LIBRARY 

Brigham Young University 




IN MEMORY OF 



Leona Holbrook 




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ALLEN DODWORTH, 



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DU3L 

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DANCING 



AND 

ITS RELATIONS TO EDUCATION 
AND SOCIAL LIFE 



WITH A NEW METHOD OF INSTRUCTION 

INCLUDING A COMPLETE GUIDE TO 

THE COTILLION (GERMAN) 

WITH 250 FIGURES 



By ALLEN DODWORTH 



ILLUSTRATED 



NEW AND ENLARGED EDITION 
WITH AN INTRODUCTION BY 

T. GEORGE DODWORTH 



NEW YORK AND LONDON 
HARPER & BROTHERS PUBLISHERS 

1900 



Copyright, 1885, 1888, by Harper & Brothers. 



[Covering the Introduction.] 

Copyright, 1892, 1894, by WILLIAM A. POND & CO. 

Copyright, 1900, by T. GEORGE DODWORTH. 



All rights reserved. 



p »ovTu&7 e « s,ty 



CONTENTS. 



CHAPTER I. 

PERSONAL. Page 

Disappointment after Teaching Many Years. — The Cause. — Tra- 
ditional Belief in the Usefulness of the Dancing-lesson. — Object 
of Publication.— Dedication. — Warrant for Opinions on Musical 
Matters. — Suggestions to Parents. — What a Great Journal Quotes 
from the London Lancet. — Two Methods. — Distinction between , 
them. — Dance Teacher and Dancing-master I 

CHAPTER II. 

INTRODUCTION. 

Universal Pleasure in Motion. — What the Man of Science Says. — 
What the Poet Says. — Power of Rhythm in Man's own Cre- 
ations. — Every Nation and Tribe has its Dance. — Persistent 
Love of the Pleasure. — Irresistible Power of the Law. — Good 
People, in a Measure, Answerable for the Sinfulness of Dancing. 
— What they Ought to Do. — Christian Associations. — Dancing 
in our Public Schools. — Nationality of Motion. — Three Classes ^f- 
of Dancing-masters and their Influence. — Cause of the Deteriora- 
tion in our Ballet-Dancing. — A Revolution in Social Dancing. — 
Cause of the Deterioration in Teachers. — What Followed the^ 
Introduction of the Polka. — Undue Attention Given to the Cul- 
tivation of Muscle. — Duty of Parents 8 

CHAPTER III. 

MANNERS, OR MORALITY OF MOTION. 

Manners. — Morality of Motion. — Not Truly Valued. — The Opin- 
ion of a Great Philosopher. — Easy to Learn. — Foot-ball Hab- 
its. — Gentleman in our Exchanges. — Effect of Habits. — Little 



IV CONTENTS. 

Page 
Crimes before Greater. — Effect of Boxing, Wrestling, etc. — A 

Strong Influence Required. — Two Examples. — What Good Man- 
ners are 20 

CHAPTER IV. 

POSITIONS AND MOTIONS. 

Positions. — Dodworth Method. — Six Radical Motions 24 

CHAPTER V. 

GENERAL DIRECTIONS APPLICABLE TO ALL ROUND DANCES. 

Absurdity of the Notion that one Cannot Learn without a Partner. 
— First Duty of Beginners. — When Two may Dance Together. — 
Elements of Good Dancing. — Best Examples. — Dancers with but 
One Element. — A Prevalent Mistake. — Another Fact. — Only the 
Theory. — Who Complain. — An Amusing Incident. — Accent, 
Music, and Dancing Inseparable. — Natural Pulsation. — Who it 
is that Pooh-pooh Dancing. — Guiding. — Music for Dancing. — 
A Few Suggestions. — Metronome 32 

CHAPTER VI. 

GALOP. 

Motions, Time, Accent. — Method of Practice. — How to Turn to 
Right and Left. — To Change. — Deux Temps. — Why it should be 
Named the Ignoramus Waltz. — Motions. — Time and Accent. — 
Trois Temps. — Four-slide Galop. — An Agreeable Change 44 

CHAPTER VII. 

RACKET AND POLKA, AND THE VARIOUS DANCES FORMED FROM 

THE SAME MOTIONS. 

