fifth position behind. Let the 
right foot describe a semi-circle forward until it reaches the 
third or fifth position in front. Then spring from the left 
foot to the right foot, and almost simultaneously slide the 
left backward to the fourth position, counting and one. Bring 
the right foot to the place of the left, at the same time 
raising the left from the floor, ready to recommence the 
movement {coupe dessus), and count two if the time be duple. 
For music in triple time the glisse backward may receive a 
separate count, or the accentuation may be as heretofore 
described. 

Pirouettes. 

The pirouette is an artistic turning or whirling movement 
of the dancer on one or both feet. There are several ways 
of making pirouettes, of which the most simple and graceful 
only need claim our immediate attention. Those wonderful 
gyratory performances occasionally exhibited by accom- 
plished theatrical artists, consisting of several consecutive 
revolutions of the body, while supported mainly by the toes 
of one foot, and sometimes including changes of attitude, 
necessarily require not only an immense amount of practice, 
but great natural ability on the part of the dancer. A simple 
pirouette, however, consisting of one or two turns does not 
present any insuperable difficulty, though it is of course 
requisite that the pupil, in order to perform any movement 



72 DANCING. 



of this description satisfactorily, must have already attained 
a thorough command over the adjustment of his balance. 

A very simple half turn, which cannot properly be called 
a pirouette, may be made thus : Suppose you wish to go round 
from left to right, stand with your body balanced on the left 
leg, bring the right foot to the fifth position behind the left, 
the toe touching the heel precisely at right angles. Now 
raise both heels from the floor, not too much at first, and 
turn gently on the soles of both feet until their relative 
position is reversed, and the left toe comes against the right 
heel, by which time you should be exactly facing the opposite 
direction. You may now try raising the heels higher, being 
very careful that you revolve only on the toes, which must 
not shift from their position on the floor. If the right toe 
in starting be placed quite to the left heel, and the feet 
turned well outward, there ought to be no difficulty whatever 
in facing the opposite direction in a single movement ; but 
it is necessary that the head and shoulders should turn 
synchronously with the action of the feet, or the result w T ill 
be unsuccessful. Make up your mind that you will complete 
a half turn, and instead of looking downward at your feet, 
turn your face in the direction you wish to go, and then you 
will find that you can get round easily enough. A repetition 
of the movement will naturally bring you to the position 
whence you started, and so complete the turn ; but the most 
usual way is to start from the second position, transfer the 
balance to the leg that passes behind, and continue the turn 
on that foot. 

Perhaps the simplest and easiest method of completing a 
pirouette in one movement is as follows : Suppose you wish 
to turn to the right, let the left foot in starting be extended 
in the second intermediate position, turn the face towards the 
direction of rotation, and place the arms as shown in Fig. 2, 




Fie. 1. 



Plate VI. 



Fig. 2. 



STEPS AND MOVEMENTS USED IN DANCING. 73 

Plate VI. The movement must be initiated by the action 
of the arms, which should wave in the required direction to 
give the necessary impulse. When this is obtained, rise on 
the toe of the right foot, and, sustaining the balance well on 
the right leg, commence to swing round. In turning, let the 
left leg cross before the right, so that when you are facing 
the opposite direction the left toe just touches the ground, 
and gives, as it were, a fresh impetus to the movement. 
Continue turning until you are again facing the direction 
whence you started, with your feet in a closed position, 
which may be the first, third, or fifth, according to the 
nature of the next movement. 

If you wish to make a double pirouette you may do so by 
simply repeating the above movement; or you may spin 
twice round on the right toe, finishing with a transfer of 
balance to the left leg, in precisely the opposite attitude 
to that in which you began. This latter is of course the 
more effective way, but then it is also the more difficult. 

Pirouettes may also be made by turning to the right on 
the toes of the left foot, and vice-versd. In this case the 
free limb may be flexed until the palm of the foot is parallel 
with the supporting leg. Particular care must be taken that 
the equilibrium of the body is well sustained during the 
rotatory movement, and there should be no apparent effort 
to save oneself from falling at the finish. The raised foot 
may be gently lowered, and the balance sustained thereby 
as the pirouette is completed, or the dancer may remain 
balanced only upon the revolving foot in some graceful 
arabesque attitude. 

I should mention that it is by no means necessary for the 
raised limb to be kept near the supporting one when 
executing a pirouette. On the contrary, in theatrical dancing 
it is frequently extended in the horizontal second or fourth 



74 DANCING. 



position, and beyond this, during the pirouette^ the free limb 
may execute different movements, battefnents fouettes or 
ronds-de-jambe, according to the taste of the performer. 
Such pirouettes, however, require more executive ability than 
is usually possessed by the amateur dancer. 

There are many more steps and movements that I would 
like to describe at length, if space permitted ; but for the 
present I must content myself with merely giving a few 
very brief explanations, which will suffice to give the pupil 
some idea of the nature of the steps, and then if he wishes 
to learn more about them, he may ask his teacher to show 
him how they should be accomplished. I will for the 
sake of convenience arrange these short explanations 
alphabetically. 

Names of Steps and Movements. 

Ailes de pigeons. A movement in which the calves of the legs are 
struck together, causing an appearance as of the flapping of doves' wings. 

Assemble. A bringing of the feet from an open to a closed position. 
When made from one closed position to another, commence by bending 
the knees, then raise one foot, spring in the required direction, and 
alight on both feet with the one that was raised, in the third or fifth 
position behind. 

Balance. A rising and falling movement on the sole of one foot 
while the other is brought to a closed position. See Quadrilles, 

Ballonne. A step in which the moving foot appears as if it were 
passing over a ball. 

Ballotte, "throwing here and there" step. A movement in which 
the feet are crossed alternately one before or behind the other. An 
example is given in the Siabadh-trasd, Highland step. It is also used 
in the hornpipe. 

Bourrce. An ancient French dance. There are several pas de 
bourree. The true one, according to Rameau, being composed of a 
demi coupe, a pas marche, and a demijette (meaning a smoothly executed 
jette). But there are several others also correct, one composed of a 
demi coupe and two pas marches ; then there is the fleuret and the pas 



STEPS AND MOVEMENTS USED IN DANCING. 75 

de bourree ouver.e. 1 But the one most frequently used is perhaps the 
following : — One: Advance the right foot to the fourth position. Two : 
Close the left to the third position behind the right, receiving the weight 
of the body. Three: Again advance the right foot to the fourth 
position; then recommence the step with the left foot. 

N.B. — This step, which Rameau describes as the pas de bourree 
emboite, is useful for any figured dance. It may be employed in the 
gavotte and minuet ; but it is not the real pas de menuet. 

Boicrree, pas de, in triolets. This is a step frequently used in fancy 
dances. To perform it, as a preparatory movement, raise the right leg 
in the second position. One : Bring the raised foot down in the ffth 
position behind the left. Two: Move the left foot to the second 
position. Three : Close the right again behind the left ; after which, 
raise the left leg, and repeat the step in the opposite direction by 
passing the left foot to the fifth position behind. The feet may be 
crossed either forward or backward. 

Capriole or Cabriole? The striking of the feet or legs together 
during a leap. Dei?ii capriole. Leap from one foot to the other, 
and in doing so strike the feet or legs together during the interval of 
suspension. 

Coupe. A step in which the feet pass from one open position, 
through a closed one to another open position. So far, at least, all 
authorities are, I think, agreed ; but we must not overlook the fact 
that Feuillet, and many of the older French writers, did not consider 
that a coupe involved a change of balance from one leg to the other. 
It was, however, necessary to make a decided plie as the foot executing 
the coupe passed the supporting limb in the first position. Thus P. 
Rameau, writing in 1725, commences to describe i( le vrai pas de menuet" 
thus : ■ * Scavoir, le premier est un demi-coupe die pied droit et un du 
gauche" etc. Now to any one who was only acquainted with the 
modern definition of a coupe as requiring a transfer of balance, this 
writer's descriptions would be wholly unintelligible. The different 
kinds of pas coupe have already been fully explained. 

Ciseaux, pas de. A movement in which the legs of the dancer move 
in a manner resembling the opening and shutting of a pair of scissors. 
For description, see Sissonne. 

Cowante, temps de—pas grave. The foot passes from the fourth rear- 

1 Wilson, writing in 1816, describes a pas de hoitrrce as being three movements 
forward in the fourth position on the toes, with the knees kept perfectly straight, but 
this description is very unsatisfactory. 2 Capriolare, Italian. To cut capers. 



75 DANCING. 



ward position to the fourth in front with a very decided plii de genoux 
as it comes into the first position. Directly the moving foot reaches 
the fourth position, the balance is thrown entirely on it, raising high 
the heel of the hitherto supporting foot. 1 Some, however, describe a 
pas grave as a bending of both knees in the fifth position, rising high 
on the toes and descending only on the heel of the rear foot, while the 
foot which is in front remains pointed on the ground. 

Demi. This word used in connection with such terms as coupe, 
glissi, rond-de-jambe, etc., implies that the step or movement is only 
half made. A pas glissi entiere (complete), like a pas coupe, would be 
taken from one open position to another open position. A demi glisse 
would be taken from a closed to an open position. 

Echappe^ Temps ichappi. A jump from a closed position falling 
lightly upon the feet in an open position. 

Ecarte, Teinps icarti. A jump from a closed position spreading 
out the limbs in rising, and falling again in a closed position. 

Entrechat. The beating of the legs or feet together as they cross 
and recross rapidly during a leap. The easiest way to begin to learn 
this movement is, I think, to stand in a crossed close position, say the 
thirds bend the knees, spring upward, and in doing so change the 
relative position of the feet, then beat them together, separate them, 
and descend in the second open position. Thus the limbs open, close, 
and again open. The simplest entrechat is the entrechat a quatre, in 
which the legs open, close, open, and again close, crossing before and 
behind during the leap ; an entrechat — d cinq, if begun from a closed, 
would end in an open position ; but in six beatings the feet again close, 
unless began from an open position. The fifth position is the most 
effective one in which to make the crossings. 

Frappi struck. A coupe, in which the foot was put down so that the 
step could be heard, would be called a coupe frappe. 

Fouetti. A whipping movement of the raised foot as it passes rapidly 
before or behind the supporting limb. 

Glissade, a slide ; pas glisse, a gliding step. 

Grave. Pas grave, see temps de courante. 

Gavotte, contretemps de. Having the right foot raised behind the left, 
plii on the left, and rise in leaping thereon at the same time that the 
right passes in front to the fourth position (Rameau). 

1 This description is absolutely correct, according to Feuillet and the old French 
writers ; but certainly the grave nature of the step does not agree with the name 
tcmj>s de cottrante. 



r STEPS AND MOVEMENTS USED IN DANCING. 77 
Jette. A thrown step already explained at length. 
Leve, Temps leve. A rising movement on the toe of the balancing foot. 

Minuet. An ancient and much-admired dance, to be treated of in 
another section of this work. 

Menuet, pas de. A movement consisting of two plies in advancing 
and three forward steps, occupying two bars of the music, and always 
beginning with the right foot. 1 There are various steps and movements 
employed in the minuet, which will be explained in describing the 
dance. 

Marche, pas. A step which differs from that employed in ordinary 
walking, inasmuch as the limb in advancing is extended, so that the toe 
touches the ground simultaneously with the heel. The balancing limb, 
however, should be somewhat flexed, and the action thereof springy. 

Passe-pied. A minuet with leaping and quick steps. 

Pas. This term is applied to combinations of movements as well as 
to single steps. Thus the expression pas seul does not mean a single 
step, but a series of steps, enchainement, or even a whole dance executed 
by a single person. The terms pas de deux, pas de trois, etc., of course 
refer to dance movements executed by two performers, three performers, 
and so on. 

Pirouette. An artistic turn of the body in one movement or series 
of revolutions on the point of one foot. Already explained. 

Pistolet. See Ailes de pigeon. 

Polonaise, pas polonaise, coup de talon. Strike one heel against the 
other, slide the striking foot to the second position, and close the 
supporting one with a demi coupe, ready to recommend the step. This 
is the characteristic polish step, and is used in the Mazurka. The 
dance called Polonaise is merely a stately promenade. 

Releve, pas. A raised step. 

Ronds-de-jambe. Already fully explained. 

Saute, a. leap ; pas saute, a hop. Already explained. 

Sissonne. An ancient and forgotten dance. There are several ways 
of executing the pas de sissonne or pas de ciseaux. One of the most 
usual is as follows : as a preparation for the movement, extend the right 
leg in the second position raised. One: Spring slightly on the supporting 
limb, and bring the right down to the fifth position behind, bending 
both knees. Two : Spring upward from both feet, and descend upon 
the right foot only, while the left is quickly raised and extended in the 

1 " II faut laisser le corps sus le pied gauche, afin de partir du pied droit pour 
votre pas de minuet." Rameau, 1727. 



DANCING, 



second position. The raised foot may be crossed either in front of or 
behind the supporting one, and there need not be a transfer of balance, 
as the same leg may be again raised. In this case it is perhaps more 
correct to say te?nps de sissonne. An example is given among the 
Highland steps in the Leum-trasd. 

Te?jips or Tans. A movement in which a transfer of balance is not 
essential. Thus, a temps de cnisse is a movement in which the striking 
is performed with the upper part of the limb. 

Tendu, pas tendu. A step in which the leg is stretched. 

Tortille, twisted. Pas tortilles. Steps frequently employed in the 
national dances of most countries. The foot is turned inward and out- 
ward from a false to a true position. The turning may be made on the 
sole or heel, or on each alternately, according to the nature of the dance, 
and one foot only may execute the pas tortille, while the other retains 
its position, or both feet may turn simultaneously. 

Zephii', pas de. A very light and beautiful step, to be explained in 
the exercises for promoting gracefulness. 



CHAPTER VII. 

RULES OF GRACEFULNESS. 

To be observed by those who would become good dancers. 

Our attention has hitherto been directed chiefly to the 
movements of the feet in dancing, and the action of the 
lower limbs. But the pupil, if he has acquired some facility 
in the execution of particular steps, and is able to move his 
legs with a certain degree of freedom — which I hope is the 
case — has yet to learn what is perhaps more difficult, viz., the 
correct employment of his arms. 1 

1 It was Telestes, a famous dancing-master of ancient Greece, who 
first taught the proper action of the arms and hands — vide Athencetts, 
lib. i. 39. Aristotle mentions that Telestes was so great a master of his 
art, that in managing the chorus in the " Seven against Thebes" of 
yEschylus, he made all the transactions plain by dancing. 



RULES OF GRACEFULNESS. 79 

Of course it will be understood that in all cases, unless 
the contrary be distinctly specified, my remarks apply to 
lady pupils and girls, as well as to men and boys, and that 
when I use the masculine pronoun, the feminine is implied 
also. Indeed, in the present and two following chapters, 
what I shall have to say applies especially to female pupils, 
since the art of solo and ornamental dancing, which demands 
a wider range of arm-movements than are requisite for ordi- 
nary ball-room practice, is more particularly cultivated at 
the present time by young ladies than it is by men. 

To begin with, it is obviously clear that unless the arms 
are hanging down on each side of the body perfectly in- 
active, they must be either correspondingly or differently 
employed, and it is the art of employing them in such a 
manner that their action or position harmonizes with the 
action or position of the lower limbs and the rest of the 
body, that presents so great a difficulty to the beginner. 

A movement or posture may generally, I think, be con- 
sidered graceful when the various parts of the body are 
co-adapted and composed in such a way as to produce a 
pleasing effect, and cause no encumbrance whatever to 
each other in their action or position ; and we must also 
take into account fitness, which, as Emerson observes in his 
Essay on Art, " is so inseparable an accompaniment of beauty 
that it has often been taken for it." 

I have elsewhere hinted that much depends upon a nice 
adjustment of the centre of gravity, and it is essential that 
the limbs should be so disposed that no sudden or awkward 
angles are apparent at the joints. Moreover, it is advisable, 
as a general rule, that the relative positions of the opposite 
members should be varied rather than uniform. 

The natural action of the arms and legs in human beings 
corresponds with the movements of the fore and hind leers 



So DANCING. 



of animals, the right arm moving synchronously with the 
left leg, and vice-versa. In walking and running our limbs 
are thus placed in opposition at each recurring step, the 
movements being made spontaneously, and without con- 
sideration on the part of the person who runs or walks. 
But directly a pupil begins, in learning to dance, to make 
movements and assume attitudes to which he is unaccus- 
tomed, he no longer spontaneously adapts the action and 
position of his arms to the requirements of gravitation, and 
his embarrassment at finding them without employment — in 
the way, so to speak, — causes him to place them in all 
manner of ridiculous and awkward positions that are entirely 
out of harmony with the action or posture of the rest of his 
body. 

It is here, then, that the rules of art, which are, or should 
be, always framed in accordance with natural laws, are 
brought into requisition; and by diligent study of these 
rules, combined with regular practice, the pupil may learn 
so to dispose his several members in making any movement, 
or assuming any posture, that they shall always present a 
pleasing and harmonious appearance as a whole, and sustain 
easily the equilibrium of his body. 

No action can be truly graceful that does not at the same 
time appear perfectly natural, and often the most beautiful 
movements are the most simple. 1 For my own part I fail 
to perceive that there is any elegance in such movements as 
seem to require an abnormal flexibility of the joints, such as 
kicking the legs very high, as one too frequently sees at the 
theatre, turning out the toes and bringing the heels forward, 
till the feet fall in a straight line, spread-eagle fashion, or 
in the attitudes assumed by professional contortionists. As 

1 I think it is Schiller who observes that " Grace is beauty of form 
under the influence of freedom. " 



RULES OF GRACEFULNESS. 81 

Herbert Spencer points out in his chapter on "^Esthetic 
Sentiments" — "An awkward motion is one that implies a 
sudden change of direction, angularity, destruction of much 
momentum, excess of muscular effort; whereas a motion 
called graceful — a motion in curved lines, flowing one into 
another without break — is a motion in which little momentum 
is destroyed, no undue exertion thrown on any muscle, no 
power lost." x We know that the Greeks with their refined 
perceptions set very little value upon steps and actions that 
were merely difficult in dancing. What they appreciated 
most was the serious and noble style. They thought more 
highly of simple gracefulness than of complicated dexterity. 

I maintain that those movements are the most graceful 
that are most in conformity with the natural actions of our 
limbs. We were never intended to walk on the extreme 
tips of our toes. To do this is clever, of course, in a sense ; 
but it reminds one of what Dr. Johnson said about a dog 
walking on its hind legs, "It is not done well, but we 
wonder that it can be done at all." It is just as natural for 
a dog to walk on its hind legs as it is for a woman to walk 
on the tips of her toes ; both achievements can be acquired 
by practice, but neither is beautiful. 

The same objections, however, do not apply to such move- 
ments as the pas de zephir, entrechat, cabriole, and pirouette. 
However difficult some of these may be, they are strictly in 
accordance with the natural action of the limbs, intrinsically 
beautiful, and do not appear to demand undue muscular 
effort. 

But because it happens that every graceful action is in its 

essence natural, it by no means follows that every natural 

action is essentially graceful. In this case the converse of 

the proposition will not hold. It is, for instance, quite as 

1 Principles of Psychology. 

G 



82 DANCING, 



natural to spread the fingers out as it is to group them 
together, and perhaps if it were intended to pantomimically 
indicate the emotions of fear or surprise, the action would, 
in a sense, not be wanting in gracefulness, because it would 
be in accordance with propriety or fitness of gesture ; but in 
ordinary dancing, the action of spreading out the fingers is 
considered most inelegant, and unmistakably betrays the 
novice. 

If then gracefulness is in some measure a relative quality, 
and many natural actions of the body and limbs are wanting 
in gracefulness, how are we to decide what movements and 
postures are and are not graceful ? 

It is related that when the painter Zeuxis wished to de- 
lineate a perfect beauty, he did not paint the portrait of any 
one individual, but obtained from the Agrigentines' per- 
mission to select out of their virgins five of the most beautiful. 
These he assembled around him that he might gaze upon 
their several charms. Then in his own mind he pictured 
a type of female loveliness which embodied the most 
pleasing characteristics of each. And this ideal, which he 
forthwith proceeded to portray on the canvas as Helen, the 
most beautiful of women, was true to nature, inasmuch as it 
comprised whatever was deemed most perfect in the actual 
types from which the whole was conceived. 

Let us, at a reverential distance, venture to proceed in 
a manner somewhat similar to that of the great artist of 
antiquity, and ask, say, three girls, amateurs in dancing, but 
not wanting in natural gracefulness, to spontaneously assume 
an attitude in which their bodies and limbs are to be dis- 
posed in such a manner that the equilibrium is sustained 
upon one leg, while the other is a little extended ; one hand 
to hold the skirt lightly, while the other is raised high above 
the head. 



RULES OF GRACEFULNESS. 83 

Suppose that these three young ladies assume the postures 
shown on Plate VII. It will be seen that they ill fulfil 
the required conditions. In each there may be some pleasing 
quality ; yet certainly none is perfect. 

What, then, is wrong with each of these attitudes ? Let 
us take them in turn. 

In Fig. 1 the position of the arms is not amiss, nor is 
indeed the position of the feet, if taken by themselves 5 but 
the relative position of the limbs is not good. Both the 
extended limbs are on the same side of the body. The 
position of the upper part requires that the left instead of 
the right leg should be extended. To test this, cover the 
lower part of the figure with your hand, and then suddenly 
withdraw it. The head of this figure is well poised. 

In Fig. 2 the opposition of the arms and legs is good ; 
but the arms are too much rounded like the letter S, forming 
a line which has been shown by Hogarth in his Analysis of 
Beauty, and by Owen Jones in his Grammar of Ornament, 
to be wanting in symmetry. 

In Fig. 3 the position of the left arm requires that the 
right — which according to the conditions must be raised — 
should be almost perpendicular, and the wrist ought to be 
bent to correspond with the bend of the elbow. Hide the 
right arm and the head, which is badly poised, entirely, and 
the rest of the figure does not look ungraceful. 

Thus we see that these positions, although manifestly 
imperfect, are not devoid of pleasing characteristics ; and 
if we proceed to pick out whatever appears best in each of 
them, we may be able to combine our selection so as to 
produce a posture that shall fulfil the conditions imposed, 
and yet satisfy all the requirements of gracefulness (see 
Plate VIIL). 

It is not my intention in the present chapter to enter into 



84 DANCING. 



any elaborate disquisition on the abstract principles of grace- 
fulness. What I here purpose doing is simply to give 
some practical rules for the guidance of pupils, and after- 
wards to frame a few exercises that will help them to 
acquire a graceful manner in dancing. 

I will commence with the rules, which I will put in 
axiomatic form, and endeavour to make as concise and 
clear as possible, so that they may be easily understood and 
remembered by the reader. Some of these it may be neces- 
sary to illustrate by example ; the application of others will 
become apparent as we proceed. 

Axioms Relating to Gracefulness. 

7". The trunk of the figure being the most important 
part) — when the body is in motion , it should appear as if the 
movements of the several mejnbers were controlled by the action 
of the trunk, and not as if its action were controlled by the 
movements of the limbs. 

There are doubtless readers who will experience a little 
difficulty in comprehending the above. Prima facie, it may 
seem more proper that the limbs should appear to control 
the movements of the trunk, since obviously it could 
not stir without them. 1 But in reality the trunk exerts a 
very great influence over the action of the limbs. At every 
step we take in ordinary walking the body, by inclining 
forward, materially assists the action of the advancing limb, 
and renders its movements to a great extent automatic. 2 
The centre of gravity is always situated within the trunk, 
which by inclining in any given direction cojnpels a certain 

1 Students of Roman history will call to mind the fable of Menenius 
Agrippa. 

2 Vide Dr. Pettigrew's Animal Mechanism, Professor Marey's 
Ani?nal Locomotion, and other authorities. 




Plate VII I. 



Good Position 



RULES OF GRACEFULNESS. 85 

corresponding action of limb in order that equilibrium may 
be sustained. The same applies to all movements connected 
with dancing. To use a familiar expression, every one will 
know what we mean if we say, " He looks as if his legs were 
running away with him." And this is precisely the unhappy 
state of things that I wish the pupil to avoid. 

77". The actions of all parts of the body should be in accord 
one with the other, and consistent with the nature of the 
moveinent to be executed. 

Examples. — In making any kind of rotatory movement, 
be particular that the face looks towards the direction in 
which you are about to turn, and that the arms, shoulders, 
and trunk of the body initiate the movement of the legs 
and feet (Ax. 1). If, for instance, you are standing balanced 
on the right foot and wish to pivot thereon in turning to 
the right, you may easily do so by turning the face in that 
direction, and swinging the right arm behind you and the 
left in front, to give the body an impetus; but if you 
attempt to turn to the right, and initiate the movement by 
a contrary action of the arms and head, you will find it 
impossible to get round, howsoever you may struggle to do 
so, with the lower part of your body. 

III. For a movement or posture to be graceful, it is not 
only necessary that the body should be perfectly balanced, but 
it is also essential that it should appear so to the beholder. 

It is sometimes possible in dancing to sustain the equili- 
brium of the body in positions that would cause an observer 
to imagine it would be lost ; but such positions are better 
avoided. Certain qualities of gracefulness are analogous in 
all things. A building to be graceful needs not to be of 
regular construction ; but certainly it must always appear 
well-balanced. The inclination of the Campanile of Pisa 
detracts much from its beauty, and gives a most uncomfort- 



S6 DANCING. 



able impression. Yet it is in reality perfectly balanced, 
and has stood thus for upwards of seven hundred 
years. 

IV. The body should generally be held erect and perpen- 
dicular upon the lower limbs ; but when the body is in motion, 
the vertebral column must never be kept perfectly rigid, as if it 
were composed of a single unarticulated bone. In progressive 
movement the chest should be thrown slightly forward, while 
in retrogressive movement the back should be curved slightly 
outward. In circular movement, when the dancer tur?is o?i 
his own axis, the body should generally be kept erect and 
even ; but in circular move?nents for couples, the backs of the 
dancers should be curved slightly outward from the centre of 
rotation. 

The last clause in the above sentence will be more par- 
ticularly explained and exemplified when we come to treat 
of the position of partners in the waltz and other round 
dances. The position of the body in attitudes technically 
termed arabesques of course varies with the nature of the 
posture or movement. 

V. In dancing, it is generally more proper a7id graceful 
for the head to incline a little to the right or left, than to rest 
perpendicularly on the shoulders. The muscles of the ?ieck 
should never be contracted so as to cause any appearance of 
stiffness, and the head should not be kept in one fixed position, 
but should move and turn from time to ti?ne to suit the actio?i 
of the rest of the body. 1 

Notice, for instance, the inclination of the head as shown 
in Plates VIII. and XIII. Both positions are good. Ob- 

1 There is a spinal arrangement by which the head and the first 
vertebra turn on the second, the amount of rotation to either side being 
twenty-five degrees. The rest of the neck gives forty-five degrees more, 
so we can turn the head seventy degrees by the neck alone. — Anatomy 
of the Contortionist, by Thomas Dwight. 



RULES OF GRACEFULNESS. C7 

serve also how much more gracefully the head is poised in 
Fig. 1, Plate XVIII., than in Fig. 2, Plate VII. 

VI. In the solo and other dances that require the employ- 
ment of the arms and hands, the latter should move generally 
in a circular direction upward and downward, and in chang- 
ing the position of the hand from supination to pronation or 
vice-versa, the wrist should always be bent so that the palm 
of the hand inclines a little towards the forearm. As soon, 
however, as the position is changed, the hand may, if neces- 
sary, be again extended ; but the action of bending or 
straightening the wrist 7nust never be performed suddenly or 
violently. 

What is termed pronation, is that position of the hand 
which brings about the crossing of the radius over the ulna 
(bones of the forearm). For instance, when the thumb is 
turned inwards towards the body, or if the arm be extended, 
with the palm of the hand turned downward. Supination 
is the opposite or upward position, in which the bones of 
the arm are placed side by side. As an illustration of the 
wrist action, suppose the young lady standing in the centre 
of Plate IX. wished to turn her hands so that the palms 
were upward, she may not do so, according to the recog- 
nized canons of art by simply causing the humerus or bone 
of the upper arm to revolve in its socket, as if she were 
twisting a dumb-bell; but she must first bend the elbows 
and wrists a little as shown in Plate X., after which she 
may again extend them with the hands turned upwards. 

VII. Whenever the elbows are bent, in making an upward 
or downward movement of the arms, or in any statio?iary 
position thereof, the wrists should be slightly bent also. 

Generally speaking, the wrist should take its inclination 
from the bend of the elbow, especially in cases of supination. 
In the figure shown on Plate XIII. the right arm is fully 



83 DANCING. 



extended, and therefore it is not necessary that the wrist 
should be bent In the figure on Plate VIII., however, 
the elbow being a little bent, the wrist requires to be bent 
also ; while in the moving figure on Plate V, the wrist takes 
an inclination in accord with the sharper angle formed at 
the elbow. The position of the left arm in this figure is 
better than that of the right arm of the girl dancing the 
Scotch Reel in Plate XXI. I should not have passed this 
latter, only the rest of the figure is good, and it is not easy 
to find young people who can stand well in such positions. 
The double bending of the joints, above-mentioned, im- 
parts to the arm a graceful and rounded appearance that 
could not possibly be obtained if the wrist were kept per- 
fectly rigid. Many of these rules apply equally to painting 
as to dancing. I have already hinted that much may be 
learnt by visiting the art galleries of Italy ; but the Louvre 
is nearer, or nearer still our own National Gallery, South 
Kensington Museum, and Burlington House. You will 
find these rules, generally speaking, admirably exemplified 
in the figures of Sir Frederick Leighton, wherein if angles 
formed by the limbs appear inevitable, they are either con- 
cealed or softened by a corresponding flexion of other parts ; 
and sometimes by delicate drapery, as, for instance, in his 
well-known picture of the 'Bath of Psyche/ Owing per- 
haps to the prejudices of the ' British Matron' the ' human 
form divine ' is not so frequently represented as it might be ; 
but who w 7 ith any artistic perception could fail to admire 
the lovely, classic picture of Syrinx which Mr. Hacker ex- 
hibited in the Royal Academy of 1892. I here allude to it 
simply because the position of the girl's limbs is perfect, and 
in the strictest accord with every rule of gracefulness. In 
this case it is quite correct that the face should be pressed 
against, and even a little concealed by, the upraised arm. 




Plate X. 



RULES OF GRACEFULNESS. 89 

Syrinx was a nymph, who, apprehensive of violence from 
the god of shepherds, is represented standing thus in shy- 
ness and terror, about to be metamorphosed at her own 
request, and become as one of the reeds by which she is 
surrounded. The picture is pregnant with poetry and 
beauty, and would, I venture to think, suffer little by com- 
parison even with those of Titian in the Tribune Chamber 
at Florence. 

VIII % The fingers should always be well grouped, and 
slightly curved inward. The first finger may be somewhat 
extended, the second and third fi?igers together, bent a little 
forward — the second mo?'e so than the third. The fourth 
finger may be kept a little away from the third, and the 
thumb should be rounded and not too far reinoved from the 
fingers. It is not, however, necessary that the fingers always 
be in the same position. So long as they are kept flexed and 
rounded, they may to a certain extent be allowed free play ; 
but on no account should they ever be widely separated or 
rigidly exte7ided. 

Examples of good finger groupings may be seen in Plates 
VI., IX., X., and XVI. But it is at all times an exceedingly 
difficult matter to get the fingers to look well in a photo- 
graph, especially when the limbs are foreshortened. They 
nearly always appear too much doubled up. 

IX. The arms in repose may be extended fully in almost 
any direction; but should their position, be reversed or changed, 
the arms must on no account remain in a state of extension 
during their passage upward, downward, or outward, from 
o?ie position to another. 

See, for example, the positions shown in Plate IX., all 
of which are good ; but should it be the wish of the young 
lady (Fig. 1) to change the position of her arms to that 
shown in Fig. 3, she must begin by bending both the 



DANCING. 



elbows and wrists, and her arms must remain flexed and 
rounded while she is raising them. Again, if Fig. 2 wished 
to reverse the position of her arms by raising the left and 
lowering the right, she must, while doing so, bring them a 
little forward, with the elbows and wrists flexed, as in 
Plate X. ; and not until the arms reach the required posi- 
tion, may they again be fully extended. If this invariable 
rule be not strictly observed in dancing, the action of the 
arms will resemble that of a railway semaphore. Only the 
veriest tyro would ever dream of raising or lowering his 
arms from one position to another in a state of extension. 

X. The legs of the dancer may also be extended i7i almost 
any position ; but it is necessary with these, as with the arms, 
that the joints be flexed, and the limbs rounded during their 
passage upward, downward, or outward, from one extended 
position to another. It is necessary, moreover, that on all 
occasions when the knees are bent, the ankle and instep should 
be bent also, to complete the movement. 

This is likewise an invariable rule. The pupil must 
always be particularly careful in raising his foot from a terre 
a terre position to one of elevation, that the movement has 
not the appearance of kicking, which will assuredly be the 
case if, in raising his foot, he neglects to bend the knee 
and turn his toes down. Thus, on Plate XL, the little boy 
might be kicking a football, so far as his lower limbs are 
concerned, while the little girl looks unmistakably as if she 
was dancing. 

XL In terre h terre steps, or those performed on or near 
the ground, the feet of the dancer should generally, and 
always in initiating a movement, be bent downward. 

This is an almost invariable rule. In all dance move- 
ments, with the exception of a few heel steps, which occur 
in the national dances of most countries, the angle formed 







Fig. 1. Bad. 



Fig. 2. Good 



Plate XI. 



RULES OF GRACEFULNESS. 91 

by the upper part of the foot and the fore part of the leg, 
should be so obtuse as to appear to form an almost con- 
tinuous line (see Plates XIV., XVII. (Fig. 1), and Plate 
XXI. (Fig. 1). 

If the foot of a dancer be slid forward or sideways to a 
position in which he intends that it shall rest flat on the 
floor, it should always be the toe that initiates the move- 
ment — I do not, of course, mean in an anatomical sense — 
and the heel should not be allowed to touch the ground, or 
the limb to become rigid, until the foot has reached its 
destination. The few exceptions to which I have alluded, 
in which the angle formed by the instep and shin become 
more acute, are those in which the heel only touches the 
ground or the toe and heel alternately; but these move- 
ments, although correct and certainly not displeasing when 
characteristic, have generally an effect that would more 
properly be described as grotesque than graceful. 

XII. The elbows of the dancers should be turned outward 

from the body, and never directly downward when flexed in 

raising the arms to an extended position. The elbows should 

be raised as the arms are raised, and turned so that the 

points are not visible to the spectator. 

It will be observed by any one who raises his arm in 
front of a looking-glass with the elbow bent and turned 
directly downward, that an unsightly angle is formed by the 
juncture of the humerus and radius (bones of the upper and 
fore arm) ; but if he turns the humerus in its socket until 
the point of the elbow is directly behind, and in raising his 
hand to an elevated position, is careful to raise the elbow 
also, he will discover that the awkward angle above-men- 
tioned is no longer perceptible. Special attention must be 
paid to this rule when presenting hands to advance in the 
minuet and similar dances (see Frontispiece). Any position 



02 DANCING. 



of the arms resembling the letter W has a very bad 
effect 

XIII The shoulders should be kept low and generally 
level. 

In raising one arm it is incorrect to raise the correspond- 
ing shoulder until after the arm has reached the horizontal 
position ; and it is not necessary to lower the opposite 
shoulder, even if the hand be raised high above the head. 
The lowering of the opposite shoulder would cause the 
body to curve outward on the side of the raised arm, and 
there are, of course, instances in which such a curve is 
desirable and elegant (see Plates XIV. and XXV.) ; con- 
sequently I do not say that it is at all incorrect to lower 
the opposite shoulder, but merely that the action is not 
essential. If, however, the corresponding shoulder be raised 
before the arm reaches the horizontal position, it produces 
a most unpleasing effect, causing one to appear as if 
trying to counterbalance some heavy weight. 

XIV. Ge?ierally speaking, every part of the body except the 
supporti?ig limb should be kept pliant. If 7?iuscular tension 
be exerted in any part of the body when it is not required, 
it not only involves a waste of energy, but imparts an 
appearance of stiffness and awkwardness to all movements. 

This is specially noticeable in cases where undue tension 
is exerted in the muscles of the neck, and the head kept 
rigidly fixed in one position. It is absolutely impossible to 
dance well when any part of the body is in a constrained 
position, or when the natural spinal movement, so essential 
to gracefulness, is prevented by a violent contraction of 
the dorsal muscles, or the constriction imposed by a tight- 
fitting and unbendable corset. One of the bad results of 
undue stiffness in any part of the body is that it causes 
the movement to appear jerky and spasmodic; and if the 




Plate XII. 



EXERCISES TO PROMOTE GRACEFULNESS. 93 

vertebral column be kept too rigid, the shoulders are apt 
to rise and fall with every movement of the feet. 

XV. In all cases where drapery is used as an accessory \ 
either in the shape of a full-pleated skirt or flowing scarf it 
should be held very lightly between the finger and thumb. 
The action of the arms must be in strict accordance with the 
rules already given, and the movement of the wrists as nearly 
as possible the same as if they were perfectly free. 



CHAPTER VIII. 



SPECIAL EXERCISES TO PROMOTE GRACEFULNESS 
IN MOVEMENT AND POSTURE. 1 

In practising* the following exercises, it is assumed that 
the pupil will bear in mind the rules and instructions 
given in the preceding chapters, so that it will not be 
necessary to keep constantly reminding him that he must 
turn his toes outward and downward, that he must avoid 
making a display of the palms of his hands, elbow joints, 
etc. It is hoped that he has long since digested and profited 
by these and other hints ; but still, as it is at all times much 
easier to contract a bad habit than to overcome one, I shall 
from time to time revert to these matters in cases where 
the pupil may be apt to become negligent. 

I know from experience in practical teaching how much 

1 In this and all chapters, when making allusions to figures in the 
illustrations, I always suppose the pupil to be standing precisely as they 
stand, not opposite. It is often advisable to look downward at the 
figure from the top, since the pupil's own right hand then corresponds 
with the right hand of the figure, and vice-versd. The reverse position 
may be seen by holding the illustration in front of a looking-glass. 



94 DANCING. 



persuasion it takes to induce a man, woman, or child to 
dance in strict conformity with all the rules laid down, and 
how much watchfulness and attention is required to prevent 
the pupil as soon as he begins to feel his feet, so to speak, 
from falling into a careless style, and neglecting those small 
details which alone impart finish to the performance of a 
dance. 

I do not purpose to here describe the drilling or other 
exercises usually given at gymnasiums for purposes of 
physical development, or even the ordinary movements 
included under the head of calisthenics — a word derived 
from the Greek, signifying beauty and strength. It is my 
intention simply to frame a few special exercises, the con- 
stant practice of which is calculated to impart to the pupil's 
dancing a degree of perfection and finish not usually 
attained by the agency of ordinary gymnastic and so-called 
calisthenic exercises. 

At the same time, I would suggest that all exercises tend- 
ing to give flexibility to the body and limbs are useful in 
their way ; such, for instance, as bending the body forward 
and downward till the tips of the fingers touch the toes 
without flexion of the knees, and then bending backward till 
you can see the wall behind you ; sinking and rising by 
outward flexion of the limbs, without bending the body ; 
swinging the arms forward and backward till the hands 
touch before and behind, or swinging them round and 
round, etc. 

These and dozens of similar exercises, which can be found 
in any book on the subject, are beneficial, inasmuch as they 
promote a certain freedom of action in the parts employed \ 
the first exercise, for example, affecting and giving flexibility 
to the lumbar region, the second to the hip, knee and ankle 
joints, and the third to the shoulders. 







Plate XI f! 




Plate XIV. 



EXERCISES TO PROMOTE GRACEFULNESS. 



95 



But though the judicious practice of the above exercises, 
and others of a like nature, does undoubtedly assist the 
pupil, by causing him to move his limbs and body freely \ it 
by no means follows that it will enable him to move them 
gracefully ; indeed the greater parts of the so-called calisthenic 
exercises consist of movements that are not actually employed 
in dancing at all. Nobody, for instance, ever has occasion 
to swing the arms or stoop down to touch the toes while 
dancing, and if the hand is lowered considerably, as in the 
fan dance, it is not done without a flexion of the supporting 
limb. The arm movements proper to dancing are, as I 
have pointed out, the very antithesis of swinging, and the 
wrists should not move in the same manner as they do when 
dumb-bells and expanders are used. 

From the above remarks it must not be inferred that I 
have any intention to depreciate the value of ordinary 
gymnastic and calisthenic exercises, when imposed by a 
teacher who understands something of anatomy ; but I wish 
to point out that while such exercises are good for expanding 
the chest and developing the figure, it is only the art of 
dancing that can impart real gracefulness. 

The following movements for the arms and body are 
distinctly framed upon, and must be practised in strict 
accordance with the rules given in the preceding chapter. 

We will begin with the more simple exercises which must 
be practised with great care. For these play as below : — 
For the 27th, 28th, 29th, 30th, 31st, and 32nd Exercises. 



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DANCING. 




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27TH Exercise, to be played slowly. — Be standing with the feet in 
the first position, the head erect, eyes gazing directly in front, and arms 
hanging down on each side with the elbows turned outward as in Fig. I, 
Plate I. Each movement to occupy one bar of the music. 

One: Bring the arms up to a circling position in front of the body, 
the fingers of one hand pointing towards those of the other hand. 

Two: Open out the arms to their fullest extension horizontally, 
keeping the fingers well grouped and without moving the head. 

Three : Again bring the arms to the circling position in front. 

Four: Again open out the arms, this time raising the right and 
lowering the left, and in doing so extend the left leg to the fourth 
position point, and also turn the head a little to the left. See 
Plate X. 

Five : Bring the arms again to the circling position, and eyes to the 
front ; also let the feet resume the first position. 

Six : Extend the arms in a contrary manner, raising the left and 
lowering the right ; in doing so turn the head a little to the right, and 
extend the right leg to the fourth position point. 

Seven : Bring the arms again to the circling position, feet to first 
position and face to front. 

Eight : Lower the arms gently, with proper wrist action, till they 
fall on each side as in commencing. 

28th Exercise. — To be played very slowly. Commence from the 
first position, the body erect and face to the front. 

One: Open out both arms to their fullest extension, raising the right 
and lowering the left, turn the head a little to the left and extend the 
left leg to the fourth inter?7tediate position precisely as shown in the 
central figure on Plate IX. N. B. — The crotchet in this instance is 
used as a preparatory note, and the various parts of the body are 
simultaneously disposed to form the attitude as the minim or accented 
note is struck. 




Plate XV 




■#. 



><:-\- 



Tlat: 



EXERCISES TO PROMOTE GRACEFULNESS. 97 

Two : As the crotchet or short note is sounded, prepare to compose 
the limbs and body in a precisely similar attitude in the opposite 
direction. In changing positions, let the body be brought forward as 
shown in Fig. 1, Plate IX., the arms passing through the intermediate 
position (Plate X.). As the arms are again being extended in the 
contrary direction, make a coupe with the feet, bringing the left to the 
place of the right, and advancing the right to the fourth intermediate 
position. All this should be done smoothly and simultaneously at the 
first note of the second bar. 

The exercise consists simply of an alternation of atti- 
tudes first to the right and then to the left ; but great care 
and much practice are needed to accomplish the changes 
of position smoothly and gracefully, without any spasmodic 
movement. If the arms be reversed without previous 
flexion of the elbows and wrists, and they be moved like 
the sails of a windmill, and also if there be no graceful 
undulating action of the body, all elegance will be lost, 
and the exercise will appear nothing more than a clumsy 
gymnastic performance. 

29TH Exercise. — Two pupils may together practise the above 
movement, taking hold of each other's hands, as on Plate XII. In 
this case the arms need not be so fully extended ; but the pupils must be 
careful to avoid the windmill action above alluded to, and should turn 
their faces in the direction of the pointed toe. 

30TH Exercise. — Take the position shown on Plate XIII. to the 
right and left alternately, with the proper flexion of the elbow and 
wrist joints, raising one arm rounded in front of the body as the other 
is lowered, and after each change extending them smoothly without any 
jerky movement of the joints. 

3 1 st Exercise. — Assume the attitude shown in Plate XIV. and 
move slowly forward, putting the left heel down and extending the 
right leg, as the left now is, with the toe just touching the floor. At 
the same time reverse the position of the arms, according to rules 
already given. Continue alternating the position from right to left ad. 
lib. in moving slowly round the room. In the illustration the effect of 

H 



98 DANCING. 



the outward curve of the body is rather destroyed by the stiffness of 
the dress. If you possess an accordion-pleated skirt, you may use it 
as shown in Plate XXIV. But in this case the changes must be made 
slowly. 

32ND Exercise. — Commencing from a closed position, make a 
flexion of the limbs as the crotchet is struck, spring off the ground 
from both feet, and alight on the right foot only, at the minim or first 
note of the bar, in the attitude shown on Plate XV. After practising 
the preceding exercises, the pupil will probably feel inclined to raise 
his right arm as he lifts the left foot. But if he were to do this, he 
would have both the upper and lower limbs extended on one side of 
the body, and both limbs flexed on the opposite side. Consequently 
the body would not appear so well balanced, nor the attitude so 
graceful. Remember, then, that the left arm and left leg are both 
raised. The body remains in this position, which is not one of the 
easiest in which to sustain one's equilibrium, during the minim interval, 
or while you count two. At the third beat of the bar, which is 
occupied by the crotchet, prepare to spring as before, but this time off 
the right foot only ; and at the minim, or first note of the following 
bar, alight on the left toe in exactly the opposite attitude, as shown on 
Plate XVI., the right arm being raised and the right knee flexed. 
The exercise consists of alternate changes of this attitude from right to 
left. The limbs must be raised and lowered without any jerky action, 
according to the rules given. A great deal of practice will be re- 
quired before this exercise can be performed satisfactorily ; but it is 
worth any amount of attention and study from the pupil who wishes to 
become really graceful. 



For the next exercise play as follows- 



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EXERCISES TO PROMOTE GRACEFULNESS. 



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33RD Exercise. — Starting from a closed position, as in the previous 
exercise, at the preparation note make a slight flexion of the left leg, 
and raise the right foot just off the floor ready to begin. 

One : Step with the right foot to the second position, and transfer the 
balance to the right leg. Two : Close the left foot to the fifth position 
in front of the right, with a sliding, lingering movement, and as soon as 
the left heel readies the right toe, drop rather suddenly upon the sole of 
the left foot. Three: Step again to the second position with the right 
foot, transfer the balance boldly to the right leg, and raise the left heel 
high from the floor. 

Meanwhile, as the steps are being taken to the right, gradually raise 
the right arm, till at the third and accented beat of the bar you are 
precisely in the position shown in Plate XIV., or if practised with 
accordion-pleated skirts, as in Plate VI. Fig. I. 

At the quaver or short note occupying the latter half of the fourth 
interval of the bar, make a slight flexion of the right leg, on which you 
are resting, and raising the left foot slightly from the floor, prepare to 
execute the above movements in the opposite direction, or to the left, 
changing the relative position of the head, body, and arms, so that at 



ioo DANCING. 



the third count of the second bar the left arm is raised and your gaze is 
directed to the right. 

This movement to the right and left occupies the first two bars. At 
the third bar: — One: Step forward with the right foot to the fourth 
intermediate position. Two : Place the left foot in front of the right in 
the fifth positio?i, stepping on the toe only. Three : Step a little back- 
ward with the right foot to the fourth position behind, letting it fall flat 
on the ground, and balance the body entirely thereon, so that the left 
toe is pointed in front. Meanwhile, in taking these steps, gradually 
raise the right arm above the head and lower the left, looking down- 
ward to the extended toe ; see Plate XXII. Fig. 2, or Plate XXV. 
Retain this position till the note of preparation ; then raise the left foot 
and repeat the movements in the opposite direction, stepping with the 
left a little to the left, bringing the right to the fifth position, toe only y 
and stepping backward to the fourth position with the left, so that the 
right is pointed in front. Meanwhile, in doing this, gradually raise the 
left arm and lower the right. 

For the fourth and fifth bars, repeat the movement of the first and 
second bars, that is, sideways to the right and left. 

For the seventh bar, turn completely round to the right in the place 
where you stand. Use four steps in turning, treading lightly on the 
sole of the foot, and pointing the toe well out in the second position 
before it descends. In turning extend the arms, raising the right a 
little, as in Plate X. For the three notes in the eighth and final bar, 
coupe gently with the right and left foot — bringing the right down to 
the place of the left, then the left to the place of the right, and at the 
third count close the feet to the third or fifth position, bringing the 
arms gracefully to the sides, as in commencing the exercise. 

Some very pretty exercises may be formed by introducing 
the pas de zephtr, which, as the name implies, is a step of 
the lightest possible character. 1 The following is a combin- 
ation of the pas de zephir and a bourree. Play as follows, 
not quickly, but very lightly. 

1 In the Greek Mythology, Zephyrus was the personification of the 
West Wind. In his temple at Athens he was represented as a beautiful 
youth, with wings on his shoulders, and his head covered with 
ilowers. 



EXERCISES TO PROMOTE GRACEFULNESS. ici 



Ziphir, 



step, 



close. 



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34.TH Exercise. — The first three notes of the music form a triplet, 
for which count one and a. The strong accent falls on the second note 
of the bar, so that in practising you must say, one and a two, three ; 
one and a two, three, etc. In commencing, have the left foot raised in 
the fourth position, a little before the right. 

One and a : At the first note of the triplet, bring the raised left foot 
down to the place occupied by the right, and simultaneously extend the 
right leg to the fourth raised position behind. At the second note, 
counting and, just touch the ground very lightly with the toe of the 
right foot as it passes to the intermediate position, raised high in front. 
At the third note of the triplet, leap lightly on the toe of the left foot 
as the right leg is extended. All this is performed to the triplet, 
occupying only one interval of the bar, and constitutes the pas de ztphir. 



IC2 



DANCING. 



Two : Place the raised right foot lightly to the ground, balancing on 
the toes only. 

Three: Bring the left foot up gently to the heel of the right, and in 
doing so raise the right to the fourth position, a little in front, ready to 
recommence the pas de zephir in the opposite direction, at the triplet in 
the next bar. 

Continue thus to the right and left, alternately. 

Plate XIV. will give an idea of the arm positions that may be 
employed ; but the feet, in this case, should be extended more as in 
Fig. I, Plate XVII., or Fig. 2, Plate XI. 

I should mention that the above is only one form of the 
fas de zephir. It may be made in different positions, and is 
frequently accompanied by beatings of the raised foot behind 
and before the supporting leg, as the former passes to the 
extended position. This action, while it enhances the beauty 
of the movement, greatly increases its difficulty. If the pupil 
wishes to practise it thus, the music should at first be played 
very slowly. 

The next exercise is also light in character. Play as 
below : — 



—0' ^^\ ■ !»*•* ' -**■ ' 


: 1 


1 1 




</•(* 1 1 J — 9 F 


- A 

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Right, left, 



ziph • ir. Half turn, Half turn. 






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Left, right s#£ - ir. Half turn, Half turn. Right, left, zeph - zV. 



EXERCISES TO PROMOTE GRACEFULNESS. 103 




Left, right, zipk - ir. Complete pirou - ette. 



Three changements 
de pied. 



35TH Exercise. — Commence from a closed position, third or fifth, 
with right foot in front. Count one, and two, and three, and four. 
One : Slide the right foot to the second position, and balance on it. 
Two : Bring the left behind to fifth position, and fall on the sole thereof, 
extending right a little in front. Three and Four : Make a pas de zephir 
precisely as in the last exercise, bringing the right foot down with coupe 
dessus at three and raising left behind, touching the floor lightly with 
the left toe, as it passes the supporting leg, and then springing a little 
upward on the right foot, as the left is extended to the fourth inter- 
mediate position. This completes the first bar. Right arm to be most 
raised. 

Second bar. One : Changing the position of the arms to that shown 
in Plate X., place the left toe on the ground in front of the right foot in 
the fifth position. Two: Make a half pirouette turn to the right, 
changing the relative position of the feet. Three : Again bring the 
right toe to the fifth position before the left. Four: Make another half 
turn to face the direction whence you started. This completes the 
second bar. 

Third bar. A repetition of the first bar, in the opposite direction, i. c. 
to the left. 

Fou7'th bar. Repeat the 'second, i. e. pirouette, in two half turns to 
the left. 

Fifth bar. Same as first, to the right. 

Sixth bar. Repeat to the left, i. e. omitting pirouette turns. 

Seventh bar. Place the right foot boldly down on the floor and make 
a complete pirouette turn on the sole thereof, crossing the left foot before 
it in turning, as explained in a former chapter, and using the arms as in 
Fig. 2, Plate VI. 

Eighth bar. Placing the arms lightly on the hips, as in Plate XXI. 



io4 



DANCING. 



Fig. I. Make three changements de pied in the fifth position to finish 
the exercise, which may be repeated at pleasure. 

The next exercise is a combination of stately with lively 
movements. Play the following : — 



For the 36th Exercise. 



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GlissS to right. Point left. Complete pirouette 



turning to 
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CoupS I extend 
dessous ) limb, 



coupe } extend 
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assemble. 



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Re-peat to left. 



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36TH Exercise. — Start from the fifth position; the right foot 
pointed in front. 

First bar. At the first minim place the right foot in the second post- 
tion t and transfer the balance to the right leg. At the second minim 




to 



EXERCISES TO PROMOTE GRACEFULNESS. 105 



point the left toe a little forward in the intermediate position, and place 
the arms as in Fig. I, Plate VI. , without holding the skirt. 

Second bar. Wave the arms to the left, as in Fig. 2, on the same 
plate, in preparation for a complete pirouette turn to the right in one 
action of the feet, crossing the left over the right as already explained, 
and finishing the turn with the body still balanced on the right foot, 
and the left a little raised behind. This turn occupies the whole bar. 

Third bar (lively). One: Coupe dessous (under), with the left foot 
bringing it to the place of the right, which at the same instant extend 
to the fourth position well raised, as in Fig. I, Plate XVII. Now draw 
back the raised foot a little, extending the limb again quickly, as if 
shaking the foot, and in doing so spring upward a little from the floor, 
counting and two. At the third note make a coupe dessus (over), 
bringing the raised right foot to the place of the left, and simultaneously 
extending the left leg to the fourth position behind, as in Fig. 2 on the 
same plate. At the fourth count make a little leap on the sole of the 
right foot and draw back and again extend the left limb rearward, as if 
shaking the foot. This occupies the third bar, during which the arms 
should be as in the illustration (XVII.), either with or without the skirt, 
which is not at all necessary. 

Fourth bar. One: Coupe dessous (under), bringing the left to the 
place of the right.. Two: Coupe dessus (over), bringing the right to the 
place of the left. Three : Assemble, bringing the raised left round to 
the fifth position in front, and falling on both feet with a slight spring. 
For the fourth count, pause with the arms as in Plate X. And then, at 
the fifth bar, recommence the movement in the opposite direction, and 
of course with the opposite action of the limbs. 

The practice of Highland steps is calculated to give 
sprightliness in dancing. The following exercise will be 
found useful. Play as below :— 

For the 37th Exercise and other Highland steps. 



"yr-^-rs J-r5 — i - ^ — f«»» §^\ — 4- — «^^ — i^fl — ^» ^^1 



io5 



DANCING. 




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37TH Exercise. — One : Spring to the second position off the left 
foot on to the right, and immediately cross the left foot behind the right 
leg {fotiette). Two: Pass the left foot a little outward and cross it 
again before the right leg, very quickly, and in doing so hop lightly on 
the toe of the right foot ; see Fig. 3, Plate XXI. Three: Cross the left 
foot again rapidly behind the right leg in hopping on the right toe. 
Four: Again cross the left foot quickly before the right leg as you hop 
on the right toe. All this is done in one bar, and should now be 
repeated in the opposite direction. The arms should be employed as 
in the illustration, but the raised wrist should be a little more bent, as in 
Plate V. 

The Gaelic name for this step is Aisig-thrasd, but I dare 
say you will find the term "cross passes" easier to pro- 
nounce. In the first movement you spring from one foot 
to the other. It is generally performed as a jette / but if 
the foot be moved in a circular direction, it adds, I think, 
greatly to the effect of the step. 

The following exercise, which is Spanish in character, is 
somewhat difficult ; but if well executed it looks extremely 
graceful, and if the movements of the arms legs and 
body be practised carefully and diligently, the pupil will be 
well repaid for the time and trouble expended. Play the 
following music rather slowly : — 




Fig. 1. 



Ffe. 2. 



Plate XVIII. 



EXERCISES TO PROMOTE GRACEFULNESS. 107 






^ j j 

I — L_j «- 



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Cross throw glissade^ fouettt, ~\ Sus - tain - ed pos - ture. 

with right. and zephir. ) balance on right. 



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Cross 
with 



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throw 
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and ziphir J balance on left. 



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to right, to left, 




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&* - /«« - cS ba - &r« - t/ Turn with c«£ - riole and 
to right, to left, fall in pos - ture. 

38TH Exercise. — The first bar is occupied by throwing the right 
foot across the left leg from the second position point into the fourth 



10S DANCING. 



position croise en air (as in Plate XXIV., or Fig. I in Plate XVIII., 
seen through a mirror), and then extending it again to the second, still 
raised. The crossing movement of the leg should be accompanied by 
a little spring upward from the toe of the supporting foot, as in the pas 
de zephir already described, descending as the legs recross at the third 
beat of the bar. 

Second bar : Put down the right foot softly at the first count. Then 
immediately^/^/// with the left foot behind the right, and extend it to 
fourth intermediate position with pas de zephir, descending on the sole of 
the right foot, after the little hop at the third beat of the bar. In this 
movement the position of the arms is of course reversed, the right arm 
being raised higher. 

Third bar : Gracefully lower the toe of the left extended foot to the 
ground in front, turning it very much down, and at the same time 
balancing the body firmly on the right leg, bend as far backwards as 
possible, raising both arms high above the head, as shown in Fig. 3, 
Plate IX., till you are, if sufficiently pliant, more bent than Fig. 1, Plate 
XXII. Dwell in this position throughout the third and part of the 
fourth bar ; then gradually straighten the body, and assume the attitude 
in Plate X. 

The fifth, sixth, seventh, and eighth bars are occupied with a repeti- 
tion of the above movements in the opposite direction, the left foot 
being crossed before the right leg in commencing, and the arms waved 
as in Fig. 1, Plate XVIII., if a full skirt be not worn. 

For the ninth bar make a Spanish pas de basque to the right, with a 
movement to each count, bringing the right up very gently behind the 
left. The arms as in Plate X. At the tenth bar point the left toe in 
front and raising both arms, lean back, but not so much as before. See 
Fig. 3, Plate IX. 

For the eleventh and tivelfth bars repeat the above movement to the 
left. 

For the thirteenth bar balance to the right with a waltz motion, that 
is, put the right foot, down in the second position, and rise and fall on 
the sole thereof, at the same time pointing the left foot lightly before it. 

The fourteenth bar is occupied with a repetition of this balance to the 
left. The arms must be gently waved right and left, as in Fig. 1, Plate 
XVIII., during these two movements. 

At the fifteenth bar, place the sole of the right foot flat on the ground, 
bend the right knee, spring up off the right foot and, turning com- 
pletely round while in the air, alight on the sole of the left foot at the 




Plate XIX 



EXERCISES TO PROMOTE GRACEFULNESS, 109 

third count, and quietly lower the right to preserve your balance as the 
last bass note at the beginning of the sixteenth bar is sounded. The 
position in which you should fall is shown in Plate XIX. 

This movement is not nearly so difficult as it appears, 
because all the impetus is obtained, and some part of the 
turn accomplished, before the right foot leaves the ground. 
The effect of the movement may be enhanced by striking 
the feet gently together before the left foot reaches the 
floor. 

Should the last movement of this exercise appear too 
difficult for the pupil, a single pirouette and arabesque atti- 
tude may be substituted, or a prolonged courtesy may be 
made, as shown on Plate XX. The Spanish dancers in 
making a courtesy generally turn their elbows inward, that 
being the peculiarity of their style. The French usually 
keep the upper part of the body straight, bending only 
the knees, while it is more customary in the English 
courtesy to bend both knees and body. The balance in 
making a courtesy must be well sustained on the rear 
leg, and particular care should be taken not to rise too 
suddenly. 

It is of no use to disguise the fact that it would require 
a considerable degree of Terpsichorean skill on the part of 
a pupil to perform all the foregoing exercises perfectly, and 
a pupil who could do so would be capable of executing 
almost any dance. But there is no reason why any one 
with a taste for dancing, combined of course with a certain 
degree of physical aptitude, who attentively studies the rules 
here laid down, and practises the exercises diligently, should 
not in course of time arrive at the highest degree of pro- 
ficiency in really graceful dancing. And be it remembered 
that really graceful dancing does not necessarily involve 
ability to kick the legs abnormally high, walk as human 



no DANCING. 



beings were never intended to walk, and perform other 
gymnastic and contortional feats, which it would be more 
appropriate to class under the head of the marvellous than 
the beautiful. 1 



CHAPTER IX. 