Motions, Time, and Accent. — Not a Round Dance. — Racket Waltz, 
or the " Society."-— Two-slide Racket.— Three-slide Racket to 
Galop and Waltz. — Polka Redowa. — Polka Mazurka. — Esmer- 
alda. — A Pleasant Variation. — Bohemian. — Combination. — Old 
and New Varsovianna. — Old and New Five-step. — A Curious 
Illustration. — Schottische 50 

CHAPTER VIII. 

WALTZ AND KNICKERBOCKER. 

Survival of the Fittest. — A Picture of Good Waltzing. — Another 
Picture. — Malaria. — Motions, Time, and Accent. — Turning and 



CONTENTS. V 

Paga 
Pursuit.— -Six Examples of Accent— Length of Motions. — Start- 
ing. — Knickerbocker. — Its Origin. — Knickerbocker to the Waltz 
and Galop. — Redowa.— Its Origin. — Hop Waltz. — Boston 62 

CHAPTER IX. 

WALKING. — SALUTATIONS. 

Use of the Arms. — Walking. — Salutations 74 

CHAPTER X. 

QUADRILLE AND OTHER FIGURE DANCES (SO - CALLED SQUARE 

DANCES). 

Manners in this Dance. — Want of Good-breeding. — Consequence 
of Attention to these Dances. — A Hint on Etiquette. — Motions, 
Time, and Accent. — Formation. — Head of Room. — The Figures 
as Danced at Present. — The Original Form. — Modifications In- 
troduced. — Extra Figures. — Polo. — Caledonians 79 

CHAPTER XI. 

LANCERS. 

As Now Danced. — The Original, and the Changes Introduced. — 
Saratoga Lancers. — New York Lancers 101 

CHAPTER XII. 

COURT QUADRILLE (HUNGARIAN "KORTANZ") II3 

CHAPTER XIII. 

MINUET. 

Tradition.— Secondary, not Primary, Fact Recognized.— Elimina- 
tion of Slow Movements. — Motions. — Figures 125 

CHAPTER XIV. 

VIRGINIA REEL. — POLONAISE. 

Remarks. — Motions. — Figures 136 

CHAPTER XV. 

DANCE MUSIC. 

Music and Musicians 140 



vi CONTENTS. 

CHAPTER XVI. Page 

COTILLION OR GERMAN. 

Origin of the Name German. — When Introduced. — Is an Epitome 
of Modern Dancing. — Its Advantages. — Duties and Etiquette. — 
Arrangements. — Who May Join in the Dance. — The Conductor 
or Leader, and his Duties and Hardships. — The Music. — Two 
Hundred and Fifty Figures 145 

CONCLUSION. 

TO TEACHERS OF DANCING. 

Personal. — Dancing no Evidence of Ability to Teach. — A Great 
Trust. — Public Opinion must be Improved. — A Conspicuous 
Example of this Necessity. — Fashion. — Dancing-master's Mis- 
take. — A Trade or a Profession. — A Frequent Remark. — Con- 
fusion of Terms. — Examples in Society. — Natural Dancers. — A 
Curious Case of Moral Obliquity. — Obstacles to Good Teach- 
ing. — The Failure of Private Classes. — A Teacher's Qualifica- 
tions. — Failure of Modern Education. — Practice More than 
Rules. — A Last Word 264 



ILLUSTRATIONS OF POSITIONS IN DANCING.. . .274-277 



APPENDIX. 
ADDITIONAL DANCES 279-301 



DANCING 



INTRODUCTION.. 



The publishers have found it necessary to issue 
a new edition of the standard work on "Dancing" 
written by my uncle, Mr. Allen Dodworth, some years 
ago. In order to bring the work up to date, I have 
been requested to write an introduction which will 
include a list of dances that have come into fashion 
since my uncled book was originally published. 