ORNAMENTAL AND SOLO DANCES. 

The reader, who has conscientiously studied and profited 
by the rules and advice already given, and who has carefully 
been through, and learnt to execute correctly, the various 
steps and movements described, may, if his or her taste 
incline thereto, at once proceed to take lessons in artistic 
dances, or those wherein the agility or grace displayed by 
the performers is calculated to gratify the eyes of beholders. 

Whatever personal pleasure may be derived from solo 
dancing, it must necessarily be of a nature to which no 
moral objection can consistently be raised — of course, pro- 
vided the movements belonging to the dance be decorous. 
With the moral objections of those good people who are 
pleased to regard all earthly enjoyment as sinful, I have 
neither space nor inclination to concern myself; but I could 
not help remarking when reading a pleasant little tirade, 
recently written against dancing, entitled A Time to 
Dance , how the reverend author admits that : — " The 
simple exercise of dancing, where people move by them- 

1 " Gracefulness is an idea belonging to posture and motion. In 
both these it is requisite that there be no appearance of difficulty/' — 
Burke on the Sublime. 



ORNAMENTAL AND SOLO DANCES. in 

selves, faster or slower, according to music, cannot be wrong 
nor hurtful to the spiritual life, any more than skipping with 
a rope, taking a walk, or playing a game with our children." 
And then he goes on to say : — " But people do not dance 
by themselves. There is no ball or dance given in which 
there is not contact with one another, and that not always 
of the most seemly kind." 1 

Now in solo dancing the nature of the pleasure may be 
complex, an exuberance of vitality may find an agreeable 
outlet in the execution of rapid or vigorous movements 
adjusted on a definite plan, while the aesthetic sense may be 
gratified in the execution of graceful figures to the measured 
cadence of delightful sounds \ but clearly it can have no- 
thing whatever to do with proximity to a companion of the 
opposite sex, which, as I am not prepared to deny, may be 
an element of attraction in the practice of round dances. 

Concerning the removal of those objections which do 
most undoubtedly, and not always irrationally, still cling to 
the waltz as it too often is, but not as it ought to be danced, 
I shall have occasion to speak when I come to treat of ball- 
room dancing. At present I only wish to point out that 
whatever prejudice may exist in the minds of parents 

1 In one part the author says, " I remember once, when I was a very 
young man, helping to decorate a room for a ball, and being asked to 
climb up and remove a picture of our Lord which hung on the wall ; 
and I consented to do so, but could not help asking, Surely if the 
picture is to your mind incongruous with the scene, can He be in your 
heart while you are there ? " Would it be possible to conceive a weaker 
argument against dancing than this? If the picture represented our 
Lord suffering, it would naturally appear out of keeping with joyful sur- 
roundings ; but if He were merely represented blessing little children, 
or at the marriage -feast, or on the sea, surely it should not have been 
removed at all. Christ Himself certainly did not disapprove of dancing 
as an amusement. He does not speak disparagingly of it in Luke vii. 
32. Again, in the parable of the Prodigal Son, we find that when the 
young man returned to his Father's House, he was made welcome, and 
there was music and dancing. 



112 DANCING. 



against that form of entertainment, there can be no valid 
reason why they should object to their children being taught 
the real Art of Dancing, which by no means depends for 
existence on the craze for waltzing that at present obtains 
in society. It is impossible that anything but physical good 
can result from the practice of hornpipe, jig and reel steps, 
either by a boy or girl ; and if a young lady should also 
learn to perform a solo waltz, gavotte, cachucha, fan or 
skirt dance, surely the only results would be some additional 
personal gracefulness and ability to please her friends by 
introducing an agreeable feature of entertainment at dull 
"at homes." 

" Still unaccomplished may the maid be thought, 
Who gracefully to dance was never taught." 1 

Most of the so-called "fancy dances " may, by a skilled 
teacher, be modified to the ability of the performer, some 
naturally admitting of modification better than others. I 
do not of course mean that the enchainements or sequences 
of steps proper to a dance may be altered to any appreciable 
extent, or that any of an extraneous character may be intro- 
duced. What I mean is that very difficult steps may be 
sometimes omitted, and simpler movements of a similar 
nature substituted. For instance, an entrechat of many 
beatings might give place to a simple entrechat a quatre 
capriole in third position without crossings, or even change- 
ment de pieds ; a double pirouette, if found too difficult, to a 
a single turn and arabesque, steps of elevation may be 
reduced, and all gestures that appear too teste can easily be 
modified to taste. 

This is more especially the case with regard to Spanish 
dances, to which I may again have occasion to refer. 

1 Congreve's translation of Ovid's Art of Love. 




Platk XXII 



ORNAMENTAL AND SOLO DANCES. 113 

Italian dances, although developing from the same origin, 
seem less open to objection in this respect. I have myself 
seen tarantellas danced in Naples and Venice by boys and 
girls that might with the most perfect propriety be intro- 
duced in any drawing-room ; but the fandango, as it is 
danced in Spain, would scarcely be a performance suitable 
for English young ladies. 

I have not space in the present section to give detailed 
descriptions of any particular fancy dances, but I will broadly 
touch upon a few, and give a little advice en passant 

We will consider first the Hornpipe, giving it due 
precedence as the national dance of our own country. 
Moreover, it is a grand dance in its way, and so eminently 
characteristic. Consider, for instance, the folding of the 
arms in an attitude, not of laziness — remember that — but 
of conscious strength. The upper part of the body is kept 
in a state of calm repose, while the lower limbs are 
executing the most complicated, rapid, and difficult move- 
ments. Is not all this typical of an ideally English trait ? 
To appear calm and collected amid circumstances calculated 
to induce a condition of physical and mental agitation. 

And this " conservation of energy " form is kept up until 
there is an actual demand for a display of muscular action 
in the arms and body. Then all is changed, and the whole 
frame becomes active, as, for example, in the rowing move- 
ment, hauling of the ropes, etc. The pupil who would 
perform the hornpipe well must understand and enter into 
the spirit of the dance. I do not remember to have heard 
or seen these ideas expressed before ; but I cannot help 
thinking k but that all good dancers of the hornpipe must 
have conceived them. I should imagine that the Rev. 
Benjamin Smith, Rector of Linton, who lived in the last 
century, must have thought very highly of this dance ; for 

1 



H4 DANCING, 



we are told that "when riding on a journey or to visit a 
friend in fine weather, he would sometimes alight, tie his 
horse to a gate, and dance a hornpipe or two on the road, 
to the astonishment of any who happened to pass by." 1 I 
think, reader, that you or I would be a little surprised if we 
were taking a quiet country stroll and suddenly came across 
a clergyman dancing a hornpipe in the middle of the road. 
There would, of course, be nothing at all wrong in such a 
proceeding; it would simply be something unexpected. 
The reverend gentleman alluded to a few pages back con- 
cludes his little book with the words, in big type : — " I have 
no taste, I have no time to dance/' but the Rev. B. Smith 
was evidently of a very different opinion ; he had a decided 
taste for dancing, and was determined to find time to exercise 
it. Southey describes him as "a mighty dancer before the 
Lord." 

But to return to the Hornpipe. Whatever of sentiment 
there may be about the dance, it is distinctly vigorous and 
manly \ There are no voluptuous langours, no tender emo- 
tions expressed by gesture or action, as in many of the 
Spanish dances. The Hornpipe is essentially a solo dance, 
and in it animation, strength, and defiance alone are 
represented. 

In the Irish jig, the arms of the dancers are placed akimbo, 
the backs of both hands resting lightly against the hips 
a little in front, the elbows being turned outward, and also 
brought a little forward. 

This position of the arms is not nearly so graceful as is 
that adopted by the Scotch in dancing their reels and 
strathspeys^ wherein one hand only is placed on the hip, and 
the other raised above the head. In the position, as shown 



South ey's Original Memoranda. 




Plate XXIII. 



ORNAMENTAL AND SOLO DANCES. 115 

in Plate XXL, the wrist should be a little more curved, as 
I have already pointed out. 

Scotch dances are sometimes executed as solos and some- 
times with partners. The characteristic feature is a very light 
and springy upward action of the feet. The figure of the 
reel may be performed by three or four dancers, and it corre- 
sponds with the " hey " of old country dances. The step 
used in the chain, if I may so term it, is the Ceumsiubhail or 
Ke?nshbole. It is thus executed : — One : Advance the risrht 
foot to the fourth position. Two: Close the left foot to third 
position behind, falling thereon. Three : Again advance the 
right foot with transfer of balance. Four : Hop on the right 
foot, at the same time passing the left in front, ready to 
begin the next step, which is a repetition of the above with 
the contrary foot. Technically, this step is composed of a 
denii g/isse, coupe dessous,jette en avant, and pas saute with 
jambe tendue. 1 

Great care must be taken to observe, when dancing a reel, 
that a raising of the right arm should accompany an exten- 
sion of the left leg, and vice-versa. Inattention to this 
rule among carelessly-instructed pupils causes them, when 
dancing, to present a very awkward appearance. 

The movements of the Irish jig are certainly not wanting 
in spirit and picturesqueness, and the steps are full of anima- 
tion. Gracefulness may not appear to be a particularly 
prominent characteristic of the dance ; but still it possesses 
many good qualities. Unlike the Hornpipe, the jig may be 
danced together by partners of opposite sexes, who appear 
anxious to delight each other by the vivacity of their 
movements ; but there is no personal contact between the 

1 Other steps used in the performance of reels and strathspeys will 
be found under the head of " Highland Steps," in the chapter on Round 
Dances. 



n6 DANCING. 



dancers, and if their actions can be said to express anything 
whatever of passion, it can only be passion of a particularly 
unexceptional nature. 

In learning the steps of the above and similar dances, I 
cannot give better advice to the reader than this : Always 
be careful to assure yourself upon which foot the weight of 
the body should be resting at a given juncture. You will find 
this rule of incalculable assistance in acquiring difficult steps, 
and for this reason : Instinctively we want to move the foot 
upon which we are not resting, since we find that it is 
impossible to move the one that supports the weight of the 
body otherwise than by making a preparatory spring. This, 
however, costs an effort, and itaturally we incline to do the thing 
that is easiest, which is in this case to move the unoccupied 
foot. I think, then, it will be evident that so long as you 
retain your balance upon the proper foot, your natural 
inclination, in making the next movement, will be to use 
the foot that ought to be used, which you could not do if 
you happened to be supporting your body thereon. 

Another very important rule is never to allow the weight 
of the body to fall on the foot while it is in motion. If the 
step be of a gliding nature, do not transfer the balance to 
the foot with which it is taken until that foot has reached its 
destination, or until its action has ceased. 1 If these rules are 
remembered by the pupil, and are constantly impressed 
upon him by the teacher, the learning of complicated steps 
will become comparatively easy. 

For instance, in executing the hornpipe step, familiarly 
known as the double-shuffle, the weight of the body is 
suddenly thrown upon one foot with a slight flexion of the 
knee, while the opposite foot is simultaneously extended to 
the fourth intermediate position, after which it is rapidly drawn 

1 These rules apply equally to waltzing and ball-room dancing. 




Plate XXIV 






'ORNAMENTAL AND SOLO DANCES. 117 

backward, again extended, and again drawn back, all in two 
counts of very quick music. At the third count the balance 
is changed with a sudden flexion of the knee to the foot 
which has just been in motion, and simultaneously the limb 
that previously supported the body is extended in front, and 
the foot drawn rapidly backward, forward, and backward 
again. 

The reason the above very simple step causes so much 
trouble to beginners is because they forget that in executing 
the shuffling movement it is absolutely necessary that the 
balance be sustained entirely upon the rear leg, for if it be 
thrown at all forward upon the moving limb, the friction 
thereby involved in the passage of the foot to and fro upon 
the floor retards its motion, and, in consequence, the action 
cannot be performed in the required time. 

The distinguishing characteristic of Spanish dances is the 
undulating movement of the body and arms, by which they 
are accompanied. The steps are usually light, the actions 
graceful, sometimes majestic, frequently languishing, and 
occasionally petulant. It would be absurd to deny that the 
sexual element enters largely into these dances, nay, is 
indeed their very foundation. An attempt was made a few 
years since, I believe, to introduce a kind of Bowdlerized 
fandango into the salons of Paris. But a fandango from 
which all objectionable features were eliminated would be 
much the same as a performance of Hamlet in which the 
Prince of Denmark did not appear. 

There is, however, no occasion in this section of the book 
to enter into details concerning dances which it would be 
impossible to teach our pupils. The Bolero is a dance for 
couples of a far more innocent nature. 1 It is composed of 



1 Yet even this is intended to represent the course of love from 
extreme shyness to extreme passion. 






nS DANCING. 



five parts ■ an introductory promenade, crossing over in 
changing places, a movement consisting of solo steps by 
each dancer, a finale, and a concluding attitude or arabesque 
grouping of the couple. Terre a terre steps are employed, 
glissades pas frappes, and retreating movements. 

The cachucha, like the guaracha — now rarely seen — is 
a dance better adapted for a single performer than for 
couples, and in a somewhat modified form is exceedingly 
graceful and suitable for the drawing-room. Pretty fan and 
tambourine dances may be arranged in the Spanish style, 
(see Plates XIV., XIX., and XXII.), with such steps as the 
pas de basque, pas frappes with glisses en reculant, pas de 
zephir croise and intermediate, pas tortille, bourrees in the 
fifth position, etc. 

The dances most suitable for performance in long full 
pleated skirts are ornamental waltzes and solo gavottes ; or 
movements arranged especially, combining some pleasing 
characteristics of the Spanish style. Great care must be 
taken to hold the skirt very lightly between the finger and 
thumb, and do not forget that you must at all times move 
your arms according to the rules of gracefulness already 
given. If you have thoroughly practised the exercises with 
your arms free, you will experience no difficulty whatever in 
managing your skirt. If your object be to raise it as shown 
in Plate XXIII., be particularly careful that in doing so you 
do not bend your elbows downward and your wrists upward, 
or let your arms take any shape resembling the letter W. 
You will often see this done by imperfect dancers, and not 
unfrequently on the stage ; but it always indicates a very bad 
school of instruction. Remember that it is always easier 
to move the arms gracefully, when accessories are employed, 
such as fans, scarves, and flowing drapery; but you will 
observe that the best dancers on the stage do not continually 




Plate XXV. 



ORNAMENTAL AND SOLO DANCES. 119 

have hold of their skirts. Frequently they let them go for 
a long time together, and move their arms freely, with an 
undulating wavy motion. This free action of the arms, if 
perfect, requires far greater ability on the part of a dancer 
than does the successful management of an accordion-pleated 
skirt, and should be carefully cultivated by the pupil. 

Remember, in performing a gavotte, that the French pas 
de basque is employed, in which the first two movements are 
made to one count of the music. In connection with this, 
the pas de bourree in triolets is frequently introduced, as in 
the Gavotte de Vestris. Other steps used are the pas de 
zephir, ballone, entrechat, capriole, contretemps de gavotte, jetie, 
assemble, coupe dessous et dessus, sissonne, and ailes de pigeons. 
The latter, however, would be less effective in long skirts. 
In any case it is clear that the steps of a gavotte must 
depend greatly on the nature of the music, since some of 
the old gavotte music is very lively, and some quite solemn 
in character. 

Strictly speaking, a gavotte is a dance for two performers, 
derived from the original Branle of the Gavots, or inhabit- 
ants of a province in Southern France. In describing this 
dance in his book published at Langres in 1588, Thoinot 
Arbeau 1 says to his pupil, Capriole, "II ne fault point 
ejilever en Fair les Damoiselles, seullement il les fault baiser." 
" You need not lift the young ladies off their feet, only you 
must kiss them." Here we have a reverend gentleman of 
the olden time, who not only found it consistent with his 
dignity to study the art of dancing, but also to write a book 
on the subject, and impart particularly gratifying instructions 
to his pupils. 

It is not at all a difficult matter for those who are 
thoroughly acquainted with the various steps used in danc- 
1 Jean Tabouret, canon of Langres. 



120 DANCING. 



ing to combine them to form fancy dances. But of course 
one must possess the inventive faculty, and some knowledge 
of the principles of artistic construction. There are other 
matters besides enchainements to be considered. There is 
the coincidence of music and movement, and also the 
figure of the dance. This figure, which forms as it were 
the track of the dancer or dancers, may be of regular or 
irregular construction. Some dances are so formed that 
each movement made in one direction is repeated in the 
opposite direction. The exercises in the foregoing chapter 
are formed on this plan, as, for very obvious reasons, all 
exercises should be, except such as are specially designed 
for individuals developing one-sided tendencies. But a 
dance may take a serpentine or zig-zag direction ; broadly 
it may be formed on the lines of a parallelogram, a triangle, 
or a volute, or indeed any geometrical figure whatsoever. 
The principal figure of the minuet was originally formed on 
the letter S, till Pecour, who added, says Rameau, much 
to the beauty and grace of the dance, changed it to that of 
the letter Z. 



CHAPTER X. 

DANCING AS A PASTIME. 

Certain writers have been pleased to inform us that, as 
an amusement, dancing is on the decline, and will ere 
long be relegated entirely to the stage. Such prophetic 
utterances are about as worthy of credit as were those of 
Cassandra. The sooner the present style of ball-room 



DANCING AS A PASTIME. 121 

dancing declines perhaps the better. Sooner or later 
people will inevitably weary of perpetual waltzing, as they 
appear to have already wearied of quadrilles ; but, fortun- 
ately, dancing does not depend for its existence on the 
continued popularity of a single movement, and in some 
form or other it will probably continue to flourish till the 
end of time. 

In the preceding chapters, dancing has been regarded 
more especially as an art — an art worthy to be carefully 
studied in detail the same as drawing or music. And I 
have treated it thus before considering it as a diversion, 
because I hold that even if the object of the pupil be 
merely to derive personal enjoyment from his dancing, he 
will be far more likely to obtain the desired result if his 
steps and movements are made correctly and with pre- 
cision. If his desire, however, be merely to work off a 
superabundance of vitality, as is evidently sometimes the 
case, doubtless the end can be compassed equally well, 
perhaps better, by trying to dance without learning at all, 
or better still by digging up the garden. 1 Saint Augustine 
said, " Melius est fodere qum?i saltare ; 9i and there are cases 
in which his observation is much to the point. For 
instance, while employed in digging, a man is reaping all 
the advantages of hard work at the expense only of the 
wear and tear of a spade, instead of wearing out some 
poor creature who happens to be so unfortunate as to be 
used by him as the implement of his ball-room exertions. 
I appeal, however, not so much to those who delight in 
mere bodily labour, as to those whose object it is to obtain 

1 I observe that Harris in his Theory of the Arts, while admitting 
gardening, says that * * Dancing cannot properly be considered as an 
independent art by itself." Voltaire, on the contrary, says "La danse 
pent se compter par?ui les arts, parce quelle est asser7ne a des regies. " 
Dancing may be reckoned among the arts because it is subject to rules. 



122 DANCING. 



real enjoyment from dancing, and I say that whether or no 
they may be disposed to regard themselves as ministers of 
art, they will certainly derive more pleasure from these 
movements, if in the first instance they learn to dance 
properly. 

JL/eel sure that Mr. Allanson-Winn would endorse my 
statement that far more pleasure is derivable from even the 
comparatively rough pastime of boxing, when it has been 
studied and practised scientifically than when blows are 
administered and received haphazard. How much more, 
then, must this be the case in a pastime that appeals more 
directly than all others to the aesthetic sentiments. 

The cultivation of graceful dancing has been so much 
neglected of late years that there is perhaps no art con- 
cerning which people are at the present time so generally 
ignorant. In all other arts the public mind has been 
steadily trained to perceive and appreciate whatever is 
admirable and lovely. Everywhere there are schools where 
young people can learn to draw — and to draw well if they 
have taste ; music is universally studied and appreciated by 
men and women of culture ; mediocre instrumental per- 
formances are not tolerated, even among amateurs; but 
people seem to have lost all perception of what is good or 
bad in dancing, either regarded as an art or a pastime, and 
the most wretched performances frequently pass muster 
both on the stage and in the ball-room. It is, however, 
with dancing as a diversion only that we are at present 
concerned \ and the great wonder is that its popularity has 
not decreased in proportion as its cultivation has been 
neglected, because there can be no real comparison 
between the pleasure to be derived from good dancing, and 
that which is experienced by people who jump and shuffle 
around anyhow to dance music. It shows how strongly the 



DANCING AS A PASTIME. 123 

passion for dancing must be inherent in human nature, and 
that it will always find expression in some form, be it good 
or bad. 

To what is the present slovenly style of drawing-room 
dancing attributable? 

This is a question that may well be asked, and the reason 
is not, I think, far to seek. 

In olden times, when minuets and gavottes were fashion- 
able dances, it was deemed necessary that those who aspired 
to take part in them should first learn to dance, and not 
"pick up" their steps anyhow by watching other people's 
bad performances and then doing worse. And the Art 
of Dancing was taught by men who had conscientiously 
studied their profession ; such men, for instance, as Marcel, 
Rameau, Vestris, and Sir John Gallini. In the genuine 
minuet, as described by Rameau, there was nothing 
ridiculously affected or " stagey " ; in fact, his own 
words are "Mais sur-tout sans affectation" But the 
dance, though ' simple, was supremely graceful, and its real 
elegance could not be imparted by other than qualified 
teachers. 

To shuffle around, however, with a slide of the foot and 
a twist of the body, first on one leg and then on the other, 
is a feat by no means difficult to accomplish, and requires 
no special training ; yet this wretched substitute for a dance 
that should really be the most graceful of round dances, is 
what many men are contented to do throughout a whole 
evening, under the mistaken impression that they are waltz- 
ing. What they are actually doing is simply turning round 
to waltz music ; and small wonder it is if when they have 
succeeded in mastering this miserable apology for the waltz, 
and have learnt to regard it as the acme of all things 
Terpsichorean — the ne plies ultra of ball-room pleasures— 



124 DANCING. 



they should soon come to the conclusion that dancing as a 
pastime is not worth cultivating. 

Can we wonder, moreover, that censorious observers, 
when they see this kind of thing going on hour after hour, 
without intermission or change, should sometimes feel per- 
suaded that the pleasure derivable from round dancing is 
more intimately connected with the contiguity of the 
partners, than it is with the performance of graceful figures 
— that esthetic emotions are not the only emotions evoked 
by the dance ? 

Although there may not be among society ladies of the 
present day many Sempronias who could reasonably be 
twitted with the superlative excellence of their dancing, 1 
yet it is an undoubted fact that young women, as a rule, 
dance far better than men. I have actually heard it asserted 
that it is considered fashionable rather than otherwise for 
men to dance badly. This absurd notion, however, has no 
real foundation. That there are fashionable people who do 
dance badly, va sans dire ; but that is their misfortune. No 
man would dance badly if he could help it, without trouble — 
that is, unless he were a thorough fool — any more than a 
man would remain ignorant if he could become wise without 
trouble. There are doubtless many fashionable people who 
are foolish; but that fact would not justify one in asserting 
that it is considered fashionable to be so. The true reason 
why so many men remain bad dancers is simply because 
they will not take the trouble to learn how to become good 
ones. It is laziness, sheer laziness, that is at the bottom of 
it all. They think that so long as their wretched perform- 
ances are countenanced, there is no call for them to exert 
themselves to take proper lessons. Yet I will warrant that 

1 " Sempronia docla Jzrit saliare elegantius quam necesse est prober ." — 
Sallust. 



DANCING AS A PASTIME. 125 

if some exalted personage were to take example from 
what the German Emperor is reported to have done some 
time since, and intimate that those who did not know how 
to dance would do well to remain away from certain State 
functions, we should soon perceive a rapid improvement in 
the general style of dancing. What is wanted most is a 
coup de fouet, as it were, from head-quarters. 

Failing this, I would advise the ladies, who, as I have 
already said, generally dance better than men, to be firm 
and consistent in refusing to accept as partners men who 
do not know how to dance properly ; but at the same 
time they should make sure that they have learnt to dance 
perfectly themselves. No girl who had cultivated music, 
would consent to sing a duet in public with a man who 
had neither voice nor ear, and habitually sang out of tune. 
Why then should a girl who has cultivated dancing, consent 
to be dragged around a public room by a man who has 
never learnt a single step, and habitually dances out of 
time ? If men have the privilege of selection, surely women 
should have the right of refusal. It may be urged that they 
have that right ; but only partially, because a refusal to 
become the partner of one man, however clumsy, involves 
a refusal of any good dancer who may afterwards present 
himself, and a consequent loss of the dance. This is con- 
ventional etiquette, but hardly, I think, perfect justice. 

It is a great pity that social regulations do not usually 
permit of ladies dancing together. If this course were 
generally adopted in cases where there are fewer male 
partners, or where the men were hopelessly bad dancers, it 
would perhaps do more than anything to refine and elevate 
the practice of social dancing ; and it would at once 
disarm its enemies of their most potent weapon of assault, 
since they would be constrained to admit that the pleasure 



126 DANCING. 



of the pastime is not necessarily connected with that 
element which they declare to be the most considerable 
factor in the sum total of Terpsichorean enjoyment. 

It is hardly necessary for me — at least in the present 
section of this treatise — to say much concerning the preju- 
dice which still exists in the minds of many good people 
against dancing, since I do not suppose that any one who 
wholly disapproves of the practice is likely to peruse these 
pages. I feel certain, in my own mind, that most of what 
appears objectionable in round dancing arises rather from 
incompetent instruction, and ignorance of dynamical laws, 
than from any intentional impropriety on the part of 
dancers. The positions of partners shown in Plates XXIX. 
and XXX. might not unreasonably be open to objection on 
other than scientific grounds. Unfortunately they are by 
no means so uncommon as one could w T ish ; but if parents 
only took the precaution to have their children properly 
taught to dance when they were young, by teachers w T ho 
understood the art they profess, it would be absolutely 
impossible that they could ever fall into such errors of 
position when they became men and women, since they 
are not only wanting in elegance, but are utterly at variance 
with all true principles of dancing, whether scientific or 
artistic. 

Of the advantages w T hich the legitimate practice of danc- 
ing possesses, it is impossible to speak too highly. I say 
legitimate practice, because mothers of daughters should 
remember "c'esf le bal, et non la danse qui tue les jeunes 
ji/ks." 1 Xbe pastime of dancing indulged in at reasonable 
hours, and the practice of those beautiful and beneficial 
exercises which are inseparable from the art^ will do more 
towards making growing girls graceful and healthy than any 

1 Ratier. 



DANCING AS A PASTIME. 127 

amount of aimless expander stretching. As Mr. Herbert 
Spencer remarks in his splendid treatise on education : 
M The common assumption, that so long as the amount of 
bodily action is the same, it matters not whether pleasur- 
able or otherwise, is a grave mistake." If parents wish to 
make their daughters really attractive, they cannot do better 
than have them properly instructed in the art of ornamental 
dancing. When thus employed, a graceful and beautiful 
girl is seen at her very best, and appears infinitely more 
charming than she would if making a display of erudition. 
Listen once more to what the greatest philosopher of 
modern times has to say concerning the elements of femi- 
nine attraction : " Mammas anxious to make their daughters 
attractive could scarcely choose a course more fatal than 
that which sacrifices the body to the mind. Either they 
disregard the tastes of the opposite sex, or else their con- 
ception of those tastes is erroneous. Men care little for 
erudition in women, but very much for physical beauty, 
good-nature, and sound sense. How many conquests does 
the blue-stocking make through her extensive knowledge 
of history? What man ever fell in love with a woman 
because she understood Italian ? Where is the Edwin who 
was brought to Angelina's feet by her German ? But rosy 
cheeks and laughing eyes are a great attraction. A finely- 
rounded figure draws admiring glances. The loveliness 
and good-humour that overflowing health produces go a 
great way towards establishing attachments." 1 I would 
that these words were engraven on the heart of every 
mother ; she would perhaps feel less disposed to submit her 
children to that hateful cramming system which Professor 
Huxley stigmatizes as " the educational abomination of the 
present day." 2 

1 Education. Herbert Spencer. 2 Essay on Technical Education. 



123 DANCING. 



And for boys. What does good old John Lock say? 
" Dancing being that which gives graceful motions to all 
our lives, and above all things manliness, and a becoming 
confidence to young children, I think it cannot be learnt 
too early." Dancing properly taught does really impart 
7?ia?itiness. What movements would it be possible to con- 
ceive more manly than those of the hornpipe, to which I 
have drawn attention elsewhere in the present work ? Why 
were the Spartan boys taught so early the art of dancing, 
and why was the practice kept up with so much vigour as 
they advanced towards manhood ? In order that they 
might become manly ; for Lycurgus knew well enough that 
muscular exercise is ever best when combined with pleasur- 
able sensations, such as may be produced by rhythmic 
motion and the sound of music. Sometimes girls were 
admitted to these dances, and joined in them with the 
boys. That also was considered good. Leaving the 
ancients, however, I may mention that Captain Cook was 
of opinion that dancing was indispensable for sailors, and 
made his men dance whenever the weather was calm to 
the sound of a violin. I mention this fact, because his 
unprecedented success in preserving the health of his crews 
was always a subject of comment. The French Govern- 
ment followed his wise example, and between the years 
1788 and 181 8 ordinances were passed with the sole view 
of encouraging dancing. 

My object in reverting, in this part of the book, to such 
matters as those which have just been claiming our passing 
attention, is simply to show that among people of good 
sense, dancing — that is, genuine dancing — is not, and never 
has been, regarded as a frivolous or effeminate amusement. 
On the contrary, the practice has been considered highly 
desirable for people of both sexes ; as Voltaire expresses it, 



DANCING AS A PASTIME. 129 

"La danse est tres agreable ; elle est utile au corps" A man 
may not at the present time hope to rise to the dignity of 
Chancellor and Knight of the Garter through the excellence 
of his dancing, or to become the favourite of a monarch ; 1 
our gentlemen of the Inns of Court may lack somewhat of 
that "sweet and airy activity" 2 with which they were 
credited in the days of Charles II. ; but I trust the time 
is not far distant when young men will once more learn to 
regard dancing as a noble art, worthy of cultivation, and 
as a healthful manly pastime — not merely as a means of 
working up excitement by gyrating in a continuous whirl. 
When that desirable state of things comes about, the waltz 
will take its proper place, as a beautiful dance — it will 
always be that — but only as one beautiful dance among 
many others. 



CHAPTER XL 

STYLE IN DANCING. 
REFINEMENT AND VULGARITY. 

To slightly alter a well-known phrase, the varieties of 
style exhibited in social dancing may be briefly classified 
under three heads — high style, low style, and no style. The 
words good, bad, and indifferent would not so well express 
my meaning. Dancing may be good in a sense, without 
being exactly refined or high class, and on the other hand 

1 Sir Christopher Hatton. M. de Laugun, favourite of Louis XIV. 

2 Dancing Master, ed. 1665. Preface. 

K 



no DANCING. 



it may be execrably bad, without at all deserving to be 
classified as low. 

By a high class style of dancing I mean such a style as 
one might reasonably expect to find adopted by people 
of culture, and those occupying a high social position — a 
style distinguished by ease and natural dignity of bearing, 
but without undue stiffness or affectation ; by no means 
incompatible with sprightliness or vivacity in the per- 
formance of round dances, but always quiet and subdued 
in the execution of figures. It should be possible for a 
person of refined taste, who has been properly instructed 
in the art of dancing, to change from the stateliest to the 
liveliest movements without losing dignity or grace. The 
quickest possible dances may be made to appear elegant 
when executed by men and women of genteel bearing, and 
the most solemn ones may seem vulgar if performed by 
people who lack refinement. 

By a low style of dancing I mean that particular style 
affected by 'Arry, and imitated by his admirers in all grades 
of society. Such movements, for instance, as jigging around 
with both arms extended and hands clasped by the opposite 
dancer, turning backwards in the third figure of the Lancers, 
twisting partners round by the waist like so many whirligigs, 
and waltzing in the figures of set dances, were all initiated 
by the typical young gentleman above alluded to; but 
once having captivated the fancy of other dancers of 
kindred tastes, though moving in a higher social sphere, 
these objectionable practices are sometimes introduced in 
places where one would certainly not expect to find them 
countenanced. 

I am at least happy to say that the peculiar manner of 
holding his partner which 'Arry affects has not as yet found 
much favour in society; but in case any particularly. 




Plate XXVI. 



Hi-li Class .Style. 




Plate XXVII. 



Low Class Style. 



STYLE IN DANCING. 131 

enterprising young man may be ambitious to acquire it, 
teach it to his sisters, and eventually introduce it into his 
mother's drawing-room, I have here shown it on Plate 
XXVII. It will be observed that he — I mean 'Any — 
generally spreads his fingers well out, covering as much of 
'Arriet's back as possible ; sometimes he places his hand 
right up in her neck, while she leans forward tenderly 
hanging on to his shoulder, and sometimes they rub their 
cheeks caressingly together. It is quite touching to observe 
them ; and they do seem to enjoy it so much. 

A gentleman generally holds his partner in a somewhat 
less familiar manner, as for instance on Plate XXVI. That 
is the modern and correct style, and I venture to predict 
that most mothers — I am not so sure about men — will 
consider it a great improvement on the old style as shown 
on Plate XXIX., which, by the way, although neither in 
strict accordance with propriety nor with dynamical require- 
ments, is by no means extinct even at the present day. 
A girl who has been properly and scientifically taught to 
dance, can easily render it impossible for a man to hold her 
too closely, but she must be careful not to fall into the error 
of making her partner's arm ache by offering too much 
resistance at the waist. The position shown in Plate 
XXXII. is much more frequently observable now, and a 
short time since obtained quite a vogue. It is perfectly 
unexceptionable on the score of propriety, as all will admit; 
but it possesses the disadvantage of being exceedingly 
inelegant and inartistic. To begin with, the partners are 
further separated than they need to be, the man is evidently 
driving the girl backward like a wheelbarrow, and she is 
pulling away from him with all her force. This is apparent 
from the leverage she is obtaining with her left arm against 
her partner's elbow. Of course it is decidedly incorrect for 



DANCING. 



the lady's arm and hand to be placed thus at all. I have 
heard people aver that it is fashionable for the lady to place 
her hand beneath the gentleman's arm. It is nothing of the 
kind. A practice may become common without being 
fashionable. The lady's hand should rest lightly above her 
partner's arm somewhere immediately beneath or just 
touching the shoulder, its exact position being regulated 
according to their relative heights. Thus, if the man be 
about her own height, the lady should place her fingers just 
on his shoulder, as shown in Plate XXXIV. ; while if he be 
much taller, her hand will come considerably lower down 
his arm. The things most necessary to be observed in 
holding partners are the avoidance of angles formed by the 
elbows, and the necessity of keeping the body in a perfectly 
unconstrained position. In the figures on Plate XXXII. 
all freedom and real grace of action is prevented by the 
position of the girl's arm. 

It is my endeavour in this work to present and advocate 
as far as possible the style of dancing that is considered the 
best, 1 and I earnestly appeal to all readers of good taste to 
help, as far as lays in their power, by protesting against any 
innovations that appear vulgar, no matter how or by whom 
they may be introduced. 

But there is a style of dancing that is not sufficiently 
refined to be spoken of as a high-class style, and yet not so 
degraded as to merit the designation of low. And there is 
also a manner of dancing that is simply awkward, to which 
I have applied the term "no style." An illustration of 
this kind of dancing is given on Plate XXVIII. The 
awkwardness, it will be observed, is simply confined to the 
upper part of the body, since the feet are not incorrectly 
placed. 

1 See second note after the Lancers. 




Plate XXIX. 



Old Stylo, objectiona'ble. 




Plate XXX. 



Hideous Position. 



STYLE IN DANCING. 133 

Awkwardness may always to a great extent be remedied 
by taking lessons of a competent teacher; but if once a 
vulgar style of dancing be contracted, it is most difficult to 
overcome. A man occupying a very good social position 
came to me a short time since for a lesson in waltzing. He 
had already, he stated, taken several lessons of a London 
teacher, who shall of course be nameless here. He said, 

*" I was advised by a friend to go to Mr. , who had, 

he informed me, an excellent reputation, and of whom he 
had himself received instruction." "And have you not 
profited by the lessons ?" I inquired. " Well," replied my 

visitor, " I do not doubt that Mr. understands dancing 

and teaching dancing well enough ; but somehow I am 
under the impression that he is not accustomed to teaching 
gentlemen, and I thought I would like to know if the style 
in which he taught me to waltz was a correct style." With 
that I proceeded to give him the desired instruction, and 
when I discovered in what manner he had been taught to 
hold his partner, to bend his knees, to rise and fall on his 
toes, and to accentuate the rhythm with the movements of 
his body, I at once perceived the justice of his observation. 
There was positively nothing wrong with the steps, even the 
action of the body was not in a sense incorrect ; but there 
was something about the tout ensemble — a general air of 
affectation and staginess, a style that would have appeared 
altogether out of place in a drawing-room; and it was 
fortunate for him that I was able to get him out of that 
style before it became confirmed, and before he exhibited it 
at a very high-class gathering which he was about to attend. 
As it happened, this man's innate sense of refinement con- 
vinced him that he had acquired a style of waltzing not 
strictly in accordance with the principles of good taste ; but 
his friend had evidently been unable to perceive this. 



134 DANCING. 



A few more observations, particularly addressed to men, 
and I will bring this chapter to a close. 

It is related that when St. Augustine felt uncertain in his 
mind whether he ought to fast on Saturday as they did in 
Rome, or to eat as he had been accustomed to do, he con- 
sulted St. Ambrose, who was then staying in Milan, as to 
what would be the best course to adopt. The reply he 
received was this: "When I am here I do not fast on 
Saturday; but when at Rome I do fast on Saturday." 

The circumstance of fasting has nothing whatever to do 
with the present subject, but the advice implied in the 
answer of St. Ambrose is precisely that which I would give 
to certain adventurous young gentlemen who, like the good 
caliph Haroun-al-Raschid, are in the habit of making explor- 
ations around the city after nightfall. 

If in their nocturnal rambles they should chance to find 
their way into some well-lit but not rigidly exclusive dancing 
assembly, where the gentlemen are unaccustomed to gloves, 
and evening dress is not de rigueur ; or they should wander 
to some sylvan-looking scene, softly illumined with hanging 
lamps of various shades, where upon a central platform 
Corydon delights to press his manly chest against the gentle 
bosom of Phyllis; — if, I say, they should chance to visit 
such places, and discover that it is there the custom to 
waltz about in square dances instead of performing the 
proper figures; that the young ladies cheerfully submit to 
being vehemently twisted round, and appear rather to enjoy 
being lifted off their feet ; that the gentlemen in the Lancers 
take each other by the shoulders, and turn in the wrong 
direction, dragging their partners along with them — to say 
nothing of some wonderful military evolutions at the finish ; 
— if, once more I say, they go where these things are done, 
and it gives them pleasure to watch, or take part in the 




Plate XXXI 




PLAp; x; 



Very Bad 



STYLE IN DANCING. 135 

performance, well and good. Figuratively speaking, they are 
in Rome, and for the time being may act as the Romans do. 
But what I would impress upon them is this : When hey go 
back to Milan — figuratively, of course — let them remember 
that the customs there are somewhat different. Let them 
not hasten to impart their newly-acquired accomplishments 
to their sisters, lest people might think that they too had 
graduated in some questionable school of dancing. 

Somehow the practices to which I have just drawn hasty, 
and I trust only passing attention, do not appear so vulgar 
in the places where they originate, because there everything 
else is in keeping. Scientifically, what we call dirt is simply 
matter out of place, and it may be somewhat the same 
with regard to vulgarity of style. Servants, for instance? 
as servants, rarely appear vulgar; but once dress them up 
in their mistresses' garments and they appear so directly. 
Their style is then out of place. And so with dancing, 
a style that does not ill-assimilate with the surroundings of 
a riverside pleasure garden will, if introduced, as it too often 
is, into a Belgravian drawing-room, immediately shock one's 
sense of propriety. 

It has been said of virtue that it can "know both itself 
and vice; but vice can never know itself and virtue.' ' It 
is the same with refinement. It can know both itself and 
vulgarity; but truly vulgarity can never know both itself 
and refinement. And herein lies the immense advantage 
that a person of refined taste has over a person whose tastes 
are low. The former may be able to discern what is vulgar, 
and yet be all the while perfectly refined himself; but the 
latter cannot perceive refinement even when it is actually 
brought before him. There are people doubtless to whom 
the dance that accompanied Ta-ra-ra-boom-de-ay would 
appear finer than the most classic composition of Pecour. 



136 DANCING. 



CHAPTER XII. 

QUADRILLES, OR SET DANCES. 

For many years it has now been the custom in the higher 
grades of society to simply walk through the figures of 
quadrilles ; but in former times more or less difficult steps 
were employed by the dancers in performing them. These 
included not only the simple jette, c/iasse, assemble \ balance \ 
and changement de jambe ; but originally, expert dancers 
would frequently introduce such movements as the sissone, 
coupe dessus et dessous, and entrechat a quatre. Later on, how- 
ever, when ball-room dancing began to degenerate into a 
mere amusement, these steps were discarded, and the chasse, 
assemble, and balance only were used. Finally, the chasse 
also shared the fate of the rest, and then the pas 7narche, 
or walking step, was pressed into service, and made to do 
duty for all quadrille evolutions. 

It is doubtless owing to the elimination of all steps of a 
lively nature that the practice of square dances has come 
to be regarded as an intolerable bore by the frequenters 
of fashionable ball-rooms ; and indeed, when we come to 
consider the fact that most of the modern votaries of 
Terpsichore, if such they may fairly be called, especially 
the males, are entirely innocent of any true conception of 
gracefulness, 1 it is not a matter of wonder that they find 

1 Plato in his Laws (Book II. 2) makes the Athenian (probably 
himself) suggest that a man "properly educated would be able to dance 
well." To this proposition Clinias assents, and they afterwards add 
that he would also dance "what is beautiful." If the education of 
young men at the present time were to be estimated from their choric 
qualifications and tastes, it would, I am afraid, often appear sadly 
deficient. 



QUADRILLES, OR SET DANCES. 137 

little pleasure or profit in going through what must appear 
to them uncommonly like unsystematic drill evolutions. 

But among those who have really studied the art of 
dancing, not with the feet only, but from the waist upwards, 
a set of quadrilles or Lancers, with the orthodox pas marche 
step, may be made exceedingly pretty to onlookers and 
even enjoyable to the performers, in an aesthetic sense, for, 
of course, the exhilaration produced by rapid movement 
will not be present. 

This fact, however, need not be regarded as a drawback, 
because the waltz, with its rotary and rapid motion, affords 
a stimulus of excitement that would render an alternation of 
dances productive of milder pleasurable emotions, a positive 
boon, if people would only learn to regard dancing from a 
rational point of view. 

For this reason, if for no other, the introduction of waltz- 
ing into the figures of quadrilles is a practice very much to 
be deprecated. Surely, in all conscience, we have quite 
sufficient of the waltz in its legitimate place to justify us in 
rigorously excluding the movement from square dances. At 
the same time, we must allow a little for the temptation 
which good waltzers evidently feel to parade their pet step 
on every available occasion, especially when it happens to 
be the only one they know ; and perhaps in those circles 
where it is customary for the men to take their partners by 
the waist, and swing them round, the waltz step is, if any- 
thing, an improvement on the old style of pivoting. The 
more correct and refined way of turning is to present both 
hands to the lady, as will be hereafter explained. 

In the present work I shall only have space to give the 
figures of the quadrilles in an abbreviated form, in some 
cases merely using the 1 technical terms that express the 
various movements. The same actions of the body and 



i 3 3 DANCING. 



movements of the limbs being proper, however, to all 
modern square dances, if the pupil once thoroughly learns 
to execute these, and apply the proper names to them, he 
will have no difficulty afterwards in making out the descrip- 
tions given in this or any other book, provided of course 
that they are clearly and correctly worded. 

In the first place, before attempting to combine the different 
movements into figures, the pupil must practise each of them 
singly until he or she can execute them with some degree of 
gracefulness and precision. 

In classes where there are several pupils, most of the 
movements can be practised by them in rows. In many 
cases, if their hands are crossed and joined, as shown on 
Plate XXXIIL, it will greatly add to the effect and interest 
of the exercises, and if a few of the more advanced pupils 
are occasionally interspersed with beginners, the arrange- 
ment will help the latter to execute their steps with greater 
precision than if they work independently. The hands 
of the pupils may sometimes also be joined behind the 
waist. 

I have been frequently asked by my pupils to explain 
how it happened that such queer names as " le Pantalon " j 
and " la Poule " came to be given to the figures of the 
quadrille. 

The former term has not, as some suppose, any connec- 
tion whatever with the long-suffering old gentleman of the 
Christmas show. It has reference simply to an indispens- 
able article of wearing apparel. The first figure of the 
quadrille was originally known simply as chaine Anglatse, as 
it had long been used in the English country dances, and it 
was not until the year 1830 that it received the name of 
"Pantalon" It then came to be so-called because at that 
time the new king, Louis Philippe, by permitting breeches to 




pu 



QUADRILLES, OR SET DANCES. 139 

be worn at official balls, in place of the short culotte that 
had formerly been de rigueur, created some amusement 
among the more aristocratic attendants ; and Vincent, leader 
of the orchestra, and son of the original composer of the 
figure, thought to please the dancers by renaming it le 
Pantalon. 

The term VEti, meaning literally summer, was applied to 
the second figure, because it was composed of chassis and 
asseniblis forward and backward, such combination of steps 
being technically termed Pas tFEtL 

The name la Pottle, the fowl, was given to the third figure 
by the above-mentioned composer, because in the original 
music he had introduced an imitation of the cackle of that 
bird. There is no particular reason why all composers 
should have written the music for this figure in six-eight 
time that I am aware of, except, as suggested by M. 
Desrats (to whom I am indebted for some of the above 
facts), that they have invariably continued to follow the 
traditional form. I dare say few modern composers could 
give a more satisfactory explanation of their motive in 
choosing this measure, than that others have done so before 
them ; since, clearly, the steps and movements of the figure 
could, as they are now executed, be equally well adapted to 
music in dupal time. 

La Pastourelle, meaning the shepherd-girl, and by far the 
prettiest name, was given to the fourth figure, because 
Colinet the composer took his melodies from a romance 
entitled Gentille-Pastourelle, and the alternative fourth 
figure, la Trinise, was so called after M. Trenitz, by whom, 
or at whose desire, it was introduced. The figure formed 
originally, I believe, part of a gavotte that was danced in 
the then famous ballet of Nina. 

La Fi7tale^ or fifth figure, is danced in many ways and 



140 DANCING. 



known by many names. Originally it was called simply 
chasse-croise, because the movement thus termed was intro- 
duced, the lady crossing before her partner. On the Con- 
tine nt the figures known as la Boulangere^ la Corbeille, and 
la Saint- Simonienne^ are frequently used to terminate a 
quadrille, one or the other being substituted for the orthodox 
finale. In la Boulangere the dancers form a round, advance 
twice, and then each gentleman turns the lady standing on 
his left, and finishes by placing her on his right. Then he 
turns the next lady on his left, and so on till all the dancers 
regain their original partners. La Corbeille is a figure in 
which the ladies join hands back to back in the centre and 
turn facing the gentlemen, who form a larger ring, joining 
hands around the ladies. La Saint Simonienne is another 
figure involving a change of partners, and is so called, I 
believe, in reference to the peculiar conjugal views of St. 
Simon. Among us the orthodox fifth figure is a repetition 
of VEte^ preceded by a rond ; and Ladies' Chain is sub- 
stituted for setting to partners. But by far the most 
frequently danced^>z<2/<? is an arrangement called the " Flirt- 
ation " figure, in which, as in the French Boulangere, the 
gentlemen dance with each lady in turn. If by any chance 
there should happen to be a young reader of this work who 
does not know the precise meaning of the English term 
above used, I venture to think that he or she — especially 
she — would indeed be a rara avis. 



MOVEMENTS USED IN QUADRILLE DANCING, 141 



CHAPTER XIII. 



A DESCRIPTION OF MOVEMENTS 
AND EXPLANATION OF TECHNICAL TERMS USED IN 
QUADRILLE DANCING. 

Position of the Dancers. — Four ladies and four gentle- 
men place themselves opposite each other (vis-a-vis), so that 
they form a rectangular figure, thus : — 

First or Leading Couple. 

LADY. GTN. 

o # 



GTN. 



Third 
Couple. 



LADY. 
O " 



LADY. 



Centre of ; 

© 
Figure. ; 



Fourth 
Couple. 



GTN. 



O 
GTN. LADY. 

Second Couple. 

The distance between the couples as they stand vis-a-vis in 
their places should be from ten to twelve feet, according to 
the space allowed by the size of the room and number of 
sets to be formed. Certainly the dancers should not be 
separated by more than four yards, or they will not be able 



142 DANCING. 



to conveniently perform the various evolutions in time with 
the music. The relative positions of the couples is gener- 
ally decided by the position of the orchestra, the couple 
standing nearest to it being usually regarded as the leading 
couple. This, however, is not an invariable rule, for some- 
times it may happen that the musicians are placed out of 
sight. But when it has been decided which shall be the 
first couple, the other couples always stand in the following 
order : The second couple is that opposite the first ; the 
third couple is that to the right of the first ; and the fourth 
couple is that to the left of the first. 

Sometimes the leading and opposite couples are alluded 
to as a top and bottom couples/' and not unfrequently 
among the vulgar as "tops" and " bottoms"; but these 
terms should be carefully avoided, as they are neither 
euphonious nor correct. " Leading couples " sounds far 
better. The expression, u side couples," is literally accurate ; 
and even the single word " sides" is not objectionable. 

The gentleman, when in his own place, invariably stands 
so that the lady is on his right hand; indeed this is the 
relative position of the partners almost entirely through the 
quadrille. 

The Steps. — The steps at present employed chiefly in 
the square dances are the pas marche, of which a description 
has already been given, the balance, and the assemble, or 
bringing the feet from an open to a closed position. In 
ordinary quadrille dancing, the action of the feet need not 
be so fantastic, if I may so term it, as in the minuet ; but 
still the toes must invariably be turned downward and 
outward. 

We will concede that there may be a few occasions 
when, if the partners join right and left hands in setting 
forth, it would look better for the gentleman to begin with 



MOVEMENTS USED IN QUADRILLE DANCING. 143 

his left, and the lady with her right foot \ but on the other 
hand, there are occasions when it would look exceedingly 
awkward for the gentleman to put forward his left foot first, 
as for instance, when he advances between two ladies, or 
when lines of four, consisting of two of each sex, advance. 
Therefore, as it is clearly out of the question that we should 
expect the average drawing-room male dancer to tax his 
•mental powers so far as to consider in which movements he 
shall put his right, and in which his left foot forward ; and 
since, if he endeavoured to do so, he would be almost 
certain to get into a muddle, it is given as a generally 
accepted rule that in all circumstances and in all figures 
both the lady and gentleman, when advancing together, 
commence with the right foot. 1 In cases, however, when 
the left hands are crossed, or when the gentleman walks 
round to the left, the left foot may be advanced first. 

The Music. — All melodies used in quadrille music are 
simple in form, and invariably consist of groupings of eight 
or sixteen bars. There are never extended sections, as is 
sometimes the case in gavotte and minuet music, and 
which render the accurate keeping of time in such arrange- 
ments a somewhat difficult matter. In quadrille dancing 
there are no difficulties, so far as the music is concerned, 
each section contains an even number of measures, and two 
steps are taken in each bar. 

To Advance and Retire. — En avant et en arriere. Be standing 
in, say, the third position, with the right foot pointed in front. One : 
Step with the right foot to the fourth position, and place the weight of 

1 This is strictly correct, and in accordance with the most time- 
honoured usage. In the ancient Branle, the lady and gentleman each 
began with the same foot, vide Tabouret. In the original Minuet the 
lady and gentleman both began with the right foot. In fact, the real pas 
de menuet, occupying two bars, always begins with the right foot and 
finishes with the left, vide Rameau and contemporary writers. 



144 DANCING. 



the body on the right leg. Two: Step again to the fourth position 
with the left foot, and transfer the balance to the left leg. Three : Step 
once more forward with the right foot to the fourth position, and place 
the weight on the right leg. Four: Instead of stepping again forward 
with the left foot, as you will naturally incline to do, bring it up to the 
third position point behind the right foot, still keeping the balance 
entirely on the right leg. This completes the movement en avant. 
Now take three steps backward, beginning with the left foot, which, if 
the balance be properly sustained on the right leg, is free to move. At 
the fourth count, do not again step backward, but close the right foot to 
the third position in front, as at starting. This movement forward and 
backward occupies four measures of the music. 

Setting to Partners and Turning with Hands.— Balance 
et tour de deux mains. The gentleman and his partner turn to face 
each other. One ; Make a sliding step to the right with your right 
foot ; your partner, who also starts with the right foot, going in the 
opposite direction. Two: Close the left foot to the third position in 
front, changing the balance to the left leg. Three : Still looking 
towards your partner, make again a sliding step to the right. Four ; f 
Close the left foot again to the third position^ the toe being pointed ] 
this time, without change of balance, and in closing the feet turn 
the body a little so as to still be facing your partner. Now retrace 
your movements in precisely the same manner, stepping to the left with 
the left foot, and closing the right to the third position in front, stepping 
again to the left and once more closing the right to the third position 
without changing the balance ; which brings you to the position whence 
you started. 

The gentleman now presents both hands, with the palms upward, to 
the lady, who places her hands in his lightly, with the palms downward. 
The gentleman raises his right arm somewhat higher than the left, and 
in this position, each starting with the right foot, which is left free, they 
turn once round with seven pas marches and an assemble to the third 
position in their original places. 

Turning Partners by the Waist. — Where it is customary to 
turn partners by placing the hand to the waist — a practice be it 
understood which I do not recommend — the easiest way to execute 
the movement is to keep the weight of the body entirely sustained 
by the right leg, to use the left toe as a means of propulsion, and 
in turning to revolve simply on the ball of the right foot, drawing 






MOVEMENTS USED IN QUADRILLE DANCING. 145 

it a very little towards the left foot by a slight relaxation and sudden 
contraction of the muscles after each fresh impetus has been obtained. 
Two complete revolutions should be made in eight of these combined 
movements, occupying four bars of the music. The pivot on the sole 
of the right foot and flexion and tension of the leg, should imme- 
diately follow the propulsive action of the left toe, which should be 
slid round lightly from point to point of adhesion in describing, as 
it were, the circumference of a circle, the exact centre of revolution 
being situated between the right feet of the partners. For each of the 
eight movements count, and one, and two, and three, etc., the and 
corresponding to the propulsive action of the left toe, and the numbers 
to the action of the right foot and limb. 

There are other ways of executing these toitrs de corps. Instead of an 
open position the feet may be kept in a closed one. I have pointed 
out in a previous chapter that if the toe of one foot be placed to the heel 
of the other foot, or vice-versd, and the relative position of the feet be 
changed by turning the shoulders, a half turn will be completed. If, 
however, the changes be made in the third instead of fifth position, 
exactly a quarter turn will be the result. Therefore, if the weight of 
the body be kept entirely on the right foot, the left at each count placed 
in the third position in front and carried by the rotary movement of the 
right limb to the third behind, eight such movements will complete two 
revolutions. In executing either of these pivots the partners, by drawing 
away from each other, take advantage of the centrifugal force which 
facilitates their movements and increases the pleasurable sensation of 
turning. 

I have given instructions in turning by the waist because 
the practice is very general, and if done really well and 
quietly, is not so objectionable from an artistic point of 
view as are some of the other practices to which allusion 
has been made. I must warn the reader, however, that to 
turn with the arm to the waist is not considered " correct " 
in the most select circles, and that apart from all social 
considerations, the tour de main is decidedly preferable in 
point of elegance. 

Set and Turn at Corners. — Balance et tour a coin. This means 
simply that the gentleman sets to and turns with the lady on his left 

L 



i 4 6 DANCING. 



hand, and that the lady sets to and turns with the gentleman on her 
right. The steps and actions are precisely the same as those already 
described. The action of setting to partners or corners and turning 
always occupies eight measures of quadrille music. 

Crossing Over to Opposite Place, or, simply, Cross Over. — 
Traverse. This movement occupies four bars of the music, and is per- 
formed in eight steps. Make six pas marches in a forward direction, 
at the seventh count turn the body so as to face the centre of the figure, 
and at the eighth close the feet to the third position. 

Crossing Over in Couples. — Traverse quartre. When opposite 
couples change places, unless " leading through the centre " is specified, 
the gentlemen invariably pass the advancing ladies on the outside, 
describing an arc in crossing, while the ladies' course is rectilineal. On 
reaching the opposite place the partners in turning face inwards, so that 
they look towards each other, the gentleman turning to his right, and 
the lady to her left. 

u Lead through the Centre." — Les tiroirs. One lady and gen- 
tleman join hands and walk straight across to the opposite place. The 
opposite couple meanwhile separate, and, taking a curvilineal course, 
pass them midway on the outside. The couples turn, as heretofore 
described, to face the centre of the figure, and the lady and gentleman 
who separated, now join hands, and walk back to places between the 
couple who previously had their hands joined, and who now in their 
turn separate and pass on the outside to regain their original places. 
This movement is performed in sixteen steps, and occupies eight 
measures of the music. 

Right and Left. — Chaine Anglaise. As this figure was formerly 
executed, the dancers in crossing to opposite places gave their right 
hand to the opposite lady or gentleman in passing, and then the lefc 
hand to their partner, releasing it on turning to face the centre. In 
returning to places they again gave their right hand to the advancing 
lady or gentleman, and again the left to their partner. Hence the term 
chaine Anglaise. Now, however, it is customary for each gentleman 
simply to cross to the right of the advancing lady without actually 
]3resenting the hand. Immediately he has passed the opposite lady, he 
crosses his partner with his face towards her, he inclining to the right 
and she a little to the left. The partners turn, when they arrive at the 



MOVEMENTS USED IN QUADRILLE DANCING. 147 

opposite place, so that the gentleman's right shoulder comes towards 
the lady's left shoulder. The couples then return to their own places in 
a similar manner. When the dancers in this figure cross only to oppo- 
site places, the movement is termed half right and left, or demi chaine 
Anglaise, and occupies only four bars of the music. When done com- 
pletely, as at the commencement of the ordinary quadrille, it occupies 
eight measures and is accomplished in sixteen steps. 

Ladies' Chain. — Chaine des dames. The two opposite ladies change 
places, and in doing so present the right hand to each other, which 
they take and release in passing. On arriving at the opposite places 
the ladies place their left hand in the left hand of the gentlemen who 
are their vis-a-vis ', and with them turn once round — tour de main. The 
ladies again give right hands to each other in returning, and then join 
left hands with their own partners, and turn once round in places. 

All the gentleman has to do in this figure is to step a little forward 
as the opposite lady approaches him, presenting his left hand to take 
hers. He then turns once completely round with her, and, releasing her 
hand, steps again a little forward to meet his own partner, with whom 
he also makes a tour de main. 

This movement occupies eight measures of the music, and is com- 
pleted in sixteen. steps, both by the ladies and gentlemen. The latter, 
it will be remarked, do not apparently cover so much ground, but at 
each tour de main they make a complete revolution of eight steps, 
whereas the ladies describe a semi-circle only in turning with the hand, 
the remaining four steps being taken in crossing the figure. 

Hands Across. — Le moulinet. The gentleman gives his right hand 
to the opposite gentleman, and the lady gives hers to the opposite lady 
across the arms of the gentlemen. They then move half round to the 
left, and when arrived at the opposite place, they join their left hands 
across, and move half round to the right to regain the position whence 
they started. 

I am not aware that there is any precise rule as to whether 
the ladies' hands should be crossed above or below those of 
the gentlemen ; but as they are generally smaller and prettier, 
it were well that they should be placed in a position where 
they can be seen to the best advantage. Accordingly, if the 
arms are not raised high, the ladies' hands should, I think, 



148 DANCING. 



be crossed above those of the gentlemen. Bear in mind 
that in this figure the arms should not be rigidly extended. 

Grand Chain. — All the dancers turn to face their partners, to whom 
they give the right hand. They then make a complete tour of the 
figure, starting in opposite directions, the lady to the left and the 
gentleman to the right, giving the right and left hands alternately to 
the different dancers as they approach in turn, until the partners meet 
in the opposite place. Whereupon they stop, making a slight saluta- 
tion, and then proceed again, giving the left hand to the next lady or 
gentleman, the right to the next, and so on, till they meet once more in 
their own place. Thus, the first gentleman, for example, will give his 
right hand to his partner, immediately releasing it, and presenting his 
left hand to the lady who was standing on his right, whom he meets 
midway between his own place and that of the third couple. He then 
gives his right hand to the lady who was his vis-a-vis, who meets him 
in the place of the third couple. His left hand he now gives to the lady 
who stood originally on his left, and whom he meets midway between 
the places of the second and third couples. He now meets his own 
partner in the place that was occupied by their vis-d-vis, and giving her 
his right hand, he pauses and makes a slight salutation. Then he pro- 
ceeds in the same manner, meeting and presenting his hand to each 
lady in turn, till he is again with his partner in his own place. 