As a matter of fact, however, society dances have 
decreased, rather than increased, during this interval. 
When this work first appeared most of the round 
dances described in its pages were fashionable. But 
Dame Fashion is fickle, and, owing to some unac- 
countable change in taste, we now have only the 
Two Step, the Waltz, occasionally a Saratoga Lan- 
cers, and the Cotillion. In the dancing-schools the 
old dances are still taught, but with numerous new 
combinations, which are composed to improve the 
pupil and keep alive the interest. From these com- 
binations we have the Tuxedo Lancers, the Amster- 
dam, Gavotte der Kaiserin, Minuet de la Cour (for 
four persons), and the Pasedena. The Two Step is 
the most popular of the round dances, and the sim- 
plest combination of motions that form a dance. Its 

ix 



X INTRODUCTION. 

popularity is undoubtedly due to this fact, for many 
novices learn it without any instruction. It is an old 
dance revived, and was known and described in this 
book as the Galop, the only change being made in 
the tempo ; the Galop tempo being f , with an accent 
of its own, while the Two Step is danced to f , £ , and 
f, moderato, the last mentioned being the favorite, 
as so many " rag-time " coon songs are composed to 
this tempo, and are very popular just now. 

The Waltz is the same as previously described, 
and is a modification of the Redowa and the Boston 
— the dancers gliding around with very little move- 
ment from the floor. Many use the Two Step to 
the Waltz music, which used to be called the Deux 
Temps. The Saratoga Lancers, as now danced, is 
the same as formerly, with the exception that the 
fourth figure is omitted. Cotillions are the fashion 
at private dances, with less attention to figure danc- 
ing, which used to puzzle the brains of a leader. This 
is now left to the manufacturer of favors. At many 
dances every figure is a favor figure, making a Cotil- 
lion an expensive affair, especially when gold and sil- 
ver souvenirs are presented. 

The following dances will be found more interest- 
ing to teachers and those who like dancing for what 
it produces — gracefulness, confidence,, with easy and 
polite manners : 



INTRODUCTION. x i 

"TUXEDO" LANCERS. 

EACH FIGURE IS DANCED FOUR TIMES. 

Introduction 8 bars 

Note. — Salute partners, the same to corners of the set. 

FIRST FIGURE. 

Call. — All promenade half-way around the set . . 4 bars 

Note. — After the promenade, face centre of set. 

Call. — Head couples forward and back. > « 

Call. — Sides the same. ) 

Note.— Sides go forward when the heads come back. 

Call. — Heads cross over with right and left to places. 4 bars 

Call. —Sides the same 4 bars 

Call. — All balance to corners and turn 8 bars 

SECOND FIGURE. 

Wait 8 bars 

Call. — Head couples forward and bow 4 bars 

Call. — Face side couples and bow 4 bars 

Note. — To face side couples, turn back to partner, 

bow, give hand to whom you bow ; head 

couples walk backward to places, sides 

forming lines with head couples. 

Call. — All forward and back 4 bars 

Call. — All forward and turn 4 bars 

Note. — Turn partners to places. 

Call. — All hands around 8 bars 

Note. — Form a circle, slide half-way around to left, 

then back to right. Third and fourth times, 

side couples commence the figure. 

THIRD FIGURE. 

Wait 8 bars 

Call.— Head couples cross hands with sides ... 4 bars 



xii INTRODUCTION. 

Note. — Head couples face to their right, sides face 
to their left, the ladies give right hands, 
gentlemen the same, walk half-way around 
to opposite couple's place. 

Call. — Cross hands with next couple 4 bars 

Note. — The same figure is repeated, taking all half- 
way around the set. 

Call. — All grand chain to places 8 bars 

Note.— Grand chain to places and bow. Third and 
fourth times, side couples face to their right, 
and head couples face to their left. 

FOURTH FIGURE. 

Call.— The Grand Windmill 16 bars 

Note. — The four ladies cross left hands and prome- 
nade half-way around the set, at the same 
time the four gentlemen promenade out- 
side of the ladies in the opposite direction, 
meeting their partners half-way around the 
set ; each gives right hand to partner, bring- 
ing the lady on right side of gentleman, and 
bows to partner. To return to places the 
Windmill is repeated, with the gentlemen 
inside crossing right hands ; the ladies 
promenade in the opposite direction, and, 
meeting partners, give left hand, which will 
bring lady on right of gentleman, then bow. 

Call.— Head couples face out 4 bars 

Note. — Head couples take partners' hands and turn 
to their left, facing outside of set. 

Call. — Side couples next. . 4 bars 

Note.— Third couple stands behind first couple, fourth 
couple behind second. 