The following is an alphabetical arrangement of a few 
French and other technical terms frequently used in 
descriptions of set dances : — ■ 

Assemble. In quadrille dancing this term is employed simply to 
express the action of bringing the feet from an open to a closed posi- 
tion. The step so called, requiring two distinct movements, is explained 
elsewhere. 

A droite — a gauche. To the right— left. 

Allemande. A movement in which the gentleman turns the lady 
under his arm, or in which the arms of the dancers are otherwise 
interlaced. 

Avant deux — trois — quatre. Advance two — three — four. 

Avant general. All advance together. 

Balance [a voire dame). In quadrille dancing the term balance is 



MOVEMENTS USED IN QUADRILLE DANCING. 149 

frequently used for setting to partners, as the movement was formerly 
done with a balance step. 

Balance (quatre en ligne) — (four in a line). In this sense the term 
balance means simply to balance the body on the sole of one foot and 
rise and fall thereon, in bringing the other foot to a closed pointed 
position. Afterwards to do the same in the opposite direction. The 
balance may be done sideways, opening the feet to the second position, 
and closing to third or fifth, or it may be done forward and backward. 
In the latter case slide one foot to the fourth position, rise on the toe, 
and sink again on the sole of that foot, in bringing the rear one up to 
the third or fifth position behind ; then slide the rear foot backward, 
close the advanced one to the third or fifth position, with the toe 
lightly pointed in front, and rise and fall on the sole of the rear foot. 

Chaine Anglaise — Right and left. Already explained. 

Chaine des dames — Ladies' chain. Already explained. 

Chasse de cote. The partners cross each other sideways, the gentleman 
passing behind the lady. 

Chasse croise. Same as above. 

Chasse huit. All the dancers cross partners. 

N.B. — The above terms are frequently now used to signify crossing 
partners, without any reference to the nature of the step employed. 

Demi chaine Anglaise. Half right and left — already explained. 

Demi queue du chat. Lead round or promenade. Opposite couples 
present hands and walk round to the place vacated by their vis-a-vis, 
whom they pass on the left. That is, the couples in crossing to opposite 
places describe an arc, inclining a little to the right in starting, so that 
the advancing couple pass them on the left. This technical term is 
seldom now used in England, but is frequently found in modern French 
descriptions of square dances. 

Demi tour a quTatre. Four dancers join hands and turn half round. 

Dos-d-dos. Back to back. 

En avant quatre et en arriere. Four opposite dancers advance and 
retire. 

Grand Pro7nenade. All the couples walk or galop completely round 
the figure. 

Le Grand Rond. All the ladies and gentlemen dancing join right 
and left hands to form a circle, and thus advance and retire in four 
movements, as already described, each beginning with his or her right 
foot. 

Les Graces. A beautiful figure founded on the pas d'allemande, in 



i^o DANCING. 



which a gentleman advances between two ladies, giving his right hand 
to one and his left to the other, and taking their corresponding hands, 
or those on the further side. The ladies meanwhile give their dis- 
engaged hands to each other behind the gentleman's waist. After 
advancing and retiring together thus during eight bars, the gentleman 
stoops to pass under the ladies' arms that are joined behind him, and 
then, as he rises, he turns both ladies under his arms, saluting them as 
they courtesy in finishing the movement. This occupies four bars. 
After this the dancers join hands in a ring and move round and back 
again during four bars, returning to the position whence they started. 

Moulinet — a turnstile. Four or eight dancers give hands across and 
move round as already explained. Any turning movement in which 
the hands of opposite dancers are crossed in the form of a turnstile is 
technically called a moulinet. When danced by all the couples together, 
it is called le grand moulinet. 

Promenade. To lead round, taking partner by the hand. 

Fromenade across. See demi queue du chat. 

Rond. A circle. 

Traverse. To cross over. 

Vis-a-vis. Face to face. In quadrilles this term is used in reference 
to the dancer or dancers who stand immediately opposite and facing. 



CHAPTER XIV. 

MODERN SQUARE DANCES. 

Described in an Abbreviated Form according to the Explanations of 
Movements already given. 

Note I. — As all quadrille music is arranged on a simple plan, and 
two steps are taken to every bar (see music), in order to simplify 
matters, and avoid repetition, I will place a hyphen between each 
section of eight bars or measures. 

Note 2. — In turning partners after the balance, except in special cases, 
it is considered the best style to present both hands, as already explained. 



MODERN SQUARE DANCES. 151 



The Quadrille. 

{Generally known as the First Set.) 
First Figure. — Le Pantalon. 
First and second couples right and left (chatne Anglaise) — Set to 
partners and turn — Ladies' chain — Half promenade, returning with 
half right and left to places. Side couples repeat. 

Second Figure. — V Etc. 
First and Second couples advance and retire, then cross over to 
opposite places — Again advance and retire, and recross to places — 
Set to partners and turn. This movement is repeated by the leading 
couples, and then by the side couples. 

Third Figure. — La Poule. 
First lady and opposite gentleman cross over, touching right hands 
in passing, then they return joining left hands, and present right hands 
to their partners — Balance, four in a line, change places with the 
opposite couple (demi queue du chat) — The first lady and opposite 
gentleman advance and retire, readvance and bow — Leading couples 
advance- and retire, then half right and left to places. This is done 
four times, each lady and opposite gentleman comi7iencing in turn. 

Fourth Figure. — La Pastourelle. 
First couple advance and retire ; advance again, the gentleman 
leaving his partner with the opposite gentleman — Second gentleman 
presents his hands to both ladies and with them advances, retires, and 
readvances, leaving them with the first gentleman who retires as they 
advance — First gentleman gives his hands to both ladies, and with 
them advances, retires, and again advances ; then all four join hands to 
form a circle — All move round to the left, disengaging hands as they 
reach the opposite position; then they return half right and left to 
places — This figtire is performed four times, each couple leading in turn. 

Fifth Figure. — Finale. 
All join hands to form a circle, advance and retire, then turn partners, 
or advance again to the centre {Le g7-and rond) — First and second 
couples advance and retire, then cross over — Again advance, retire, and 
recross to places — Ladies' chain. All join hands as before, after which 
the figure is repeated by the side and leading couples alternately. 



152 DANCING. 



There are several ways of dancing the final figure of the 
quadrille, but the above is the most orthodox and courtly, 
so to speak ; the most usual and merriest way of dancing it, 
however, is as follows : — 

The u Flirtation " Figure. 

All the dancers join hands, advance and retire in a circle, and then 
turn partners — The four ladies advance to the centre with a slight 
salutation, and retire ; then the four gentlemen advance, turn to the 
corner ladies and bow — All set to corners and turn — Gentlemen 
promenade round the figure with the corner ladies, and stop in their 
own places. This is done four tunes, which brings all the dancers to 
their 07'iginal pa7'tners, and the ladies to their own places. The figure 
finishes with circle and turn partners. 

Note. — Eight bars of the music are played as a prelude to each 
figure. 

The Quadrille is frequently danced without side couples, 
the dancers standing in two rows facing. In this form the 
dance takes only half the time, and the music is played 
accordingly. When thus danced it is called Le Quadrille 
Parisien^ or Parisian Quadrille. 



The Lancers. 

First Figure. — La Rose. 

First lady and opposite gentleman advance to the centre, step back- 
ward, closing the right foot to the third position in front, step again 
forward, closing the left foot to third behind ; then turn with both hands 
commencing with the left foot, and retire to places (see note) — First 
couple lead through the centre, the second couple passing them on the 
outside ; then the second couple, in returning, lead through the centre, 
while the first couple pass on the outside — All set to corners and turn. 
This figure is done four times, each lady and opposite gentleman leading 
in turn. 

Second Figure. — La Ladoiska. 

First couple advance and retire with hands joined, and again advance, 
the gentleman leaving the lady in the centre facing him — They set 






MODERN SQUARE DANCES. 153 

and turn to places — Side couples separate and join hands with leading 
couples ; they thus advance and retire in two straight lines and then 
turn with partners to places. Each couple leads fonvard in turn. 

Third Figure. — La Dorset. 
Ladies all advance and retire, then the gentlemen advance and join 
hands in a ring, the ladies placing their hands lightly on the gentlemen's 
arms — All move round thus to the left, the dancers breaking off as they 
reach their own places — The four gentlemen advance and retire ; 
advance again to the centre, and, bowing to the ladies, give their left 
hands across to each other — The gentlemen give their disengaged hands 
to their partners, and thus all move round to places. This figure is 
performed twice. (See also note. ) 

Fourth Figure. — VEtoile. 

Leading couples, with hands joined, advance turning "to face the 
couple on the right, bow, and cross over to visit the opposite couple 
passing vis-a-vis couple on the left — All chasse croise, balance, and turn 
partners to places — Leading couples right and left. 

This figure is repeated by the same couples, who now visit first the 
couple on their left. Afterwards the whole figure is repeated by the side 
couples. 

Sometimes in the above figure the couples, instead of turning to places 
again, chasse croisi and lead back. 

N.B. — The fourth figure of the Lancers is now more frequently per- 
formed as follows : — 

Leading couples advance to visit the couple on the right, then cross 
over to visit the opposite couple, passing vis-a-vis couple on the left — 
Leading couples then perform demi moulinet, with side couples giving 
across first their right and then their left hands — Form two circles of 
four, and move round thus, breaking off in places. 1 

This figure is repeated by the same couples, who the second time visit 
first the couple on their left, and pass vis-a-vis couple on the right. The 
whole figure is then repeated by the side couples. 

Fifth Figure. — Les Landers. 
Grand chain ; give right and left hands alternately, and pause with 
slight salutation on meeting partner in opposite place — Continue grand 

1 Or half round in one direction and then half round in the contrary direction, 
breaking off in places (see note). 



154 DANCING. 



chain to places — Leading couple promenade round inside the figure, 
and then stand in their own places with their backs turned towards the 
centre, the third and fourth couples falling in behind them to form two 
lines — All chasse croise and balance forward, again chasse croise and 
balance — Ladies lead round to the right, gentlemen to the left, and the 
partners meeting, join hands and lead up the centre — All form two 
lines, each gentleman facing his partner, advance and retire thus with 
hands joined, and then turn partners to places — Grand chain. 

This figure is pe7 formed four times , each couple leading round in turn. 
Finish with grand chain. 



The Caledonians. 

First Figure. 

Leading couples give right hands across and pass half round, then 
give left hands and return to places — Set to partners and turn — 'Ladies' 
chain — Half promenade ; half right and left. This is repeated by the 
side couples. 

Second Figure. 

First gentleman advance and retire alone twice — All set to corners 
and turn, each lady changing places with the lady on her right — All 
promenade once round. Each gentleman commences in turn, and after 
the fourth has advanced, the ladies zvill regain their original partners 
and places. 

Third Figure. 

First lady and opposite gentleman advance to the centre, retire one 
step with balance, again step forward with balance, give both hands, 
turn once round, and retire to places 3 — First couple lead through the 
centre with hands joined, and the second couple lead through in 
returning — All set at corners and turn — All the couples join hands to 
form a circle, advance, retire, and turn partners. This figure is per- 
formed four times, each lady and opposite gentleman leading in turn. 

Fourth Figure. 

First lady and opposite gentleman advance to the centre and stop ; 

their partners do likewise, and the gentlemen turn the ladies to places — 

The four ladies move round to the right, each into the next lady's 

place, and stop ; then the four gentlemen move round to the left, each 

1 See Note i on the Lancers. 



MODERN SQUARE DANCES. 155 

into the next gentleman's place, and stop. The ladies repeat this 
movement to the right, and the gentlemen to the left, the partners 
meeting in opposite places — All the couples promenade round to places 
and turn partners. This is done four times, each lady advancing to 
7}ieet the opposite gentleman in turn. 

Fifth Figure. 
First couple promenade round the figure — The four ladies advance 
to the centre and retire with a slight salutation ; then the four gentlemen 
advance, and, turning round to face their partners, bow — All set to 
partners and turn — Grand chain half round — Promenade to places — 
Chassez croissez, each gentleman turning with the corner lady who was 
on his right hand — All return to places and turn partners. This figure 
is performed four times, finishing with a grand p7 f omenade by all the 
couples. 

The Valse Cotillon. 

This dance is performed by four couples, who stand as 
in an ordinary quadrille. The figure is as follows : — 

After the usual salutations the first couple waltz round the figure. 
Leading ladies change places, then their partners — Side ladies change 
places, then the side gentlemen — Leading couples waltz across to their 
own places, bearing to the right so as to avoid coming into collision as 
they pass each other — Side couples waltz to places — Waltz chain ; 
that is, the gentlemen present their right hand to their partners and 
turn them under their arm ; they then turn the next lady in a similar 
manner, then the next till they again meet their partners in the opposite 
place — They continue the waltz chain till they reach their own places — 
The couples all promenade once round, marching in waltz time with a 
step to each bar — All waltz once round and finish in places. This 
figure is done four times, each couple waltzing round at the commence- 
ment in turn, and when the side couples lead, the side ladies are the first 
to cross over. The dance usually finishes with a short general zualtz. 



The American or Diagonal Lancers. 

The figures of this dance are more animated than those 
of the ordinary Lancers, as all the dancers are moving at 



156 DANCING. 



the same time. In a description kindly sent to me by Mr. 
Woodworth Masters, it says, " Commence each number 
except the fifth by addressing partners, then joining hands 
with partners, address the centre." With us, however, it is 
usual to bow to partners, and to the opposite couple only 
in commencing the first figure of a square dance. 

First Figure. 
Leading couples turn partly round to the right, while the side couples 
turn partly round to the left, so as to face them. All advance together, 
retire one step with balance, advance again, turn vis-a-vis with both 
hands, and return to places — Leading couples join hands and cross 
between side couples to their places, and, in returning, side couples 
join hands while the leading couples pass on the outside — All set to 
corners and turn. In repeating, the side couples turn to the right, so that 
each couple has a different vis-a-vis. 

Second Figure. 
All the dancers join hands, advance, and retire in a ring, then the 
gentlemen turn their partners with both hands, and place them dos-a- 
dos in the centre — "All cross to the right and left" (set) and turn 
partners — Promenade half round and turn partners with both hands in 
the opposite place. A repetition of this figure brings all the couples to 
their original places. 

Third Figure. 
All join hands and advance, and retire in a circle ; again advance, 
bow, and retire to places — The four ladies perform the grand chain in 
the centre, giving right and left hands alternately to each other, in 
passing round till they come again to their partners. This figure is 
repeated. 

Fotirth Figure. 

First and opposite gentlemen simultaneously advance with their 
partners to the couple on their right, and bow ; then the leading 
gentlemen exchange ladies with the side gentlemen (presenting the 
right hand while the ladies give the left) — The leading gentlemen 
cross over with the side gentlemen's partners to the opposite side, and 
again exchange ladies, so that each gentleman has now the lady who 
was originally opposite to him. They now retire to places and bow to 



MODERN SQUARE DANCES. 157 

the couple opposite — Leading couples right and left with corner couples 
on the right. This movement is now repeated, the side couples leading 
to the right, and, as the ladies are again twice exchanged, they will at 
the finish have all regained their original partners and places. 

Fifth Figure. 

This may be danced the same as the fifth figure of the ordinary 
Lancers already described, commencing with the grand chain ; but in 
place of the last chain which finishes the figure, the following Finale 
should be introduced to occupy the last sixteen bars : — 

All set to corners and turn with both hands — Join hands in a circle, 
advance, retire, again advance and bow, drawing backward and 
releasing hands. 

Notes on the Lancers. 

Note i. — The first movement of the Lancers is generally 
described in modern ball-room guides as follows: " First 
lady and opposite gentleman advance and retire, again 
advance, turn with both hands, and retire to places. " Once, 
if I remember aright, I described it so myself, and certainly 
it has hitherto been invariably taught in this way. But if 
one considers the matter carefully, he will discover that 
there is clearly something incorrect about such a manner of 
performing the figure, since only eight bars of music are 
allowed, and it is absolutely impossible to perform the above 
movements properly in the allotted time. That to advance 
and retire occupies four bars, and takes eight distinct move- 
ments of the feet, all writers are unanimously agreed. Well 
then, having got so far, we have only four bars left to 
advance again, turn round with opposite dancer ', and get back 
to our place. It can't be done, unless expedients are employed, 
such as leaving out movements or hurrying through them. 
If any reader thinks it can, and will show me how, strictly 
obeying the rules by which the movements are constructed, I 
shall be very glad to learn from him. If, however, he will 
take the trouble to go through the movement as I have 



i S3 DANCING. 



described it, he will find that every step can be taken in 
exact coincidence with the musical beats. Thus, one, two, 
three, four to advance and close the foot behind \ five, six, 
to step back and close the feet ; seven, eight to step forward 
again and balance ; one, two, three, four to turn round with 
hands joined, beginning with the left foot, and five, six, 
seven, eight to get back to place, close the right foot in 
front, and present hand to partner. It may be urged that 
in advancing the second time the rear foot need not be 
drawn up behind. Admit this, and we shall find that only 
one count has been gained. I do not suppose that any one 
will venture the suggestion that the assemble at the finish of 
the movement might also be omitted — at least not any one 
who understands dancing. Originally the instructions were 
to advance, balance to opposite dancer, turn once round, and 
retire to place. This, of course, could be done in exact 
time with the music. I have here suggested a step forward 
and backward, because we do not now set witli a single 
balance to either side. 

Note 2. — To those dancers who are fond of imitating 
the inartistic and vulgar innovations that are sometimes 
introduced in the various figures of the Lancers, I would 
particularly commend the words of the wise Bacon, who 
says : " As the births of living creatures at first are ill-shapen, 
so are all innovations, which are the births of time; yet 
notwithstanding, as those that first bring honour into their 
family are commonly more worthy than most that succeed, 
so the first precedent (if it be good) is seldom attained 
by imitation ; for ill to man's nature, as it stands perverted, 
hath a natural motion strongest in continuance, but good as 
a forced motion strongest at first." 1 I do not for a moment 

1 Of Innovations : Bacon's Essays. 



MODERN SQUARE DANCES. 159 

suppose that the author of the above passage had any idea 
of dancing in his head when he wrote it ; although even in his 
time, objectionable innovations were frequently introduced 
into the Branles and Gaillardes. But the passage contains 
a statement which, although directly opposed to the principles 
of evolution, does certainly appear to hold good in most 
circumstances. Thus the modern fourth figure, as it was 
danced originally, and as it is always taught by the best 
teachers, was perhaps an improvement on the chasse croise 
figure, but the further innovation of putting both hands 
across in place of the graceful rond, spoilt it altogether. It 
is not so much to the fact of joining both arms across that 
exception may be taken, as to the way in which they are put 
across. If, for instance, the hands were joined, as shown in 
Plate XXXVIII., it would be quite in accordance with the 
rules of art ; but the arms are generally stretched across one 
immediately above the other, and the sparrow-like jumping 
around in little undignified jerks, that generally accompanies 
the movement, is very objectionable. How much better it 
would be to " leave well alone/' and when a decent figure 
is once introduced, not to spoil it by further senseless 
innovations. 

I need scarcely, I trust, advise my readers not to fall into 
that exceedingly vulgar practice of turning backwards in 
the third figure. It is neither agreeable nor artistic ; it is 
simply idiotic, as no possible advantage can be gained by 
going round the wrong way. I wish we possessed a little 
of that common-sense conservatism that characterized the 
manners of the Dorians, who uniformly set their faces 
against all novelties that were not shown to be decided 
improvements. 1 Innovations were not introduced into the 
Spartan dancing and music, which were inseparable arts, by 
1 Muller's History of the Doric Race. 



l6o DANCING. 



any Tom, Dick, or Harry (or their Hellenic equivalents) 
who happened to have a taste for the outrL It was not 
until Terpander had four times carried off the prize in the 
Pythian games, and had tranquillized the tumult and disorder 
of the city by the power of his music, that he succeeded in 
obtaining permission to introduce his new invention of the 
seven-stringed lyre; and it could only have been some 
dancer of acknowledged reputation and skill who would 
have been able to introduce a new figure in the Gymno- 
pcedica. Plato was of opinion that a young man who 
moved in any dance contrary to the rules, deserved to 
be not only dismissed from the choir, but chastised into 
the bargain. 1 

With regard to style in square dancing, the reader need 
not rely only on the ipse dixit of the present writer that the 
manner of performing the figures here advocated is con- 
sidered the best. Before describing them I requested some 
of the best teachers in London and elsewhere, and those 
who are credited with having the most aristocratic connec- 
tions, to briefly set forth the manner in which they were 
accustomed to instruct their pupils to dance those figures 
about which there was likely to be any disagreement of 
opinion, and also to let me know if there were any practices 
to which they were particularly averse. 

The result was exactly as I anticipated. All who wrote 
were unanimous in deprecating the practice of waltzing in 
the figures. Not one of them permitted it. All advocate 
simply walking and balance steps in the Quadrilles and 
Lancers. 

All teach their pupils to join hands in a circle in the 
more modern fourth figure of the Lancers instead of putting 



1 Vide Laws, Book VII. 9. 



MODERN SQUARE DANCES. 161 

them both across. That practice has not found a champion; 
but I should mention that one lady significantly adds, " It 
depends on the pupils." Another teacher says he makes 
his pupils go round the first time in a half circle to the left 
and then to the right ; but when they visit first the couple 
on the left, he teaches them to circle round first to the 
right, then to the left. He observes that in turning this 
way they finish so much better in places. One lady says, 
"I much prefer the old fourth figure, and the old stately 
way of dancing is much the nicest." Yet she is quite young 
herself. I mention this fact because some might from her 
remark suppose otherwise. She simply has good taste and 
refined notions of dancing. Other teachers kindly replied to 
my questions without expressing any opinions of their own ; 
but the questions have all been answered precisely as I 
imagined they w r ould be answered. Of course, if I had 
written to a dozen second-rate teachers, the replies might 
have been different ; but then they would have carried no 
weight. I only wished to know if the views held by a few 
really first-class teachers, on society dancing, coincided with 
my own. But if their opinions had been diametrically 
opposed to those here advanced, I should all the same have 
given them expression in what I conceive to be justice to 
the reader. 

Before finally quitting the subject of square dances, I am 
tempted to relate that I once came across a statement to 
the effect that the figures of the Lancers were originally 
founded on a dance said to have been performed ages ago 
by the primeval Britons, at festivals held in honour of their 
leaders. The dance must have been of a Pyrrhic nature, 
for those who took part in it were armed with lances (hence, 
I suppose, the name), and with them made various move- 
ments to the four cardinal points. Unfortunately I am 

M 



1 62 DANCING. 



unable to give the name of the writer who originated this 
ingenious hypothesis, as the article in which it appeared was 
not signed. There may be something in it, but to me it 
seems a matter of the merest conjecture. 



CHAPTER XV. 

THE CORRECT POSITION OF PARTNERS IN ROUND DANCES. 

Before proceeding to describe the few round dances that 
are at present in vogue, it may be as well to briefly explain 
the correct position in which the partners should place them- 
selves. I have already in a previous chapter alluded to 
various errors of style that should be avoided, and indicated 
the position that is considered the best ; but I will now be 
more explicit. 

First, the gentleman should offer his right arm to his 
partner, and lead her to that part of the room where he 
intends to begin dancing. As he stops, he raises his left 
hand, which he presents to the lady, gracefully, but without 
the least affectation, palm upwards, with the wrist bent 
slightly inwards, according to the rules (see Axiom VII.). 
The lady meanwhile also raises her hand and places it lightly 
in the gentleman's with the palm turned downward, and her 
wrist also must be slightly bent. This is the only true posi- 
tion of the hands in which unsightly angles can be avoided, 
and any teachers who instruct differently must be ignorant 
of the first principles of their art. Correct positions of the 




Plate XXXIV. 



Good Position. 



POSITION OF PARTNERS IN ROUND DANCES, 163 

joined hands are shown in Plates XXVI. and XXXIV. 
The position of the hands in Plate XXVIII. is very bad. 
In Plate XII. the raised hands are well placed. 

As the gentleman prepares to take the right hand of the 
lady, she removes her left from his arm, and places it lightly 
just beneath his shoulder, while he places his right hand 
against her waist firmly, but of course without undue pressure. 
The fingers must on no account be spread out, as on Plate 
XXVII., such a position of the hand being exceedingly 
vulgar. The fingers should be kept together, and not bent 
inward so that they dig into and hurt the lady's waist. They 
should only be just rounded sufficiently to take the slight 
curve of her figure, as shown in Plate XXXI. 

The position of the lady's left hand beneath her partner's 
right shoulder should, as I have already pointed out, be 
regulated by their relative height. It appears somewhat 
higher than it should in the last-mentioned plate, perhaps 
owing to the foreshortening in the photograph ; but it will 
be noticed that the arms are nicely rounded. If her partner 
were much taller than she, it would be more convenient for 
her to place the hand lower ; but it should never be placed 
lower than midway between the shoulder and elbow, and 
the fingers should always curve inwards. The arm position 
shown in Plate XXXII. is particularly to be avoided. 

The heads of the partners should on no account be kept 
rigidly fixed in one position (Axiom V.). Generally, how- 
ever, each should look over the other's right shoulder, as in 
Plate XXXIV. 

In rapid rotary movements the backs of the partners 
should curve a little outward, becoming slightly convex, and 
they should also draw away from each other, as in Plate 
XXVI. By doing this they take advantage of the centri- 
fugal force. The opposite false position, in which the backs 



1 64 DANCING. 



of the dancers become concave, as in Plate XXX., should be 
avoided like poison, as it is one of the most hideous conceiv- 
able, and directly opposed to all true principles, whether of 
science or art. 



CHAPTER XVI. 
MODERN ROUND DANCES. 

polka — schottische barn dance polka-mazurka — 

chorolistha highland schottische galop. 

The Polka. 

I do not purpose, in this chapter, to enter into minute 
particulars of the origin and progress of the various dances 
to be described. It matters little whether the polka was, as 
some say, the invention of a Bohemian nobleman, or as 
others aver, of a Polish peasant girl. Most probably neither 
statement is correct. 1 Cellarius, writing shortly after its 
introduction, refers to the polka as " one of the most ancient 
and yet the most popular of dances " ; and doubtless it was 
known to and danced by the people of Hungary and Poland 
in some form ages before it reached the salons of Paris. 
One thing is certain, and that is that the polka, as we now 
perform it, is a very different kind of dance from that which 
"fit tourner toutes les tetes et lever tons les fiieds " about the 
year 1844. Figures were then executed by the couples. 
After leading out the lady by the hand, the gentleman turned 
alternately towards and away from her. Sometimes, after 

1 Explanations concerning the originals of modern dances may 
generally ba taken cum grano salis. 



MODERN ROUND DANCES. 165 

so many steps made in turning, the partners separated and 
again approached, with their hands on their hips, and some- 
times they passed beneath each other's arms. They also 
not unfrequently performed characteristic Bohemian heel- 
steps ; but it was not long before people came to regard 
all these accessories as superfluous, and finally they were 
discarded. 

The music of the polka is written in duple time of four 
beats to a bar — supposing a beat to a quaver. The rhythm 
of the dance appears to be the most simple and natural of 
all rhythms. Of this fact you may easily convince yourself 
by listening to the pedal accompaniment which theatrical 
deities make to their cat-calls, whenever there happens to be 
any unwonted delay in raising the curtain. The time of this 
accompaniment is always as regularly marked as if it were 
directed by the conductor's baton. It is one, two, three, 
and a one, two, three continually until the curtain goes up, 
and then all is quiet. 

Now when people are sitting comfortably — or perhaps in 
this case it would be more accurate to say uncomfortably 
— on their seats, the impulse which causes the feet to move 
comes directly and solely from the brain, and consequently 
they experience no difficulty in sustaining the rhythm, and 
making the requisite pause at the fourth count. But in 
actual dancing the movements of the feet are, as I have 
pointed out in explaining Axiom I., greatly influenced by 
the position and action of the trunk, and it frequently 
happens that the effects of inertia experienced in the sudden 
pull up, as it were, at the third step, causes the centre of 
gravity of the body to fall without the area of the supporting 
foot, and so the pupil feels constrained to put the raised 
foot down before the proper time, in order to retain his 
balance. 



166 DANCING. 



We see, then, how very important it is in this, as indeed 
in all dances, that the pupil's attention should be directed 
to the true position and action of the upper part of his 
body. The teaching of dancing that is confined to the 
position and action of the lower limbs is indeed teaching of 
a most perfunctory kind. 

Lightness in dancing the polka is acquired by proper 
flexion of the joints in rising from and falling again on to 
the toes, whenever the foot leaves the floor. For further 
information on this point the reader should refer back to 
the observations on leaping movements. 

The music of a well-written polka frequently begins with 
a short note on the fourth beat of the bar. But even if 
this note be not present, the interval is occupied by the 
movement technically known as temps leve, or a rising on 
the foot preparatory to making a step. 

To learn the steps of the polka — assuming that you are 
trying to do so from this book — in the first place, look well 
at the accompanying illustration, Plate XXXV. In this it 
will be noticed that the figures are numbered as the Jews 
write their books, beginning at the wrong end, since in this 
case it is better to look downward from the top. Holding 
it thus before you, proceed according to the following 
instructions, taking the steps sideways to the right. 

Commence by rising on the toe of the left foot and draw up the right 
just behind it as in Fig. I. For this movement simply count and 

One : Slide the right foot to the second position, transferring the 
balance of the body to the right leg in finishing the slide, as in Fig. 2. 

• Two : Bring the left foot with a slight spring to the place occupied by 
the right, as in Fig. 3, simultaneously raising the right foot, not necessarily 
so high as in the illustration. 

Three : Pat the right foot down, throwing the weight and balance of 
the body boldly on to it, and as you fall on the right foot, raise the left 
from the ground, as shown in Fig. 4. 



MODERN ROUND DANCES. 167 

Four: Pause an instant, while you mentally count four, with the 
balance fairly sustained on the right leg, then, counting and, as before, 
rise with a springing movement on the right toe, bringing the left behind, 
as in Fig. 5, preparatory to recommencing the steps with the left foot in 
the opposite direction. 

Technically the steps of the polka are as follows : — The 
initial rise is a temps kve, the first step a pas g/isse, the 
second a coupe-jette (since it combines in a measure the 
characteristics of both movements), the third step is un- 
mistakably a jette non rapproche, and the fourth movement 
is, like the first, a temps levi, which properly belongs to the 
next series of steps. 

These movements may be made in a forward or back- 
ward direction, in a similar manner. In going forward the 
second step becomes a coupe dessous, and in going backward 
it is a coupe dessus. 

When the steps are taken in a rotary direction, the body 
should turn more particularly during each temps leve or rising 
movement. 

When turning to the right — the ordinary direction — keep 
the right knee and foot very much turned out — more so 
than the left, and in reversing be careful that the contrary 
relative position of the feet is observed. 

N.B. — In the polka, as in all round dances, the gentleman 
begins with his left and the lady with her right foot. This 
must be remembered in actual dancing \ but it matters little 
in which direction the steps are learnt. 

It has always been considered perfectly correct to dance 
the polka in any direction, that is, either forward or back- 
ward, or in turning to the right or left ; but the pupil must 
be particularly careful that his changes of rotation are not 
effected to the inconvenience of other dancers, and he 



1 68 DANCING. 



should never direct the lady backward if she happens to 
wear a long dress. 

The Schottische. 

Although the Schottische is very seldom danced now in 
its original form, it may be as well to briefly explain the 
movement before proceeding to describe the Military and 
Highland Schottisches. 

The dance consists of two distinct parts, one being 
rectilineal and the other rotary. The first part may appear 
to bear a certain resemblance to the polka ; but there is a 
considerable difference in the nature of the movements 
when they are properly executed. 

To begin with, there is no initial te?nps leve, since the 
music generally commences on the first note of the bar. 
The measure of the dance is distinctly trochaic, that is, it 
consists of an accented and unaccented note or syllable 
alternately, as if, in reading, one said — 

" Art is long and Time is fleet ing." 

The third step should not be staccato — to borrow a 
musical term — as in the polka, nor is the third count 
generally so strongly marked in the melody. Again, the 
fourth step of the Schottische, ox pas saute, is not connected 
with the movements of the following bar, but belongs solely 
to the bar in which it is included. The difference between 
the rhythm of a Polka and a Schottische will become 
apparent when I point out that in the former the move- 
ments maybe thus divided : 4,1,2,3 — 4,1,2,3, as if one said, 
" A farm-yard here, a farm-yard there," while in the latter 
they begin and end with the bar thus : 1,2,3,4 — 1,2,3,4. 

The steps, let us say, for the gentleman, are as follows, 



MODERN ROUND DANCES. 163 

taken sideways to the left : — Starting with the feet in a close 
position, the weight of the body falling on the right leg : — 

One : Slide the left foot to the second position, and in finishing the 
slide, balance the body thereon. 

Two : Bring the right foot to the place of the left, falling upon it 
with a slight springing movement, and in doing so raise the left pointed 
downward in the second position. 

Three: Fall softly on the left foot, bending the knee, and at the same 
time bring the right foot to the third position behind, the toe just raised 
from the ground. 

Four : Pause an instant, preparing to spring, and then hop very softly 
on the left foot, being specially careful to let the toe be the last part of 
the foot to leave the ground and the first to reach it on alighting. (See 
observations on leaping movements.) 

These four steps should now be repeated in the opposite direction, 
finishing with the weight of the body resting on the right leg after the 
hop thereon. This completes two bars of the music. 

For the circular part, consisting also of two bars, proceed thus : — 

One : Place the left foot on the ground, and bend the knee preparatory 
to making a spring. 

Two: Hop lightly and gently on the sole of the left foot, and in 
doing so turn the body half round, so that you alight facing the 
opposite direction. 

Three : Put the right foot quietly down with transfer of balance to 
the right leg, and flexion of the knee. 

Four : Hop gently on the sole of the right foot, turning again half 
round, so that this time you face the direction whence you started. 

These two steps and hops are now repeated, turning once more round, 
and finishing with the balance of the body sustained on the right leg, 
as in starting, so that you are ready to recommence the rectilineal 
movement with the left foot. 

Technically the first step of the Schottische is a pas gh'sse, 
the second a coupe, the third a jette (done very quietly), 
and the fourth 2, pas saute. The turning steps are composed 
of alternate jettis and pas sautes. 

It is quite usual to waltz the rotary part of the Schottische, 
making a complete turn of six steps in each bar. This is 



170 DANCING. 



accomplished by counting one and two, three and four, the 
second and fifth waltz steps being taken lightly and rapidly 
to the ands. 

The Barn Dance, or Military Schottische. 

This dance, which suddenly became so popular in Eng- 
land under various names, is of American origin. It was at 
first frequently, but very incorrectly, spoken of as the Society 
Pas de Quatre, since it was found to go well to the music 
written for the dance called Pas de Quatre in the burlesque 
of " Faust Up to Date." For a similar reason it is known as 
the Barn Dance, because it was, across the Atlantic, per- 
formed to a tune called " Dancing in the Barn." The 
Military Schottische is, however, by far the most appropriate 
and characteristic title for the dance, and is the name by 
which it is perhaps, even now, best known in America. 
The Military Schottische or Barn Dance was known to and 
danced by the Americans long before it became generally 
popular over here ; and it appears that certain enterprising 
individuals, finding that the movement was beginning to gain 
favour, adopted it as the offspring of their own fancy, and 
tried to pass it off as such, under a new name. But that 
kind of thing, although undoubtedly smart, is hardly com- 
mendable. I myself knew the movement at least seven 
years before it began to become popular, having received a 
copy of the original music, with descriptions of the steps and 
figure, from the National Association of American Teachers, 
of which body I was elected an honorary member. But if 
I had added fifty new figures it would have given me no 
right to claim the dance as my own. As it happens, the 
original figure is the only one ever danced in society. There 
maybe nothing particularly novel about it; but such as it 
is, palmam qui meruit ferat ; to an American belongs the 



MODERN ROUND DANCES. 171 

invention, and no English teacher has any right whatever to 
claim it as his. 

This schottische, like the one just described, consists of 
two distinct parts, each occupying two bars. The first part 
is rectilineal, the steps being taken in a continuous forward 
direction without retrogressive movement, as in the original 
schottische; but the steps and position of the dancers in 
the second or rotary part are precisely the same. It will be 
seen, then, that the chief novelty in the dance consists in 
substituting a progressive movement, taken directly en face, 
for a lateral movement in facing one's partner. The 
following is, I trust, a clear description of the dance : — 

Position of Partners. — The gentleman and his partner 
stand side by side, the gentleman with his left foot in front, 
ready to begin, and the lady with her right foot in front, say 
each in the third position. The gentleman in this part may 
either take the lady's left hand in his right, or he may keep 
his hand throughout lightly against the lady's waist. The 
latter is the original and consequently more correct method, 
and it has the advantage of being easier ; since, unless the 
dancers are very expert, some difficulty is generally experi- 
enced in getting into the proper position in time for execut- 
ing the rotary part, and this causes a scuffling appearance 
not altogether dignified. Those dancers, however, who 
care for effect, and like to display their ability, may advance 
with their right and left hands joined as shown in the 
frontispiece, or they may join their hands low, as when 
advancing in a quadrille. They must, however, on no 
account let their arms fall into such a position that they 
form the letter W, since to do this is against the rules of 
dancing, and of gracefulness (see Axiom XII.). On th& 
whole, it is far better to keep the arm to the waist and 
avoid separating widely from one's partner. In executing 



172 DANCING. 



the first part of the dance, both dancers should have their 
faces turned towards the direction in which they are moving, 
but of course they need not be in any fixed position. 

The steps for the gentleman are as follows : — 

One : Slide the left foot to fourth position, or a little in front, and 
transfer the balance to the left leg. 

Tiuo : Bring the right foot up to the place of the left, throwing the 
balance of the body on the right leg, and simultaneously raising the left 
foot a little in front. 

Three : Spring forward on to the sole of the left foot, raising the 
right foot behind, and bend the knee in preparation for the next 
movement. 

Four: Make a little hop on the sole of the left foot, and in doing so 
extend the right limb in front, pointing the toe downward towards your 
partner's toe in the fourth position, raised. 

The following are the second four steps for the gentleman, and first 
four for the lady : — ■ 

One : Slide the right foot a little forward to the fourth position, 
balancing thereon in finishing the step. 

Two : Bring the left foot up behind the right, throwing the weight of 
the body on to the left leg, and in doing so, raise the right foot a little 
in front. 

Three : Spring forward on to the sole of the right foot, raising the left 
behind, and make a slight flexion of the limb in preparation for the next 
movement. 

Four: Hop softly on the sole of the right foot, and in doing so 
extend the left leg in front, being careful that the toe points downward 
in \he fotwth raised position? 

The first four steps for the gentleman form the second 
four for the lady. In other words, each repeats the move- 
ment with the opposite foot; but this time — that is, the 
second time — the toes of the extended limbs instead of 
pointing towards each other, will be pointed in the opposite 
or outward direction. 

1 The forward step of the Barn Dance is similar to the ceum-siicbhail 
of the Scotch Reel. 



MODERN ROUND DANCES. 



I may suggest that if the fourth step or hop in which the 
free limb is extended be taken as a simple pas de zephir 
without beatings, it will greatly enhance the effect of the 
movement. To perform this, let the toe of the raised foot 
lightly touch the floor as it passes the supporting leg on 
which the hop is made, and pay particular attention to the 
fact that as it is again raised in front it must point downward 
and outward, like that of the little girl in Plate XI. 

Rotary movement : The turning movement in the military schottische 
is precisely the same as in the ordinary schottische already described, 
and consists of four steps and four hops, taken alternately, making a half 
turn in executing each of the hops. In the circular part of the dance, 
the gentleman takes his partner by the waist as in ordinary round 
dancing, and each looks over the other's right shoulder. The rotary 
movement is frequently waltzed. 

Technically, the forward movement of the Military Schot- 
tische or Barn Dance, may, I think, be said to consist of a 
demi glisse, pas* coupe, jette nan rapproche, and pas tendu or 
pas de zephir. These steps, however, must not be taken in 
nearly so pronounced or showy a manner as if executed in 
solo or theatrical dancing. 

The Highland Schottische. 

This dance, which was originally known by the name of 
Balmoral Schottische, is one which, although not nearly so 
fashionable as it was some years since, will always be liked 
by people who may be said to have the true spirit of dancing 
in them, because it is perhaps the only dance for couples 
which admits of genuine display of Terpsichorean dexterity, 
and in which such display is considered perfectly good form 
in the ball-room. 

Scotch music is naturally the music most suitable for the 



174 DANCING. 



Highland Schottische. The tunes used for reels and strath- 
speys are divided into two parts, each consisting of four 
bars. This schottische, like the others already described, is 
composed of a rectilineal and a rotary movement, which are 
in this case, alternated at each succeeding section of four 
bars ; so that it takes twice as long as in the ordinary schot- 
tische to complete the figure of the dance, which requires 
eight bars of music, and thirty-two distinct actions of the 
feet. 

The dance in its simplest form, adapted to the drawing- 
room, may be described as follows : — 

Position of the Partners. — The lady and gentleman in 
commencing stand opposite each other with their left arms 
raised high above the head, and their right arms akimbo, 
the back of the hand resting lightly on the hip. Each 
begins with his or her right foot. The position of the arms 
is shown in Plate XXL, Fig. 3, but the wrist of the raised 
hand should be a little more bent, as in Plate V. 

One : Starting from say the third position, spring upward a little and 
alight with the right foot pointed downward in the second or open 
position to the side, the toe barely touching the floor. For this count 
and one. 

Two : Bring the right foot back to the third position, the movement 
being accompanied by a little hop on the supporting leg. Count 
and two. 

Three : Again point the right foot in the second position, exactly as 
before. Count and three. 

Four : Again bring the right foot back to the third position, with a 
little hop on the left leg. Count, and four. 

Five : Slide the right foot to the second position, and in finishing the 
slide, let the balance of the body fall thereon. 

Six : Bring the left foot to the place of the right, falling upon it with 
a springing movement, and in doing so raise the right foot with the toe 
pointed downward in the second position. 

Seven ; Fall lightly on the right foot, bending the knee, and in doing 



MODERN ROUND DANCES. 175 

so bring the left foot to the third position behind, the toe being just 
raised from the ground. 

Eight; Hop on the right leg, falling lightly on the toe. 

It will be observed that these last four steps are precisely 
the same as the first four of the original schottische. 

Meanwhile the partners, each starting with the right foot, 
have gone in opposite directions away from one another. 
In making the last hop on the sole of the right foot they 
begin to change the relative position of their arms, raising the 
right hand high, and placing the left lightly on the hip, then 
for the 

Next two bars : Repeat the whole of the above movement in the 
opposite direction, beginning by springing on the right leg and pointing 
the left toe downward in the second position. 

In the last of these bars the partners again approach each 
other, and finish facing, as they were at starting, with the 
balance of the body sustained on the left leg. 

Rotaiy movement : Linking your right arm with that of your partner, 
and each raising the left arm, put the right foot down, throwing the 
weight of the body thereon and bending the knee, then at the second 
count, hop lightly on it. Do this in beginning to turn in a forward 
direction to the right, the centre of rotation being that point where the 
arms are joined. This jetti and hop on alternate feet is done four 
times, making a more or less complete turn, and finishing on the left 
foot. During the last hop, release your partner's right arm, and joining 
left arms, make a corresponding turn in the reverse direction in a similar 
manner. 

After this second turn, which completes the figure of the dance, 
separate from your partner and recommence the lateral movement by 
pointing the right foot in the second position, as before. 

This constitutes the simplest possible form of the High- 
land Schottische. A little variety in the steps may be made 
by bringing back the foot that is pointed in the first and 



1/6 DANCING. 



third steps to the fifth position before and behind alternately 
in the second and fourth steps. Also, in the rotary move- 
ment, the disengaged foot may be crossed quickly before 
the hopping leg, as in Plate XXI., Fig. 3. This movement, 
if neatly executed, gives the step a very characteristic 
appearance. 

Space will not permit of my giving a detailed description 
of the various reel steps that may be introduced into this 
schottische, but I will briefly explain a few of the most 
suitable. 

Highland Steps. 

Ceum-siubhaile 1 or Kemshoole — from ceitm^ a step ; and siubhal, to 
glide with rapidity. This step has been already described in speaking of 
the Scotch Reel. It may be used in the rotary part ; but it is necessary 
that both dancers perform the same step. 

Ceum-coisiche> or Kemkossy — from ceum, a step ; and coiseachadh, to 
ply the feet. The setting or footing step. In its simplest form it consists 
only of placing the feet alternately one before the other, and hopping on 
the rear leg. It is used in the Irish Jig and in all country dances (see 
Fig. 1, Plate XXI.). It may, however, be made to occupy one or two 
bars of the music. If single, that is to occupy one bar, suppose you 
are going to the right. One : Pass the left foot to the fifth position 
behind the right, and balance on it. Two : Spring on to the right in 
the second position. Three : Pass the left foot again behind the right, 
and hop on the left, simultaneously extending the right leg and pointing 
the toe. Repeat in the opposite direction. 

When the step is doubled, you pass one foot four times behind the 
other, hopping on the rear one, and extending the opposite leg at the 
end of the second bar. In this step the hopping foot is sometimes 
struck against the extended one en air before descending — pas battu. 
The first movements are composed of jettes and bonrrees. 

Siabadh-trasd or Sebjy-trast, from siabadh, to slip ; and trasd, across. 
French, pas ballote. Slip the left foot before the right, then the right 

1 The first mentioned of each of these names occurs in the Ency. Brit., but no 
description of steps is given. The more familiar names and etymology thereof are 
from Peacock. 



MODERN ROUND DANCES, 177 

before the left, once more the left before the right and hop on it, ex- 
tending the right with the toe turned down. Repeat this in the opposite 
direction. 

Aiseag-trasd or Aisig-thrasd — from aiseag, a pass ; and trasd, across. 
The cross passes. This step was described in Exercise 34. It is very 
characteristic of the Scotch style. 

Leum-trasd or Lematrdst — from leum % a spring ; and trasd, across. 
Cross springs. Assemble to the fifth position, say with right in front, 
falling lightly on both feet. Spring upward from both feet, alighting only 
on the left (sissone), and in doing so extend the right to the fourth or 
intermediate position raised, as in Plate V. or Fig. 1 in Plate XVII. 
Now make a coupe dessus (over), raising the left behind, as shown in 
Fig. 2 on the same plate, and in doing so hop on the right foot. Repeat 
in the opposite direction. 

Ceum-badenoch or Kem-badenoch. Spring to the right with the right 
foot, and immediately place the left behind. Now make a light change* 
ment de pied, so that the left comes in front. Repeat this to the left. 
Again to the right, this time making three changements de pied. If 
done thus, the step becomes double and occupies two bars. Repeat the 
whole movement, beginning with the left foot. 

Fosgladh — an opening. Open step. One : Commence with temps 
echappe ; that is, slip both feet simultaneously to the second position. 
Tzt'o r By a sudden muscular contraction, straightening the limbs, bring 
both feet together so that you fall into the fifth position. Three : Again 
extend the legs to f * ie second position. Four : Once more bring the feet 
to the fifth position, observing that the one that was previously before 
must now be behind. 

This step is clearly better adapted for gentlemen than for ladies. 

Cuartag — from cuairt, a round. This is the turning step, performed 
in turning on one's own axis. Hop round on one foot, and in doing so 
cross the disengaged foot with a rapid fouette movement alternately 
before and behind the supporting leg. 

These are simple steps, but they are capable of almost 
endless combination one with the other, by which apparently 
new steps are produced. And such combinations, together 
with occasional toe and heel movements, are quite permis- 
sible. It is not necessary that both dancers should be 
executing the same movements of the feet during the time 

N 



173 DANCING. 



they are separated ; but they must always come together at 
the end of the fourth bar, so as to be ready for the arm 
turn, in which their steps must of course be taken coinci- 
dently. From the description I have given, the steps will at 
once be recognized by those who can dance ; but it is so 
very much easier to show than to satisfactorily explain these 
movements, that the pupil would certainly do well to take 
lessons of some competent teacher before he attempts to 
perform the Highland Fling in public. 



The Chorolistha. 

From xopk (choros), a dance; and dW0a™ {plisthano), to 
glide. The steps in this dance are all of a smooth gliding 
nature ; consequently it is totally different from those pre- 
viously described. The chorolistha is a dance that demands 
the least possible muscular exertion, since when it is pro- 
perly executed, the limbs move almost automatically ; and 
the feeling of giddiness, which to many people is an almost 
insuperable obstacle to the acquirement of the waltz, is in 
this dance obviated by a prolonged glide, which causes the 
figure described in rotation to become ellipitical rather than 
circular. 

The music is written in common time, with a very decided 
accent on the third beat of the bar, as follows : — 






fL < -*. «L <; JL 



7 _^t a »— T » 0— i » b— i 

fct &v r -i— H =i= f-7-i— f- F-r-p — i— E 



££=£ 



p- 



MODERN ROUND DANCES. 



179 



^W-+ 






1 




^4JI< J g 



5 



Efe*=§ 



=t 



The following is a description of the steps, the position of 
the partners being the same as for ordinary round dances. 1 

For the gentlemen the steps in the first bar are taken in 
a rearward direction as he turns half round, and for the 
second bar in a forward direction as he turns. The lady 
begins by making a half turn in the forward direction. 

One: Begin by stepping backward with the left foot, but as you do 
so, turn on the ball of the right foot, so that your back is turned in the 
direction you wish to go. Your left foot must fall very smoothly on the 
outside of the lady's right foot, which she meanwhile advances. Sup- 
posing that you began from the further side of the lady, this should bring 
you exactly to the position shown in Plate XXXIV. Pause well on this 
step. 

Two : Bring the right toe lightly and quickly to the left heel, allowing 
no weight to fall upon it. 

Three : As soon as the right toe touches the floor, slide the left foot 
backward in turning a little, making a prolonged glide and throwing 
the balance boldly on to the left leg at the finish. Pause well on this 
step. 

1 By permission of Messrs. Francis, Day, and Hunter. The dance may be taught, 
but the name, description, and music are copyright. 



i8o DANCING. 



Four : Pivot or turn on the sole of the left foot first bringing the right 
toe close behind ; but sustain the balance well on the left leg in turning, 
and do not hurry to make the next step. The pivot on the left foot 
should bring the right in front at the finish. 

This completes the rearward half turn, and you should 
now be facing the direction in which you wish to go. The 
next four steps for the gentleman, which are the first four 
for the lady, are taken forward in turning, so that the feet in 
taking the steps are advanced. 

One : Take a short, light step forward on the sole of the right foot, 
crossing the right leg a little before the left so that the toe comes just 
between the feet of your partner. This step is short as regards action, 
but long in duration. 

Two: Step again forward on the toe only of the left foot, in slightly 
turning the body. This step, which is quick, must be taken in the lightest 
possible manner. 

Three : Make a prolonged glide with the right foot, not allowing the 
balance of the body to rest thereon till it reaches its destination, the toe 
coming again between the feet of your partner. To obtain the impetus 
necessary to make this glide press backward against the floor with the 
left toe. When the slide is finished, let the balance be sustained fairly 
on the sole of the right foot. This step is long both in action and 
duration, corresponding with the prolonged backward glide of your 
partner. 

Four: Pivot or turn on the sole of the right foot, bringing the toe of 
the left behind it with a graceful action. 

This completes the forward half turn, and should bring you to the 
position whence you started, ready to re-commence the backward 
movement with the left foot. 

The great secret of getting round easily in this dance is 
to draw well away from your partner, as shown in Plate 
XXVI., and give yourselves plenty of time to turn well round 
before recommencing the movement. The duration of time 
occupied in taking the first and third steps should be an 
interval and a half, while that occupied in taking the second 



MODERN ROUND DANCES. iSl 

and fourth should be only half an interval ; but as the pivot 
is connected with the first step, as in starting, you have 
ample time to turn before placing the foot to the ground. 
Any precipitate action is fatal to the dance, and so also is 
any imperfect position of the partners. The steps should be 
timed as below, making the second and fourth to the ands. 

One, two, — and three, four, — and one, two, — and, etc. 
The Chorolistha finishes with a movement a la gavotte, 
which, however, is not at all necessary to the dance, and can 
be omitted or added at pleasure. For a description of this, 
as my space is limited, I must refer the reader to the original 
music. 

Technically, the steps might be described as demiglisse, pas 
glisse entiere, sans changement de point, glissade allonge, and 
demi tours de corps on one foot, accompanied by fouette in 
forward turn or petit rond de jambe par terre in rearward 
turn. 

The Polka-Mazurka. 

This simple, elegant, but at present neglected dance must 
not be in any way confounded with the Polish Mazurka, which 
is a dance of a very different character, consisting of several 
figures in which difficult steps are introduced, as in the 
Scotch Reel. The principal of these are the pas Polonais, 
a characteristic step in which the heels are struck together; 
the Polish pas de basque, in which the closing movement is 
a coupe frappe ; and the assemble sissonne, used in the holubiec 
or tour sur place. It would, however, be quite out of place 
to attempt to give a description of the real Mazurka, as it 
is never danced in this country ; but the Polka-Mazurka, a 
simple drawing-room dance for couples executed to the same 
measure, is still occasionally seen at private parties. Besides,, 
who knows but that it may again become popular ? As I 






DANCINd. 



pointed out a few pages back, the Military Schottische was 
considered quite a " chestnut " by the Yankees, when all of 
a sudden it sprang up here as a brand new dance. 

The music of the Polka-Mazurka, like that of the waltz, 
is written in triple time, but there is a decided difference in 
the rhythm, that of the waltz being dactylic, or with the 
strong accent entirely on the first ; while that of the Mazurka 
is more like the amphibrach, there being a very decided 
accent on the second count. The steps in this dance are 
all of equal duration, and should be taken as follows : — ■ 

One : Slide the left foot to the second position, and transfer the 
weight to the left leg. 

Two : Bring the right foot to the place of the left, falling on it in a 
very decided manner. 

Three : Pass the left foot quickly across the right leg just behind the 
heel, and in doing so hop softly on the right toe, keeping the left foot 
raised. 

These three movements are made laterally, without turning. In the 
next three turn half round to face the opposite direction. 

Four ; Slide the left foot again to the side in turning, so that it comes 
as in Plate XXXIV. 

Five ; Bring the right foot to the place of the left, falling boldly on 
it, as before. 

Six : Spring from the right to the left foot still turning, so that you 
face the opposite side of the room. 

Now repeat the whole of this movement, commencing with the right 
foot, and the next six steps will bring you to the same position as that 
in which you started, 1 or in other words, you will have made a complete 
revolution. The lady's step is the same as above described, only in 
dancing she begins with her right foot. 

Technically, the first three steps of the Polka-Mazurka are 
demi gfissi, coupe, and pas saute with fouettL The last three 
are demi gliss'e, coupe, and jettL 

1 I do not mean that you will be in the same place, only that the 
relative position of yourself and partner will be as it was at starting. 



THE WALTZ. 183 



The Galop. 

The step used for this dance is simply the chasse of which a descrip- 
tion has already been given. Suppose you are going in a forward 
direction, slide the left foot forward, counting one. Bring the right up 
close behind it with momentary transfer of weight, then immediately 
slide the left foot again forward and balance the body thereon, counting 
and two. This may be repeated ad lib. Remember that in making a 
chasse step forward the same foot is always in front. When you wish to 
go round, the movement is executed to the right and left alternately, 
and the steps are taken sideways in turning. 

Whenever the music of a galop is now played, the people who dance 
to it generally take their steps as if they were waltzing, counting one and 
two, one and two ', letting the second and fifth steps come in at the ands. 
The waltz step, in this instance, is a very great improvement on the 
chasse. 



CHAPTER XVII. 

THE WALTZ. 

We now come to the consideration of a dance that will 
probably possess greater attraction for the majority of 
readers than any other described in these pages. For this 
reason I have decided to devote to it a separate chapter ; 
but should the impatient pupil on opening the book be 
tempted to turn at once to the present 'description, without 
previously studying the matter contained in the earlier 
pages, he will certainly not be acting wisely ; for therein, 
when explaining the nature of the various steps and move- 
ments, I have given special exercises, by the practice of 
which a pupil's progress in waltzing will be greatly facilitated. 
Moreover, it is a physical impossibility that any one can 



1 84 DANCING. 



become a good waltzer until the muscles of his limbs have 
been brought into the requisite condition for performing 
the movements of the dance. It not unfrequently happens 
that a man may know the steps of the waltz, and be able to 
perform them accurately in their proper sequence, and yet 
not be able to waltz at all with a partner, or with any degree 
of freedom by himself; for the simple reason that he has 
not acquired the correct muscular action of the limbs, and 
the necessary synchronous movements of the various parts 
of the body. 

It is not absolutely essential that the pupil should have 
acquired the other drawing-room dances before attempting 
the waltz, though it is better in many respects to begin 
with the easiest. But it is a sine qua non that whoever 
would profit by the present description should first have 
made himself acquainted with the five positions, and have 
practised all the simple steps and exercises, especially the 
flexions, balancings, and turnings, on one and both feet. 

The history of the waltz, its evolution from the volta, its 
introduction and development from its primitive to its 
present perfected form, are matters that do not properly 
belong to the present section, and are more appropriately 
treated of in the historical portion of the work. The 
immediate aim of the writer is simply to give practical 
instruction by the only means here available — his pen and 
the accompanying illustrations. 

It has been already hinted that pupils, as a rule, learn to 
dance much more readily by the employment of the imitative 
faculties than they do by attending to theoretical explan- 
ations of movements, and it follows that the reader will do 
well in the first place to carefully observe the positions of 
the young ladies who are here represented performing the 
six steps of the waltz. I may mention that each girl is 



THE WALTZ. 185 



accounted an excellent waltzer, and that the positions 
have been taken naturally and progressively as in ordinary 
dancing. 

Should the pupil feel inclined to ask what particular 
waltz is here represented, I would reply that it is the waltz 
all people dance who waltz perfectly, whether consciously 
or unconsciously. Whatever sequence of steps they may 
have been taught, their feet must necessarily fall into 
positions more or less closely resembling these before they 
can waltz really well. The reader may at once disembarrass 
his mind of the still somewhat prevalent notion that there 
is a variety of waltzes. Let us admit that there may be, 
and indeed are, various ways in which the steps of the 
waltz can be described on paper, or explained by word of 
mouth ; but in the nature of things there can only be one 
way in which the limbs will act consistently with all the 
requirements of perfection in waltzing. 

Space does, not permit of my entering into details con- 
cerning the evolution of the modern waltz ; but very briefly 
I may point out that in it the more pleasing qualities of 
various former movements have been blended. These 
movements were imperfect in themselves, but whatever was 
worthless in them has been discarded, while whatever was 
found to be best has been retained. Thus the old trots 
tempSy in which three steps, each of equal duration, were 
taken to a bar, was found to be exceedingly monotonous, 
although not wanting in a certain degree of stateliness ; 
while the deux temps — very erroneously so-called — in which 
two movements only were taken to a bar, was more lively 
and exhilarating, but altogether wanting in dignity. This, 
however, was owing to the fact that the glide and chasse 
constituting the step were taken sideways, a proceeding 
which rendered impossible the graceful twinkling, playing 



1 86 DANCING. 



in and out movement of the feet, which properly belongs 
to the waltz. The great improvement in the general style 
of waltzing which the introduction of the two-step waltz 
eventually effected, was the substitution of the pleasing 
dactylic rhythm for the old molossus, in which the partners 
appeared to be continually running around one another, 
without any reciprocal action whatever. 

If to the six steps of the trots temps we add a slight rear- 
ward sliding action of the left foot in the turning, accom- 
panied by the proper muscular action of the limb, and 
prolong the first step, as regards duration of time, to occupy 
half the second interval of the bar, we shall have a waltz 
movement which combines the sprightliness of the deux 
temps chass'e with the more correct action of the feet in the 
original waltz. And if we dance this improved and indeed 
perfect waltz with due regard to those unalterable dynamical 
laws which regulate the motions of all bodies, sentient as 
well as inert, we shall reach the perfection of terre a terre, 
rotary movement. But before the pupil can arrive at this 
stage, there is much for him to learn besides the mere 
sequence of steps, which in reality are to waltzing just what 
the notes are to a musical composition. These, like the 
waltz steps, must of course be correct ; but you may play 
them in a variety of ways. You may put the stress on one 
or the other of them, or the time and accent may be correct, 
and yet the right feeling and expression may be wanting. 
But in waltzing there is more than step, time, accent, and 
expression to consider. It is not only necessary that every 
part of the individual body should move in the most perfect 
accord one with the other, but in waltzing with a partner 
it is essential that the movements of one dancer should be 
in perfect harmony and coincidence with the corresponding 
movements of the other dancer ; that they should become 






THE WALTZ. 1S7 



as one body for the time being, and as such be affected by 
the action of gravitation and other physical forces. 