Call.— All Chasse 8 bars 

Note, — All pass partners sideways, with three slides- 
gentlemen pass behind — all balance for- 
ward and back. All pass partners again with 
three slides, and balance forward and back. 



INTRODUCTION. xiii 

Call. — March , 8 bars 

Note. — Ladies turn to their right, gentlemen turn to 
their left; all march around and stop in 
opposite places to where the march com- 
menced. In this march there are four lines 
moving, two of ladies and two of gentle- 
men ; the gentlemen pass outside of ladies. 

Call.— All forward and back 4 bars 

Note. — Forward and back in two lines ; in each line 
will be two ladies and two gentlemen. 

Call. — Turn partners to places 4 bars 

Note. — Turn partners to original places to commence 
the Windmill movement. 



THE AMSTERDAM. 

The Amsterdam is an open-and-shut dance — that is, 
the first part is danced side by side with partner, and 
the second part, or turn, is danced in the waltz posi- 
tion, or closed, the lady holding her dress out with 
right hand, while the gentleman allows his left to re- 
main at his side. This dance was composed in order 
to bring in use more of the graceful body movements 
in round dancing than heretofore, thereby accustom- 
ing the pupil to these valuable poses. 

POSITION FOR THE DANCE. 

Lady and gentle?nan stand side by side (lady on the right\ 
gentlemaii holding lady's left hand in his right, about as high 
as lady's shoulder, with elbows well away from sides ; lady 
holding dress cut at side with right hand ; each with head 
turned towards the other, and right foot extended in front 
with toes resting gently on the floor. 



xiv INTRODUCTION. 

FIRST PART. 

Gavotte Promenade. i6bars 

1. Both make one step forward, on the toes, with 

right foot, counting i, 2 (half- bar), same with 

left foot, counting 3, 4 (half-bar) 1 bar 

Step, change ; step, forward with right foot. At 
the word change, the left foot is drawn up to 
right before right makes the next step . , . 1 bar 

2. These two bars are repeated, as described in No. 1. 

At fourth count of second bar, both turn quar- 
ter round to face partner, resting on left foot 
with right foot extended at right side ; at same 
time both give right hand. 

3. Both balance forward with right foot, at same time 

raise right hand and lean to left to look under 
hands at partner. (The balance step is to make 
one step forward and hold the other foot at 
side) 1 bar 

4. Both balance backward with left foot, hands are 

lowered, still keeping hold 1 bar 

5. Both change places, making two steps to a bar 

(one with each foot), commencing with right . 1 bar 

6. Facing partner, both salute ; lady courtesies with 

right foot behind ; gentleman bows with heels 
together 1 bar 

7. Both face to go forward, lady on left of gentle- 

man, and repeat movements 1 to 6 8 bars 

SECOND PART. 
Glide Mazurka. 16 bars 

8. Couple now takes position for round dancing, with 

this exception, that lady holds dress out at 
side with right hand and gentleman allows 
his left to remain at side. 

9. Gentleman commences with left foot, lady with 

right. Slide, slide, slide, slide ; change; leap, 



INTRODUCTION. XV 

counting i, 2, 3, 4, 5, 6. (The word change 
means bringing feet together at 5 before mak- 
ing leap at 6.) The turn in this step is made 
with every leap. 

10. Gentleman's right, lady's left ; slide, change, leap. 1 bar 
Same slide ; change ; leap to other side . . . . 1 bar 

11. Repeat movements 9 and 10 three times more, 

commencing with gentleman's right, lady's 

left 12 bars 

12. Take position for Gavotte Promenade and repeat 

First Part; then change position for round 
dance, and repeat Second Part, and so on. 
It makes a pretty finish to stop dancing after the 
Gavotte Promenade. 



GAVOTTE DER KAISERIN. 

SALUTATIONS AND STEPS. 

The Courtesy and Bow is made in usual Minuet manner, 
very low and slow, using 2 bars, count four quarters to a bar. 

PAS BALLOTE. 

Raise right foot in front about twelve inches, with toes 
pointed, place that foot on the floor, first quar- 
ter. Bring left up to right, second quarter. 
Place right foot as before, third quarter. Swing 
left foot past right, fourth quarter, so to com- 
mence Pas Ballote with that foot if necessary to 
make another 1 bar 

BALANCE A LA GAVOTTE. 