If facility of movement be not spontaneously acquired, 
as it often is, due consideration must be given to all these 
matters before the pupil can attain perfection in waltzing. 
I am now pointing them out for the benefit of those readers — 
and I dare say they are many — who having perhaps already 
taken a number of lessons in waltzing of some teacher who 
directs their attention only to the position and movement of 
the feet, are surprised to find that they do not make progress. 

However, we will now begin our lesson in earnest ; and 
as I will suppose that you have been through the former 
part of the book, and have attained some freedom in the use 
of your limbs, and understand the positions employed in 
dancing, we will at once proceed to learn the steps and 
figure of the waltz. 

The waltz is a dance consisting of six distinct steps or 
movements of the feet, three of which steps are taken to one 
bar of the music. 

Three of these steps are taken in a direction to the rear 
of one's own body in turning, and three are taken in a 
direction in advance of one's own body in turning. 

The figure of the waltz, or track taken by the individual 
dancer, is similar to that which would be traced by a point 
on the circumference of a moving circle, and it is principally 
during the three steps taken in advance of one's body that 
progressive movement is made. The feet in their passage 
over the floor describe the curve geometrically known as 
the cycloid. The action of the body during the three steps 
taken rearward is more particularly rotary. 

Owing to the nature of the movement when danced by 
couples, the centre of rotation is not fixed, as it were, exactly 
midway between the partners, but shifts alternately a little 



1 88 DANCING. 



nearer, first to one dancer and then to the other, approaching 
always him or her who is taking the rearward and rotary steps. 
Thus the revolutions become eccentric. This, however, 
only in the slightest possible degree ; and if anything the 
man should generally appear to be turning his partner round 
him rather than have the undignified appearance of running 
around her. 

Clearly, if there were no progressive motion in waltzing, 
and if the centre of rotation were situated exactly midway 
between the partners, they would simply revolve without 
moving from the spot where they started. 

The progressive movement is brought about by a slight 
muscular effort generally, and especially by the action of 
the lower limbs. The rotary movement in perfect waltzing 
should result rather from the action of the upper part of the 
body, and the influence exerted by the centrifugal force and 
inertia, after the necessary impetus have been obtained, 
than from conscious muscular effort on the part of the 
dancers. 

But in learning to take the steps of the waltz slowly and 
alone, we must, for the time being, appear to lose sight of 
those natural influences which are brought to bear upon a 
couple of waltzers moving rapidly ; for the simple reason 
that such influences will not be present. 

In order to make my instructions as concise as possible, 
I will divide the steps of the waltz into two groupings, each 
of three, as shown in the plates; calling one group the 
forward, and one the rearward turn. In actual dancing the 
lady begins with the forward movement and the gentleman 
with the rearward or rotary movement, and if they waltz 
well, the feet of the one dancer will appear to be continually 
playing in and out of and between the feet of the other 
dancer. 



THE WALTZ, iSo 



Forward Steps.— Starting from the position shown in Fig. 3, the 
last on Plate XXXVII. :— 

One : Slide the right foot to the fourth position directly in front of the 
left, and in completing the slide, transfer the balance of the body en- 
tirely to the right leg (see Plate XXXVL, Fig. 1). Dwell on this 
step. 

Two : Let the toe of the left foot skim very lightly over the floor till 
it reaches the position shown in Fig. 2. 

Three : Without perceptibly transferring the balance to the left leg, 
move the right foot by a muscular flexion and contraction of the limb 
(as employed in leaping, but without the upward impulse of the foot), 
and in doing so twist the foot round till it points as shown in Fig. 3. 

This completes the forward movement, in which it will be 
seen that the foot in making each step is always placed iii 
advance of the one with which the preceding step was taken. 

In the next three steps, the action of the limbs is changed, 
as the foot in taking each successive step is always placed 
behind the one with which the preceding step was taken. 

Rearward Steps. — Starting from the position shown in Fig. 3, 
Plate XXXVI. :— 

One : Continuing to turn on the sole of the right foot, let the left foot 
slide over the floor describing an arc till it reaches the intermediate rear- 
ward position, or midway between the second wasi fourth* Then transfer 
the balance to the left leg, as shown in Fig. 1, Plate XXXVII. 

Two: Bring the right foot lightly behind the left at right angles to it, 
in the third or fifth position, the toe only resting on the floor, as shown 
in Fig. 2. 

Three : Without moving the right toe from its position on the floor, 
turn on the sole of the left foot, and in doing so draw it a little back- 
ward behind the right heel, which is simultaneously turned forward to 
the left, as the knee turns outward. This will bring the feet to the 
position shown in Fig. 3. The little backward slide of the left foot, 
which is of the greatest assistance in waltzing, may be accomplished by 
a slight flexion and sudden tension of the limb, together with an impulse 
obtainable by pressing the right toe against the ground. This, how- 
ever, must be done without any transfer of balance, and the foot need 
not move more than about an inch. 



190 DANCING. 



Now you can learn whichever group of steps you like 
first ; but if you are a male dancer you must, in waltzing 
with a partner, always begin with those last described, 
forming the rearward turn. If you remember the simple 
fact that three steps are taken forward, as it were, 
and three backward, all in turning, it will go a long way 
to prevent your getting into a muddle when practising 
them. 

Note well that the reason I have recommended the little 
backward slide in the last of the rearward steps is 
because in dancing with a partner one does not turn on 
one's own axis, as when dancing alone. Inattention to, or 
ignorance of this sufficiently obvious fact, is often the cause 
of a pupil's non-success. Some teachers very unwisely 
try to induce their pupils to waltz in precisely the same 
manner when dancing with a partner as they do when waltz- 
ing by themselves. But clearly this is a mistake. The 
absurd old-fashioned conventional notion that each partner 
should move independently of the other, so that at any given 
moment they could be suddenly separated, without experi- 
encing any tendency to fall in opposite directions, has long 
since happily given place to the more natural and scientific 
principle that the partners should move as if, for the time 
being, they actually formed one body, of which the centres 
of gravity and revolution were situated somewhere between 
them. This I have already pointed out ; but it is evident 
that in waltzing alone the centre of gravity of a dancer, 
though its position may shift slightly with each movement 
of his body, must always remain somewhere within the area 
of the base formed by his own feet. This fact alone will 
necessarily tend to make a considerable difference in his 
manner of holding himself. Moreover, as I have explained, 
a person waltzing by himself turns in certain steps directly 



THE WALTZ. 191 



on his own axis, which of course he should not do in dancing 
with a partner. 

Subject to the modifications above alluded to, which 
would apply equally to any conceivable system of taking the 
steps, that sequence of movements which I have endeavoured 
to describe, is the one most perfectly compatible with grace 
of action and physical requirements. Moreover, it is the 
one now imparted by all the principal teachers of dancing. 
Professional circumstances have given me the opportunity 
of trying the waltz with most of the leading lady teachers — 
mind, I do not mean teachers who come for technical in- 
struction, but those who are already thoroughly acquainted 
with the art — and my experience has been that they all 
dance the waltz personally in much the same manner. Some 
teachers, I know, impart the steps differently; but that is 
because they do not understand the principles of human 
mechanism, and the nature of those physical forces which 
operate on the . dancers. I have found that some who had 
an altogether incorrect notion of imparting the waltz to 
others, nevertheless waltzed exceedingly well themselves. 
This may seem strange, but the reason is that the constant 
practice in dancing had brought about considerable freedom 
of action in their limbs, and when in rapid waltzing, as is 
always the case, the movements of their feet were no longer 
immediately controlled by conscious volition, they would 
automatically fall into the true positions. Yet all the while 
the dancers imagined they were taking the steps precisely 
as they taught others to take them. 

Now the reason why so many bad waltzers, however much 
they may try, are unable to become good ones, is because, 
having at the outset received imperfect instruction, they 
continue to make conscious efforts to place their feet in 



192 DANCING. 



positions which are altogether incompatible with the true 
principles of waltzing. 

Remember that although it is absolutely essential that a 
good teacher of the waltz should be personally a good 
waltzer, it does not by any means follow that a teacher who 
is personally a good waltzer must necessarily be also a good 
teacher. There is a vast difference between being able to 
do a thing oneself, and being able to explain to others how 
it should be done. I have said that a great deal may be 
accomplished through the faculty of imitation ; but it re- 
quires very careful analysis on the part of the teacher to 
make the movements sufficiently slowly and emphasize their 
peculiarities so that the pupil may see clearly what he or she 
is required to imitate. 

In commencing to waltz with a partner, the gentleman 
begins by moving his shoulder round, so that in taking his 
first step, his back is turned toward the direction in which 
he is dancing, and in doing this he must draw slightly away 
from the lady, as in Plate XXVI. If he neglects to do this, 
and throws his chest forward, he will be acting in direct 
opposition to physical requirements (see Axiom IV.), and 
not only will his own movements appear ungraceful, but the 
lady will feel that she is not being well supported. When 
properly executed, this movement on the man's part gives 
the initial momentum, and requires no perceptible muscular 
effort, because the necessary power to draw his partner 
round him may easily be obtained by his throwing his own 
centre of gravity a little outside the base on which he 
stands, and so utilizing the weight of his body. 

This does not cause him to fall over, because meanwhile 
he is balanced by the resistance of his partner in the oppo- 
site direction ; and in this way a kind of unification is 



THE WALTZ. 



193 



brought about, the man's right arm forming the connecting 
link ; and the centre of gravity of the combined body is 
situated between the dancers above the base formed by the 
two feet, one belonging to each, upon which they are 
balancing at any given juncture. 

The lady should not advance her right foot in commenc- 
ing, until her partner draws her forward, as he takes his 
first rearward step. She should always offer a slight resist- 
ance at the waist, drawing away from her partner in turning, 
especially in taking the rearward steps ; but of course not 
sufficiently to make the gentleman's arm ache. Thus the 
waltzers make a kind of reciprocal movement, alternately 
drawing slightly away as they turn during the rearward steps. 

To remember this will be of invaluable assistance to a 
man who has the misfortune to find himself dancing with a 
particularly bulky or heavy partner. Instead of struggling 
to bring the lady round by a muscular effort of his right 
arm, he should. simply throw his balance a little further over 
his left foot, so that he would actually fall in that direction 
if he had not a partner. In this way he conserves his 
own muscular energy, and simply uses his bodily weight in 
bringing the fair one round. As soon as he finds she is 
directly in front of him, he should suddenly — but not too 
suddenly — release the tension of his arm. This causes his 
partner to make an involuntary reactionary movement, 
which will bring him round to his former position without 
any effort whatever on his own part. 

Do not, my male reader, imagine that in making these 
suggestions I am urging you to act ungallantly towards the 
lady. Quite on the contrary ; such little manoeuvres on the 
part of the man will prove of quite as much assistance to 
his heavy partner as to himself. But he must be particularly 
cautious in commencing his dynamical experiments that he 

o 



194 DANCING. 



does not lose control over his own movements, because 
the influence which his partner will exert will be propor- 
tionate to the velocity with which she is waltzing, multiplied 
by her weight \ and if he does not offer the requisite resist- 
ance, or releases the tension of his arm too suddenly, he 
may chance to find himself beside her on the floor. 

The fact has, I dare say, frequently come under the reader's 
notice, that a person weighing a good many stones will often 
appear to dance more lightly than a slim person who would 
weigh considerably less if balanced in a scale. The reason 
is this : Stout people have generally an elastic flexible action 
of the limbs, perhaps partly induced by consciousness that 
they weigh a good deal, and the intuitive notion that in 
order to become, or at least to appear light, they must rise 
as much as possible on their toes in dancing. Now, as I 
have already insisted, in those dances where the foot actually 
leaves the ground, lightness is acquired by rising from and 
again falling on to the toes, and depends greatly on the 
elasticity of the instep. But in waltzing, seeing that the 
feet never leave the floor, lightness of action does not 
depend upon rising on the toes. I am not advocating flat- 
footed waltzing, which is very ugly ; I am merely stating a 
fact. Lightness in waltzing depends solely upon the proper 
adjustment of balance and the avoidance of friction when the 
foot slides over the floor. Nevertheless, the upward springy 
tendency of movement which stout people usually acquire, 
as it were intuitively, is invaluable in waltzing, because in 
combination with the greater facility of balance, which they 
also generally possess, it enables them to move their feet 
over the floor with less friction than is frequently noticeable 
in the gliding movements of slimmer dancers. 

If you are anxious to become a light waltzer, broadly 
speaking, you should let the balance of the body remain 



THE WALTZ. 195 



entirely on the right leg during the forward movement, after 
the foot has reached its destination in the first step, and 
entirely on the left leg after the foot has been slid round and 
backward in the rearward turn ; for just in proportion as 
your foot sticks to the floor, or makes friction in its passage 
across it, so will you appear heavy to your partner. All 
this, however, you should have already learnt in studying 
the earlier chapters. 

As regards the rhythm, remember that the third step 
immediately follows the second, but the second does not so 
quickly follow the first, which should always be strongly 
accented and dwelt upon. In musical terms the first step 
occupies exactly the duration of a dotted crotchet, the second 
of a quaver, and the third of a crotchet ; but if you say the 
word Won-der-ful emphatically, the relation of the syllables 
will exactly coincide with that of the three steps of the 
waltz, both as regards accent and duration of time. 

To waltz forward in a direct line. 

One : Slide the right foot to the fourth position immediately in front 
of the left, and, in finishing the slide, transfer the balance entirely to the 
right leg. 

Two : Let the left leg swing by its natural pendulum action from the 
hip joint, describing a slight curve till the toe comes into the fourth 
position before the right foot. 

Three : Bring the right foot up behind the left, chiefly by a muscular 
flexion and tension of the limb. Remember that this third movement 
instantly follows the second, and that the balance must be retained 
solely on the right leg. 

Repeat this with the left foot, which is already in front. Slide it 
forward to the fourth position, then let the right swing beyond it, and 
lastly bring up the left behind, keeping the balance entirely on it, so that 
you have the right limb free and readyto recommence the forward step. 

Technically, the forward step in waltzing is composed of a 



196 DANCING. 



denii glisse, a pas gliss'e entiere^ sans changement de point, and a 
bourree, or closing up step. 

Some teachers impart a forward step founded on the pas 
de bourree emboite, in which the right foot is advanced, the 
left closed behind, and the right again advanced ; the rear 
foot being brought forward in recommencing the step. In 
this way each bar ends with an open position of the feet, 
and the next bar begins with a pas gliss'e entiere, or slide from 
one open position to another open position. I am wholly 
at a loss to understand how any teacher, pretending to 
possess a technical knowledge of dancing, can advocate the 
employment of a step so particularly ill-adapted to the waltz 
rhythm. There is no objection whatever to the introduction 
of such a step in a dance like the minuet, although of course 
it is not the real minuet step; but it is adapted to the 
minuet, because the music of that dance has an accent on 
the second beat, and the feet do not slide over the ground 
as in the waltz. But if employed in waltzing the step 
degenerates into an undignified shuffle, and is wholly out of 
keeping with the character of the dance. The only people 
who adopt it are those who are unacquainted with, or find 
themselves unable to accomplish, the real forward waltz step, 
as here explained, which, although more difficult to learn, is 
much easier to dance when once acquired, and is infinitely 
more graceful and correct. Candidly speaking, the " masher 
crawl," ridiculous as it appeared, would be less open to objec- 
tion in some respects than is the closing of the rear foot in 
the second count. 

Remember, then, if you wish your forward movement in 
waltzing to appear graceful and dignified, it is the second or 
light step that must be taken in advance, while the foot in 
the third step is closed to the third rearward position. Once 
having satisfactorily accomplished this method of waltzing 



THE WALTZ. 



197 



in a line, you are not likely to ever adopt any other. I am 
pleased to find that this step is now adopted by all the 
principal teachers of the United Kingdom and America. 

The reanvard step in a direct line. 

, One : Slide the left foot backward to the fourth position, and in 
finishing the step transfer the balance to the left leg. 

Two : Let the right leg swing by its natural pendulum action till it 
reaches the fourth position behind, the toe only very lightly touching 
the floor. 

Three ; Close the left foot, by muscular flexion and tension of the 
limb, to the third position before the right, without transfer of balance, 
so that the right foot is left free to slide further backward to the fourth 
position in commencing the next bar. After this, the left limb swings 
behind, and the right foot is closed in front, the left being kept free to 
repeat the movement. 

If these rectilineal steps are taken accurately, the feet of 
the dancers are continually forming parallelograms, the one 
partner's foot advancing as the other's recedes. The direction 
of the figure changes with each alternate bar and when well 
executed, it has a very artistic effect. 



Reversing. 

With the question as to whether turning in the contrary 
direction is or is not considered good form in certain coteries 
of society at the present time, I do not here purpose to 
concern myself. It is simply a matter of custom. A couple 
certainly would not evince good taste who persisted in 
reversing if such a proceeding were considered out of order 
among those with whom they were dancing; but as a 
matter of art, and even of taste per se, no reasonable objec- 
tion can be made to the practice, provided it be accom- 
plished without causing annoyance or inconvenience to other 



ig8 DANCING. 



dancers. I would particularly caution the pupil not to 
attempt reversing in public until he has thoroughly mastered 
the art in private, and to remember always that the ball-room 
is not a place in which to learn to dance, but only a place 
in which to practise what has already been perfectly 
acquired. 

I will now proceed to give a few hints that will be found 
useful to those who wish to make themselves proficient in 
this accomplishment. 

First, it is comparatively easy for a lady to reverse if she 
will but remember to put her left foot forward instead of 
backward at the right juncture, and not break the sequence 
of steps and successive alternations of balance. Thus, if 
she commences to dance with her right foot, the first step 
of the next bar will be taken with her left foot, and so on 
alternately to the end of the waltz, even if the course of 
direction were changed fifty times. 

The same applies to the man. He begins with his left 
foot ; the first step in the next bar is taken with his right 
foot, the first of the succeeding bar with his left again, and 
so on to the end of the waltz, no matter how many times 
he may change the course of direction. 

But it is necessary in commencing to reverse, that his left 
foot should go forward, and it is proper that he should put 
it between the feet of his partner, whom he meanwhile impels 
to the left by a change in the muscular action of his right 
arm. 

I say that it is proper to slide the left foot between the 
partner's feet in reversing, because although it may be freely 
admitted that it is possible to reverse while the relative 
position of the partners shall remain the same as in 
waltzing the ordinary way, such a mode of procedure is 
extremely inartistic and ill-adapted to the natural action of 



THE WALTZ. 



199 



the limbs. In this case the gentleman's forward step would 
be taken on the outer side of the lady's right foot, while in 
the second or swinging step his foot would pass between 
hers. Also in the rearward step his right foot would again 
come between hers. As these movements cannot possibly 
be accomplished without holding the partner somewhat 
closely, it will be seen that other than artistic objections 
might be made against this manner of reversing. But 
waiving the question of propriety as irrelevant to the 
present chapter, and confining ourselves to the aesthetic 
and scientific aspects of the movement, I will endeavour to 
show that a change in the action of the feet involves a 
change in the relative position of the limbs ; otherwise the 
action must in a measure be imperfect. Now, if when turn- 
ing in the opposite direction it were customary to place the 
left arm to the lady's waist, and take her right hand in 
yours, then the action of the body and limbs in reversing 
would be the* exact counterpart of their action in the 
ordinary method of rotation, and as such it would be con- 
sistent and perfect. But this would involve passing the 
lady over to the left side before taking the first forward step. 1 
Clearly then, the nearer our actions correspond inversely 
with those employed in the ordinary method of turning, the 
more perfect will our system of reversing be ; therefore, as 
the right foot goes between the feet of the partner in the 
first ordinary progressive step, so the left foot ought to go 
between in the first progressive reversing step. This of 
course involves a slight alteration in the relative position of 
the partners ; but this alteration of position can, as I have 
already pointed out, be easily effected by a movement of 
the gentleman's right arm, which I will now try to explain. 

1 The various positions of the feet in reversing alone, may be seen by 
holding Plates XXXVI. and XXXVII. before a mirror. 



20o DANCING. 



Hitherto, in waltzing the ordinary way, he has been 
drawing his partner around him, and in so doing has 
employed what are termed the flexor muscles of his arm ; 
but now, when he wishes to reverse, he should make an 
effort to impel the lady a little to the left, and keep her in 
that position so long as he continues reversing. 1 And this 
he effects by bringing into play the extensor muscles, and 
keeping the angle which his now rigid arm makes with his 
chest as acute as possible. This change in the muscular 
action of the man's right arm is the means by which his 
partner is made aware of his intention to change the course 
of direction. 

Now, if we consider how muscular action results from an 
impulse of the will conveyed through the agency of the 
nerves, we shall discover how it is that any indecision on 
the man's part is inimical to success in reversing. He 
thinks, " Now I will try the reverse ; " then, dubious about 
a successful issue, he wavers in his resolution. An erratic 
action of his arm results, and the lady's movements, instead 
of being duly controlled, as they should be, are only 
partially influenced, sufficiently perhaps to cause her to 
deviate from the track that has already been followed, but 
not sufficiently to indicate a new direction. 

Those of my readers who ride on horseback, or who are 
fond of driving, are aware how very little muscular effort is 
necessary to turn the animal's head in the required direction, 
and keep him in the right track, provided the will of the 
d?-iver be resolute ; but once let any uncertainty arise in 

1 N.B. — It must be distinctly understood that this slight change of 
vposition only affects the lower part of the body. The lady continues to 
look in the same direction as when waltzing the ordinary way, and the 
faces of the partners must not cross. The gentleman's left foot, how- 
ever, should be advanced in the fourth crossed position^ which enables 
him to get it easily between the feet of his partner. 



THE WALTZ. 201 

your own mind about the direction you wish to take, and 
you will notice that the effect of your indecision upon the 
horse is far from satisfactory — especially if there be much 
vehicular traffic. 

Now, without wishing to appear discourteous, I am con- 
strained to observe that there is a certain analogy between the 
act of driving a horse through a crowded thoroughfare and of 
leading a lady through a thronged ball-room. If you intend 
to reverse, it is not of much more assistance to tell your 
fair partner what you are about to do, than it would be to 
tell your horse which way you wanted him to go. The lady 
must obey the indication of your arm just as the horse 
obeys the indication of the rein, and what is really required 
in either case is decision of purpose. This decision, how- 
ever, must be in no wise akin to obstinacy ; certainly there 
must be no application of misdirected strength. The 
movements should be gentle, but firm — the decision of 
action resulting from the knowledge that what you are doing 
is absolutely correct. 

The better plan is for the gentleman to always make sure 
that his partner is ready to reverse before he attempts to do 
so himself, and to effect this the alteration of muscular 
action in the right arm must not be made too suddenly \ it 
must be brought about so that the lady is gradually pre- 
pared for some change of direction, and then the course 
must be clearly indicated. Thus, if she is to go backward 
in a direct line, the arm will be kept fully extended directly 
in front, accompanied by a very slight forward pressure of 
the wrist; while if she is to reverse, she will feel herself 
impelled further over to the left, so that her right foot will 
come outside the gentleman's left foot as he advances it 
between hers. 

Another valuable point is to greatly modify all movements 



202 DANCING. 



before attempting to reverse. By stopping almost still 
during the two previous bars, and taking the steps merely 
as if executing a balance first to the left, then to the right, 
before advancing the left foot — being careful not to break 
the continuity of action, or proper alternation of balance — 
you may to a considerable extent overcome the effects of 
inertia. This alone is a very important consideration, but 
there is another advantage, if anything still greater, which 
the practice gives. It is, that instead of wasting muscular 
energy on your own movements, you are conserving it 
towards directing the movements of your partner. 

I have not hitherto said anything about the employment 
of the man's left arm in reversing, because the practice of 
indicating change of direction with this arm is a very feeble 
practice. There are some misguided people who imagine 
that if the partners put the palms of their hands together 
and stick their arms out, as in Plate XVIIL, it gives them 
an immense advantage in steering. Well, so it does in a 
sense ! It causes all other dancers to get out of their way. 
But if every one held his arm in this manner when dancing, 
there would soon have to be a special Ball-room Accidental 
Insurance Company started. Fortunately the majority of 
dancers have better sense and better taste than to adopt this 
ridiculous style. 

A first-rate waltzer will be able to guide his partner entirely 
with his right arm ; but at the same time it is perfectly legi- 
timate, having once indicated the change of direction, to 
employ the left arm in slightly drawing the lady forward 
during your rotary steps when reversing. In this manner 
you will be able to make up for any deficiency in the 
impellent action of the right arm. 

I should mention that you must be particularly careful 
to avoid any impulsive or precipitate action of the limbs in 



THE WALTZ. 2 o< 



reversing. If, for instance, you were to advance your left 
foot before you had satisfactorily prepared your partner for 
the alteration of position, it would inevitably come in con- 
tact with her foot. The reason so many men in waltzing, 
especially when reversing, find their feet continually coming 
against the toes of their partners, is because they do not 
give them sufficient latitude to move their feet freely, and 
because they are so concerned and occupied with the con- 
sideration of their own movements, that they omit altogether 
to prepare the lady beforehand for any change of direction 
that they intend to make. 

If a man thoroughly understands the true system of 
reversing, and knows something of the principles of human 
mechanism, he can make a partner reverse almost imme- 
diately, even if she has never tried to do so before ; because 
he can bring controlling influences to bear upon her move- 
ments, so that she will feel instinctively compelled to put 
her left foot forward when such action is required. This 
he accomplishes by a combination of synchronous and 
accordant movements, but especially by an upward action 
of his wrist and fore-arm against the left scapula, and a 
simultaneous drawing back of his own shoulder. The fact 
is, an influence brought to bear upon any one part of the 
body will indirectly affect other parts, and a result may be 
frequently thus attained of which the person influenced is 
himself or herself altogether unconscious. Personally, I 
have found that it is quite possible to teach a pupil to waltz, 
and to waltz well too, without so much as uttering a single 
word of explanation, or even showing the steps. This, of 
course, is not the proper modus operandi to adopt in giving 
lessons. It has merely been tried experimentally to test the 
efficacy of certain muscular actions in bringing about a 
desired result. I have proved that it is of the greatest 



204 DANCING. 



advantage to a teacher if he makes some study of the 
anatomical structure of the human frame, and of the influ- 
ences by which our movements are regulated. Such study, 
combined of course with practical experience, will enable 
a teacher of dancing to perceive at once what special 
difficulties beset the individual pupil. He will discover in 
what particular part of the body the muscular action is 
imperfect or out of accord with the rest, and having done 
so, he may, by some specially adapted exercise, which 
causes the pupil to feel what the proper action should be, 
succeed within the space of a few minutes in obtaining a 
result that would not be obtained by years of misdirected 
practice, or indeed by ordinary instruction on conventional 
lines. 

I will bring this chapter to a conclusion with a descrip- 
tion of a new dance, in arranging which it has been my 
endeavour to unite something of the stateliness and elegance 
which characterized the old-time dances with the more 
lively movements of the modern waltz. It is called : 

The Versa, 
A new Valse Dance. 

This dance, the name of which is derived from the Latin 
versare, to turn round, consists of two distinct and succes- 
sively alternated parts. In the one part the hands of the 
dancers only are joined, and in the other their position is 
the same as in ordinary round dances. The movements 
are effective, but very easy, and any one who is able to 
dance and waltz well, will have no difficulty in satisfactorily 
accomplishing them with about an hour's practice. 

One of the special advantages claimed for the Versa is 
that while all the pleasurable qualities of the waltz are 







Plate XXXVIIL 



The Versa. 



THE WALTZ. 



205 



retained in the dance, an additional element of enjoyment 
is found in the alternation of rotary with rectilineal move- 
ment, which not only gives the charm of variety, but 
obviates that feeling of nausea which many people experi- 
ence after much waltzing. The various and elegant positions 
assumed in performing the different parts of the Versa, when 
it is properly taught, should strongly recommend it to those 
parents who desire that their daughters should acquire an 
easy and graceful carriage. 

The music 1 is in three-four time, and begins with a few bars 
of introduction, during which the partners promenade, as in 
an ordinary round dance, stopping opposite one another at 
convenient distances ready to begin the dance. 

Now follow some chords, during which the hands are 
given across, as shown in Plate XXXVIIL, first the right 
hand, which is raised high, then 'the left, which is kept 
about level with the chest, so that the arms form as it were 
a frame through which the partners look at each other in 
turning. 

The music of this part, or tour des mains, is after the style 
of the minuet, with a decided accent on the second beat. 
There are sixteen bars to this part, of which the following 
eight will serve as a specimen of rhythm : — - 



i 



1 



* 



-tSI- 



m 



^T=-# 



m 



It 



E 



?Z 






— H- 



1 Published by Messrs. Francis, Day, and Hunter, by whose permission 
this description is given. 



2o6 



DANCING. 



m 



& 



Iiy grl 



-Q- 



-<S>- 



SI 



fe 



±±S 



Steps for the tour des mains, the same for both partners. 

<9#<?: Slide the right foot to the fourth crossed position, as shown in 
Plate XXXVIII., and in finishing the slide, transfer the balance to the 
right leg. 

Two : Point the left toe lightly in the second position. 

Three : Make a quarter turn on the sole of the right foot, still keeping 
the balance thereon. This will cause the left foot to be in the fourth 
position behind, 1 and the partners will face just a quarter round. 

Four, five, six : For the next bar, transfer the balance gradually to 
the left foot ; then draw the right backward, closing it slowly to the 
third position in front of the left, with a graceful lingering action, and 
in doing this draw slightly away from your partner, but do not, on any 
account, lower the raised arm so as to cover the face. 

Now slide the right foot again to the fourth position crossed, again 
point the left toe lightly in the second position, pivot another quarter 
round on the sole of the right foot, which will bring you to the position 
exactly opposite that whence you started, and once more close the right 
foot gracefully to the third position in front of the left. 

This movement again done twice, that is, four times in 
all, will bring you to your original place and position. It 
occupies eight bars of the music — as much as the extract 
here given. There are, however, eight more bars of this 
part, during which the movement is repeated in the opposite 
direction. The last closing of the right foot should be made 
to the first position instead of the third, which enables the 

1 It is well to remember that quarter pivots will change the relative position of the 
feet from the second position to the fourth, and vice versa, or from the third in front 
to third behind. Half pivots on both feet can only be made in the fifth position. 






THE WALTZ. 



207 



left foot in commencing the reverse turn to pass freely 
across. 

Now relinquish the right hand of your partner, raise the 
left high, and gracefully present the right underneath, so 
that your arms will appear just as they do in the plate, if 
you look at it in a mirror. For the reverse tour des mams .•— 

One: Slide the left foot to the fourth position, crossed in front of the 
right, and transfer the balance wholly to the left leg. 

Two : Point the right foot very lightly in the second position. 

Three : Make a quarter turn on the sole of the left foot, which action 
brings the right toe to the fourth position behind. 

Four, five, six : Transfer the balance gradually to the right foot, and 
close the left with a graceful lingering slide to the third position in front 
of the right, still keeping the balance on the right leg. 

This movement done four times, will once more bring 
you to your original place and position, occupying the 
remaining eight bars of this part of the music. 

For the second part of the dance the music changes 
somewhat in character, and becomes livelier, thus : — 



I 



I 



i 



m 



t=i 



) T|-g~ 3=3 



5 



m 



*x* 



2 







2o8 DANCING. 



Steps for the round dance. The gentleman begins with 
his left foot, the lady with her right. For the gentleman : — 

One: Holding the lady as shown on Plate XXXIX., and facing the 
line of direction, slide the left foot forward to the fourth position, and 
transfer the balance to the left leg, raising the right foot a little behind. 

Two : Coupe dessus. That is, let the raised right foot drop boldly 
down in the place occupied by the left, which is simultaneously raised 
and extended, with the toe turned well downward, in front, so that 
in descending the right foot appears to pass under the left heel. The 
dancers in Plate XXXIX. have just executed this step. 

Three : Coupe dessous. That is, bring the raised left foot boldly down 
backward, so that in descending it passes over the toe of the right, 
which is at the same instant raised and pointed downward behind the 
left. 

Four, five, six : For the next bar place the right foot softly down on 
the floor, in the fourth rearward position, and then close the left foot, 
with a slow, graceful sliding action, to the third position in front of the 
right, as in the former part of the dance. These steps on the whole 
are taken somewhat en reculant, or with a rearward inclination of the 
body. At the third count of the bar, let there be a slight rising move- 
ment on the right toe in turning, and then for the next two measures. 

Make a single tour de valse of six steps in the ordinary position, as 
already explained. The gentleman must, however, not turn the body 
during the last step, but simply close the right foot by pivoting on the 
sole thereof, to the third position behind, so as to have the left foot in 
front ready to recommence the forward slide, resuming the position as 
shown in the plate. 

The forward and backward coupes and tour de valse occupy four bars, 
and as, with the repeat, there are thirty-two bars in this part, the 
movement is done eight times. After this there are again chords in the 
music, during which the hands are again given across, as on Plate 
XXXVIII., and the first movement is repeated ; thus the dance consists 
of successive alternations of the tour des mains and waltz movement. 

The lady's step in the round dance is the exact counter- 
part of the gentleman's, she using the right foot where he 
uses the left, and vice versa. Her steps in the tour de valse 
are precisely the same as in ordinary waltzing. 



1 


















M^^rffiSB 


#% AH 








fS:: ; !S 


I. 1^ 

pi- ;|i 


& jgj ^2 


'/. 








if ; «-7M 







Plate XXXIX. 



The Versa. 



THE WALTZ. 209 



The dancers in the plates are represented in fancy 
costume ; but this of course is not necessary for ordinary 
ball-room performance. Whether or no the Versa will ever 
become general in the ball-room, it is at present impossible 
to say; but at least it will always make a pleasing, easy 
and effective show dance for pupils. 



CHAPTER XVIII. 

A FEW PLAIN WORDS TO TEACHERS. 

In writing the first chapter of the practical section of this 
treatise, I expressed a hope that it might prove useful not 
only to pupils, but also to teachers of dancing ; and as in 
the beginning a little advice was given to the former about 
receiving instruction, so I would, in concluding, venture to 
offer a few suggestions to the latter on the subject of 
imparting the same. 

But first I would call the attention of my brothers and 
sisters of the choric art to the fact that throughout the book 
whenever I have been indebted to any individual author, 
living or dead, the name of that author has been given ; and 
if there be any doubt about the accuracy of my statements, 
it is open to those who require further verification to search 
for themselves. My action in this respect is unlike that 
of some writers of " ball-room guides," who seem singularly 
averse to letting other people know the sources of their 
information, and not unfrequently steal paragraphs without 
the slightest acknowledgment. Poor Blasis has suffered a 
good deal in this respect. Not long since I had to revise 

p 



2io DANCING. 



a work which contained a whole chapter made up of extracts 
from the Code of Te?'psichore. 

Not a few teachers who pretend to have a thorough 
technical knowledge of dancing, make the most egregious 
blunders in the application of their terms. All definitions 
herein have been given on what has appeared to be the best 
authority, and may, I think, be safely accepted. 1 

The object of this chapter is, however, not to further 
explain my own method of work, but to earnestly exhort my. 
professional brethren to co-operate in endeavouring to 
establish a better style of ball-room dancing than that which 
at present obtains. I am sorry to have to confess that a 
great deal of the present degradation of the art is attribut- 
able to the misguided action of teachers, in being over 
anxious to secure and impart to their pupils what they 
believe to be the latest style, instead of endeavouring to 
ascertain and propagate only what is the best style — the most 
artistic, the most refined, the most elegant and courtly. 

This is the great mistake made by those teachers to whom 4 
I have elsewhere alluded as belonging to the second class, 
and to whom these remarks are specially addressed. Those 
so-called teachers that were spoken of as belonging to the 
third and fourth grades cannot be reckoned as legitimate 
members of the profession at all. They are what Americans 
would term " side-show " people, and as such may be 
dismissed as having no real claim whatever to a place in 
our ranks. The present classification has reference rather 
to the attitude of teachers with regard to the true principles 
of dancing than to their personal Terpsichorean attain- 
ments. Many included in the second class are excellent 

1 Shortly after the MS. of this work left my hands, I received from 
America a part of Zorn's Choregraphy, and am pleased to find that many 
of my definitions are in accord with those given by this able teacher. 



A FEW PLAIN WORDS TO TEACHERS. 211 



teachers in their way, some are naturally but indifferent 
teachers, while not a few almost deserve to be written down 
according to the wish expressed by Dogberry. But, however 
poor a teacher's present qualifications may be, it is always in 
his power to improve if he will but adopt the right course. 
A little personal instruction and advice from one who 
thoroughly understands the art, combined with serious 
application, will do much towards relieving the conscience 
of those who must in their inmost hearts feel that they are 
not justified in pretending to impart to others a subject with 
which they are themselves but imperfectly acquainted. To 
return, however, to more qualified instructors ; in the second 
class are included all those who condescend to teach styles 
of dancing that are not strictly in accordance with good 
taste, and who are willing — often against their own better 
judgment — to assist in propagating any popular custom 
that is essentially vulgar and contrary to the rules of art. 

Only those, teachers deserve to be included in the fore- 
most rank who endeavour always, according to their power, 
to improve the national style of dancing, to refine the 
popular taste, and who consistently oppose, irrespective 
of personal interests, all objectionable practices. A teacher 
may at all times impart by preference the style of dancing 
that is most fashionable, provided it does not militate against 
established principles of art. Subject to this reservation, by 
all means let him teach what is fashionable ; but he is no 
more justified in teaching pupils a custom which is contrary 
to the rules of gracefulness, than a music-master would be 
justified in allowing his pupils to write contrary to the rules 
of harmony. A good teacher may be guided by fashion, 
but he will never become a slave to custom ; he will never 
admit that an intrinsically ungraceful action, however general, 
is correct. 



212 DANCING. 



How are the sister arts — music, painting, and literature — ■ 
taught ? All these are also to a great extent dominated by 
fashion. But they are taught according to definite rules. 
The rules of music are far more arbitrary than are those of 
painting and dancing, because in both the latter we have an 
infallible guide in nature. But all are subject to change. 
Certain rules of counterpoint that were once definitely laid 
down, are now seldom regarded ; the technique of modern 
painting is altogether different from that of the pre-Raphaelite 
style. But the changes introduced in music and painting 
are regulated either by evolution or genius. Why, then, is 
it not thus with dancing ? A great musician may introduce 
something unusual in harmony, and a new rule is framed 
accordingly ; a great painter may exert a legitimate influence 
on the rising generation of artists. Suppose, however, that 
some prince, or leader of fashion, who fancied he possessed 
the gift of composition, produced a piece containing succes- 
sions of fifths, and unresolved discords, which he imagined 
produced a fine effect. What should we think if his example 
were immediately imitated by rising composers, and pro- 
mulgated by teachers of music? Again, suppose some 
exalted amateur painter were of opinion that what is known 
as aerial perspective was all rubbish, and set to work to 
paint a landscape, in which distant objects were as distinctly 
and vividly represented as those close to hand. Do you 
think that legitimate artists would alter their style accord- 
ingly ? Why, he would not find an imitator even among the 
smallest fry of the profession. 

In ordinary parlance we know that it is quite usual to 
hear such expressions as " Neither John nor Reginald are 
good dancers." "What a number of people there are!" 
"Is that her?" " Everybody is standing in their places;" 
and I once heard a Queen's Counsel say, " Let you and I 



A FEW PLAIN WORDS TO TEACHERS. 213 



go." But however customary such grammatical errors may 
be ; however fashionable it might become to drop final g's 
to pronounce " here " as if it were spelt he-ar, and generally 
to speak incorrectly, what should we think of a schoolmaster 
who taught the English language thus ? 

A schoolmaster is expected to qualify himself for his 
profession by studying, among other things, the rules of 
grammar; a musician studies the rules of harmony and 
counterpoint ; and an artist studies the rules of perspective, 
light and shade, harmony of colours and anatomy. Accord- 
ing to these rules they teach their pupils, and as it is known 
that proficiency in any art can only be obtained by hard 
study, the professors thereof are respected as men and 
women of culture. 

Now the art of dancing requires as much and as careful 
study as any other art ; moreover, in perfection, it necessarily 
involves some acquaintance, not only with the sister arts, 
but with anatomy, geometry, dynamics, and science 
generally; especially in the case of those who instruct 
others. All men of genius who have written special treatises 
on dancing, from Lucian to Noverre and Carlo Blasis, have 
been of this opinion, to say nothing of those who have dis- 
coursed incidentally on the subject, like Plato, Athenaeus, 
Plutarch, and many others among the immortal classics. 
Lucian's estimate of the qualifications necessary for a dancer 
is well known. He must understand every art, and possess 
encyclopaedic information. Noverre was almost equally 
exacting in his demands upon the dramatic and imitative 
dancer. Blasis held that the arts were inseparably con- 
nected. He considered that a knowledge of drawing 
was essential to a dancer, just as the elder Mozart con- 
sidered a knowledge of rhetoric necessary for a musician. 

To those who are disposed to think lightly of dancing, we' 



214 DANCING. 



may point out that in its nobler aspects, rightly practised 
and rightly understood, it is an art that enables the most 
perfect of God's creatures to display, to the best possible 
advantage, the natural beauty of form, the exquisite grace 
with which they have been endowed, and to manifest before 
delighted eyes all those subtle harmonies and delicacies of 
movement of which the wondrous human frame is capable. 

The beauty of all things animate, and of some inanimate, 
is enhanced by motion. We admire the graceful bending 
of the lily, the rippling of water, the waving of corn, the 
changing shapes of summer clouds ; and trees look lovelier 
when their leaves are agitated by the passing breeze. Bereft 
of motion, nature would lose half her charm. And what 
is dancing but perfection of motion in the loveliest of created 
beings? The spectacle of a young girl, or company of 
girls, beautifully executing some graceful, modest dance is 
perhaps one of the most delightful that can be witnessed. 

It is true that the demand for really noble dancing may 
not at present be very great. On the stage there is far too 
much of what is grotesque and inferior, and too little of 
what is dignified, pure, and elevating. In the ball-room the 
waltz reigns supreme. But still there are not wanting signs 
that people are beginning to better appreciate artistic dances. 
Anyhow, as teachers, we shall ourselves lose nothing by 
striving to acquire a thorough knowledge of the highest 
principles of the art. If we attain this, we can always 
endeavour to refine and cultivate the taste of pupils, to 
ennoble our profession and gain the respect of our fellow 
creatures. 

THE END. 



Richard Clay & Sons, Limited, 
London & Bungay. 



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New edition. Small post 8vo. 6s. 

The Anatomy and Philosophy of Expression as Connected with 
the Fine Arts. By Sir Charles Bell, K.H. 7th edition, revised. Small 
post 8vo. 5s. This edition contains all the plates and woodcuts of the original 
edition. 

An Illustrated History of Arms and Armour, from the Earliest 
Period. By Auguste Deromin. Translated by C. C. Black, M.A., Assistant 
Keeper, South Kensington Museum. With nearly 2000 Illustrations. Small 
post 8vo. 7s. 6d. 

Fairholt's Costume in England. A History of Dress to the end of 
the Eighteenth Century. 3rd edition. Revised by the Hon. H. A. Dillon, 
F.S.A. Illustrated with above 700 Engravings. 2 vols. sm. post 8vo. 5s. each. 

A History of British Costume, from the Earliest Time to the close 
of the Eighteenth Century. By J. R. Plaucfce, Somerset Herald. With 
Index and upwards of 400 Illusti ations. Small post 8vo. 5s. 



20 A Classified Catalogue of Selected Works, 

SPORTS AND GAMES. 

Bonn's Handbooks of Athletic Sports. In 8 vols. Sm. post 8vo. 
3s. 6d. each. 

Vol. I. — Cricket, by Hon. and Rev. E. Lyttelton. Lawn Tennis, by H. W. W. 
Wilberforce. Tennis, Rackets, and Fives, by Julian Marshall, Major Spens, 
and Rev. J. A. Tait. Golf, by W. T. Linskil'l. Hockey, by F. S. Creswell. 

Vol. II. — Rowing and Sculling, by W. B. Woodgate. Sailing, by E. F. 
Knight. Swimming, by M. and J. R. Cobbett. 

Vol. III. — Boxing, by R. G. Allanson-Winn. Broadsword and Single Stick, 
with chapters on Quarterstaff, Bayonet, Cudgel, Shillalah, Walking-Stick, 
and Umbrella, by R. G. Allanson-Winn and C. Phillipps-Wolley. Wrestling, 
by Walter Armstrong. Fencing, by H. A. Colmore Dunn. 

Vol. IV. — Rugby Football, by Harry Vassall. Association Football, by 
C. W. Alcock. Baseball, by Newton Crane. Rounders, Bowls, Quoits, 
Curling, Skittles, &c, by C. C. Mott and J. M. Walker. 

Vol. V. — Cycling and Athletics, by H. H. Griffin. Skating, by Douglas 
Adams. 

Vol. VI. — Practical Horsemanship, including Riding for Ladies, by W. A. 
Kerr, V.C. 

Vol. VII. — Driving and Stable Management, by W. A. Kerr,V.C. [In the press. 

Vol. VIII.— Gymnastics, by A. F. jenkin. Clubs, by G. T. B. Cobbett and 
A. F. Jenkin ; and Dumb-bells. [In the press, 

Bonn's Handbooks of Games. New edition. In 2 vols. Small 
post 8vo. 3s. 6d. each. 

Vol. I. — Table Games : Billiards, with Pool, Pyramids, and Snooker, by 
Major-General A. W. Drayson, F.R.A.S., with a preface by W. J. PealL 
Bagatelle, by 'Berkeley.' Chess, by R. F. Green. Draughts, Backgammon, 
Dominoes, Solitaire, Reversi, Go-Bang, Rouge et Noir, Roulette, E.G., Hazard, 
Faro, by ' Berkeley.' 

Vol. II.— Card Games: Whist, by Dr. William Pole, F.R.S., Author of 
* The Philosophy of Whist,' &c. Solo Whist, by R. F. Green. Piquet, Ecarte, 
Euchre, Bezique, and Cribbage, by 'Berkeley.' Poker, Loo, Vingt-et-un, 
Napoleon, Newmarket, Pope Joan, Speculation, &c. &c, by Baxter-Wray. 

Morphy's Games of Chess, being the Matches and best Games 
plaved by the American Champion, with explanatory and analytical Notes by 
J. L6 venthal. With short Memoir and Portrait of Morphy. Sm. post 8vo. 5s. 

Staunton's Chess-Player's Handbook. A Popular and Scientific 
Introduction to the Game. Wibh numerous diagrams. 5s. 

Chess Praxis. A Supplement to the Chess-player's Hand- 
book. Containing the most important modern improvements in the Openings ; 
Code of Chess Laws ; and a Selection of Morphy's Games. Small post 8vo. 5s. 

Chess-Player's Companion. Comprising a Treatise on Odds, 



Collection of Match Games, and a Selection of Original Problems. With 
coloured Frontispiece. Small post 8vo. 5s. 

Chess Studies and End- Games. In Two Parts. Part I. Chess 
Studies. Part II. Miscellaneous End-Games. By B. Horwitz and J. Kling. 
2nd edition, revised by the Rev. W. Wayte, M.A. Demy 8vo. 7s. 6d. 

Chess-Player's Annual and Club Directory. Edited by Mr. and 
Mrs. T. B. Rowland. Yearly. Crown 8vo. 2s. 6d. 

Schools and Masters of Fence, from the Middle Ages to the 
Eighteenth Century. With a Sketch of the Development of the Art of 
Fencing with the Rapier and the Small Sword, and a Bibliography of the 
Fencing Art during that Period. Bj Egerton Castle, M.A. With numerous 
Illustrations. Crown 4to. 31s. 6d. Fine-paper Edition, a few copies only, 21. 2s. 

Woodgate (W. B.) Oars and Sculls, and How to Use them. By 
W. B. Woodgate, M.A.., Brasenose College, Oxford. Author of '0. V. H.' 
'Ensemble,' &c. New edition, revised. Crown 8vo. 2s. 61. 



A Classified Catalogue of Selected Works. 



21 



THE ALL-ENGLAND SERIES. 

HANDBOOKS OF ATHLETIC GAMES. 

The only Series issued at a moderate price, by Writers who are in 

the first rank in their respective departments. 

' The best instruction on games and sports by the best authorities, at the lowest 
prices.' — Oxford Magazine. 

Small 8vo. cloth, Illustrated. Price Is. each. 



Cricket. By the Hon. and Eev. 

E. Ltttelton. 
Lawn Tennis. By H. W. W. 

Wilberforce. With a Chapter for 

Ladies, by Mrs. Hillyard. 

Tennis and Rackets and Fives. 
By Julian Marshall, Major J. Spens, 
and Rev. J. A. Arnan Tait. 

Golf. By W. T. Linskill. 
Rowing and Sculling. By W. B. 

WOODGATE. 

Sailing. By E. F. Knight. 
Double vol. 2s. 

Swimming. By Martin and J. 
Racster Cobbett. 

Athletics. By H. H. Griffin. 
With contributions by E. H. Pelling, 
H. C. L. Tindall, J. L. Greig, T. Jen- 
nings, 0. F. Daft, J. Kibblewhite, Tom 
Ray, Sid Thomas, and the Rev. W. 
Pollock-Hill. 

Riding. A Handbook to Practical 
Horsemanship. By Capt. W. A. Kerr, 
V.C. Double vol. 2s. 

Riding for Ladies. By Captain 

W. A. Kerr, V.C. 
Boxing. By B. G. Allanson-Winn. 

With Prefatory Note by Bat Mullins. 



Cycling. By H.H. Griffin, L.A.C., 
N.C.U., O.T.C. With a Chapter for 
Ladies, by Miss L. C. Davidson. 

Wrestling. By Walter Arm- 
strong ('Cross-buttocker'). 
Fencing. Bytl.A. Colmore Dunn. 

Broadsword and Singlestick. 
With Chapters on Quarter-Staff, 
Bayonet, Cudgel, Shillalah, Walking 
Stick, and Umbrella. By R. Gr. Allan- 
son-Winn and C. Phillipps-Wolley. 

Gymnastics. By A. F. Jenkin. 

Double vol. 2s. 
Football — Rugby Game. By 

Harry Yassall. 
Football — Association Game. By 

C. W. Alcock. 
Hockey. By F. S. Creswell. 

(In Paper Cover, 6d.) 
Skating. By Douglas Adams. 

With a Chapter for Ladies, by Miss L. 

Cheetham, and a Chapter on Speed 

Skating, by a Fen Skater. Dbl. vol. 2s. 

Baseball. By Newton Crane. 

Lacrosse, Rounders, Bowls, 
Quoits, Curling, Skittles, &c. 
By E. T. Sachs, C. 0. Mott, and 
J. M. Walker. [Prer>arinq. 



THE CLUB SERIES OF CARD AND TABLE GAMES. 
* No well-regulated club or country house should be without this useful series of books.' 



Small 8vo. cloth, Illustrated. Price Is. each. 



Globe. 



Whist. By Dr. Wm. Pole, F.R. S. 

Solo Whist. By Robert F. Green. 

Billiards. The Art of Practical 
Billiards for Amateurs, with chapters on 
Pool, Pyramids, and Snooker. By 
Major-Gen. A. W. Drayson, F.R.A.S. 
With a Preface by W. J. Peall. . 

Chess. By Robert F. Green, 
Editor of the * British Chess Magazine.' 

The Two- Move Chess Problem. 
By B. G. Laws. 

Draughts and Backgammon. 
By ■ Berkeley/ 

Reversi and Go Barg. 
By ' Berkeley.' 



Dominoes and Solitaire. 
By 4 Berkeley.' 

Bezique and Cribbage. 
By ' Berkeley.' 

Ecarte and Euchre. 
By ■ Berkeley.' 

Piquet and Rubicon Piquet. 

By ' Berkeley.' 
Skat. By Louis Diehl. 

Round Games, including Poker, 
Napoleon, Loo, Vingt-et-un, New- 
market, Commerce, Pope Joan, Specu- 
lation, Spin, Snip-Snap-Snorum,£Jig, 
Cassino, My Bird Hngs, Spoil-Five, 
and Loto. By Baxter. Weay. 



22 A Classified Catalogue of Selected Works. 



FICTION. 

(See also 'Standard Books.') 

Bjomson's Arne and the Fisher Lassie. Translated from the 
Norse with an Introduction by W. H. Low, M.A. Small post 8yo. 3s. 6d. 

Burney's Evelina; or, The History of a Young Lady's Entrance 
into the World. By Frances Burney (Mme. D'Arblay). With an Introduc- 
tion and Notes by A. R. Ellis. Small post 870. 3s. 6d, 

Cecilia. 2 vols, small post 8vo. 3s. 6d. each. 

Cervantes' Galatea. A Pastoral Romance. Translated from the 
Spanish by G. W. J. Gyll. Small post 8vo. 3s. 6d. 



Exemplary Novels. Translated from the Spanish by Walter 

K. Kelly. Small post 8vo. 3s. 6d. 

■ Don Quixote de la Mancha. Motteux's Translation, revised. 

With Lockhart's Life and Notes. 2 vols, fcmall post 8vo. 3s. 6d. each. 

Classic Tales, containing Rasselas, Vicar of Wakefield, Gulliver's 
Travels, and The Sentimental Journey. Small post 8vo. 3s. 6d. 

De Stael's Corinne or Italy. By Madame de Stael. Translated by 
Emily Baldwin and Paulina Driver. Small post 8vo. 3s. 6d. 

Ebers' Egyptian Princess. An Historical Novel. By George Ebers. 
Translated by E. S. Buchheim. Small post 8vo. 3s. 6d. 

Fielding's Adventures of Joseph Andrews and His Friend Mr. 
Abraham Adams. With Cruikshank's Illustrations. 3s. 6d. 

History of Tom Jones, a Foundling. Roscoe's Edition, 



with George Cruikshank's Illustrations. 2 vols, small post 8vo. 3s. Gd. each. 
Amelia. Illustrated by George Cruikshank. 5s. 



Gil Bias, the Adventures of. Translated by Smollett. Illustrated 
by Smirke and Cruikshank. Small post 8vo. 6s. 

Haufifs Tales. The Caravan— The Sheik of Alexandria — The Inn 
in the Spessart. Translated by S. Mendel. Small post 8vo. 3s. 6d. 

Hawthorne's Tales. 3 vols. Small post 8vo. 3s. 6d. each. 

Manzoni. The Betrothed. By Alessandro Manzoni. With 
numerous Woodcut Illustrations Small Post 8vo. 5s. 

Stinde (J.) The Buchholz Family. Sketches of Berlin Life. By 
Julius Stinde. Translated from the 49th edition of the German by L. Dora 
Schmitz. Popular edition, picture boards, 2s. ; cloth, 3s. 

The Buchholz Family. Second Part. Crown 8vo. cloth, 3s. 



The Buchholzes in Italy. Translated from the 37th 

edition of the original by Harriet F. Powelh Crown 8vo. 3s. 

Frau Wilhelmine. Being the Conclusion of * The Buchholz 



Family.' Translated by Harriet F. Powell. Cr jwn 8vo. 3s. 



A Classified Catalogue of Selected Works. 23 

BOOKS FOR THE YOUNG. 

Andersen (Hans Christian). Fairy Tales and Sketches. Trans- 
lated by C. 0. Peachey, H. Ward, A. Plesner, &c. With numerous Illus- 
trations by Otto Speckter and others. 7th thousand. Crown 8vo. 3s. 6d. 

Tales for Children. With 48 full -page Illustrations by 

Wehnert, and 57 small Engravings on Wood by W. Thomas. 13th thousand. 
Crown 8vo. 3s. 6d. 

Danish Legends and Fairy Tales. Translated from the 

Original by Caroline Peachey. With a Short Life of the Author, and 120 
Wood Engravings, chiefly by Foreign Artists. Small post 8vo. 5s. 

Edgeworth's Stories for Children. With 8 Illustrations by L. Speed. 
Small post 8vo. 3s. 6d. 

Grimm's Gammer Grethel; or, German Fairy Tales and Popular 
Stories, containing 42 Fairy Tales. Translated by Edgar Taylor. With 
numerous Woodcuts after George Cruikshank and Ludwig Grimm. 3s. 6d. 

Tales. With the Notes of the Original. Translated by Mrs. 



A. Hunt. With Introduction by Andrew Lang, M.A. 2 vols. 3s. Qd. each. 

Stowe's Uncle Tom's Cabin; or, Life among the Lowly. With In- 
troductory Remarks by Rev. J. Sherman. With 8 full-page Illustrations. 
Small post 8vo. 3s. 6d. 

The Wide, Wide World. A Story. By Elizabeth Wetherell. Hm. 
post 8vo. 3s. 6d. 

CAPT. MARRYATS BOOKS FOR BOYS. 

Uniform Illustrated Edition. Small post 8vo. 3s. Qd. each. 



Poor Jack. 

The Mission ; or, Scenes in Africa. 
The Pirate, and Three Cutters. 
Peter Simple. 



The Settlers in Canada. 
The Privateersman. 
Masterman Ready. 
Midshipman Easy. 



MRS. GATTY'S BOOKS. 

Parables from Nature. Illustrated Edition. With Notes on the 
Natural History, and numerous full-page Illustrations by W. Holman Hunt, 
E. Burne Jones, J. Tenniel, J. Wolf, and other eminent artists. Complete 
edition with short Memoir by J. H. Ewing. Fcap. 4to. 10s. 6d. 

Uniform Edition. 2 vols. Fcap. 8vo. 3s. 6d. each. 

Pocket Volume Edition. 2 vols. Imp. 32mo. 5s. 

Cheap Edition. Illustrated. 2 vols. Fcap. 4to. paper covers, Is. each ; 
or bound in 1 vol. cloth, 3s. 

The Fairy Godmothers, and other Tales. 7th edition. 2s. Qd. 

Worlds not Realised, and Proverbs Illustrated, 3rd edition. 3s. Qd 

Domestic Pictures and Tales. With 6 Illustrations. 3s. Qd. 

Aunt Judy's Tales. Illustr. by Clara S. Lane. 9th edition. 3s. Qd. 

The Hundredth Birthday, and other Tales. With Illustrations by 
Phiz. New edition, revised. 3s. 6d. 



24 A Classified Catalogue of Selected Worki 



MRS. EWING'S BOOKS. 

Uniform Edition, in 9 vols. 

We and The World. A Story for Boys. By the late Juliana 
Horatio Ewing. With 7 Illustrations by W. L. Jones 4th edition. 3s. 

A Flat Iron for a Farthing ; or, Some Passages in the Life of an 
Only Son. With 12 Illustrations by H. Allingham. 16th edition. 3s. 

Mrs. Overtheway's Remembrances. Illustrated with 9 fine full- 
page Engravings by Pasquier, and Frontispiece by Wolf. 4th edition. 3s. 

Six to Sixteen : A Story for Girls. With 10 Illustrations by Mrs. 
Allingham. 7th edition. 3s. 

Jan of the Windmill : a Story of the Plains. With 11 Illustrations 
by Mrs. Allingham. 5th edition. 3s. 

A Great Emergency. A very Ill-tempered Family — Our Field — 
Madame Liberality. With 4 Illustrations. 3rd edition. 3s. 

Melchior's Dream. The Blackbird's Nest— Friedrich's Ballad— A 
Bit of Green — Monsieur the Viscount's Friend — The Yew Lane Ghosts — A 
Bad Habit — A Happy Family. With 8 Illustrations by Gordon Browne. 6th 
edition. 3s. 

Lob-Lie-by-the-Fire, or the Luck of Lingborough ; and other Tales. 
With 3 Illustrations by George Cruikshank. 4th edition. Imp. 16mo. 3s. 6d. 

The Brownies. The Land of Lost Toys — Three Christmas-trees — 
An Idyl of the Wood - Christmas Crackers — Amelia and the Dwarfs — Timothy's 
Shoes — Benjy in Beastland. Illustrated by George Cruikshank. 7th edition. 
Imp. 16mo. 3s. 6d. 

THE SHILLING SERIES. 

Fcap. ito. double columns. Illustrated, Is. each. 

Mrs. Ewing's Melchior's Dream, and other Tales. 

A Flat Iron for a Farthing. 

Six to Sixteen. 

We and the World. 

Mrs. Overtheway's Remembrances. 

Jan of the Windmill. 

A Great Emergency, and other Tales. 

The Brownies, and other Tales. 

Mrs. Gatty's Parables from Nature. Two Series, each Is. 

Miss Procter's Legends and Lyrics. Two Series, each Is. 

Hector. A Story for Young People. With 12 Illustrations by 
W. J. Hennessey. By Flora Shaw, Author of * Castle Blair.' 

Andersen's Tales. Translated by Caroline Peachey. 



London : George Bell & Sons, York Street, Covent Garden. 



M- 



Date Due 

All library items are subject to recall at any time. 



m MAY 9 2012 



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Brigham Young University 



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