Place right foot at side (2d position), first quarter. 
Place left foot in front (4th position), at same 
time turn body slightly, second quarter. Pose 
third and fourth quarters 1 bar 



xvi INTRODUCTION. 

PAS DE BOUTS A LA GAVOTTE. 

As this step only occupies two-quarters of a bar, it is 
repeated with other foot. Place right foot be- 
tween 2d and 4th positions, lean body to right 
and look at foot, first quarter. Place same foot 
in first position and straighten body, second 
quarter. Repeat with other foot, third and 
fourth quarters . . . . . t 1 bar 

PAS GLISSE. 

Slide right foot on toes to 2d position, first quarter. 
Bring left foot up to 1st position, second quar- 
ter.. Same motions to the left, third and fourth 
quarters 1 bar 

PIROUETTE. 
Place right foot in 4th position, first quarter. Cross 
left in front of right, second quarter. Make a 
complete turn to the right and finish with right 
foot in 3d position, third and fourth quarters . 1 bar 

THE DANCE. 

O Lady. • Gentleman. < CC£ Direction. 

Face Face 

Fig. i.— Introduction. 



Take places as in Fig. 1 ........... 3i bars 

Salute to right ii bars 



INTRODUCTION. xvii 

Form square (Fig. 2), and gentlemen place partners 

vis-a-vis 2 bars 

Fig. 2. 






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1. Two Pas Ballotes. Commence on first quarter af- 
ter the pause (Tj. First Pas Ballote begins 
with quarter-turn to right on right foot ; second 
Pas Ballote makes half-turn on left foot; look at 
each other while passing, and finish face to face 2 bars 

Fig. 3. 



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2. Gavotte Reverence a droite. (Salute to the right.) 2 bars 

3. Two Pas Ballotes. Commence with right foot, pass 

each other on left side, and turn head towards 
partner. During second Pas Ballote make half- 
turn and finish face to face 2 bars 

4. Gavotte Reverence a droite 2 bars 



xviii INTRODUCTION. 

Fig. 4. 



5. Two Pas Ballotes. Commence with right foot. 

Second Pas Ballote, couple make quarter-turn 

to left and form as in Fig. 2 2 bars 

6. Balance a la Gavotte to the right, giving left hand 1 bar 

7. Same to left, giving right hand 1 bar 

8. Two Pas Ballotes. Commence with right foot, 

give right hand to partner, and make half-turn. 2 bars 

9 to 11. Repeat 6 to 8 4 bars 

12. Four Pas Ballotes. Commence with right foot, 
each couple turn, giving both hands, and finish 
with gentlemen in the centre, giving left hand 
to one another and right to their partners, 
forming L'Etoile (Star) 4 bars 

Fig. 5. — L'Etoile. 



13. Pas de Bouts, with right and left foot 1 bar 

14. Commence with right foot, walk forward four 

steps one-quarter of the Star 1 bar 



INTRODUCTION. XIX 

15 to 20. Repeat three times 13 and 14 6 bars 

At finish separate and 

21. Make two Pas Ballotes, commencing with right 

foot, around partner, and form as in Fig. 2 . . 2 bars 

22. Two Pas Ballotes. Commence with right foot, 

and by making first movement of grand chain, 
retaining right hand of partner and left hand 

of next person, form La Rosette 2 bars 

Fig. 6.— La Rosette. 




23. Pas Balance a la Gavotte to right. Look under 

arms at partner 1 bar 

24. Pas Balance a la Gavotte to left. Look under 

arms at person on left 1 bar 

25. Two Pas Ballotes. Commence with right foot, 

change places with partner, still retaining right 

hand, and give left hand to next person ... 2 bars 

26. Pas Balance a la Gavotte to right 1 bar 

27. Pas Balance a la Gavotte to left 1 bar 

With fourth quarter of this bar stop in front of 

partner. 

28. Pas Glisse to left 1 bar 

29. Pirouette with left 1 bar 

30. Pas Glisse to right. Short steps to keep in front 

of partner 1 bar 

31. Pirouette with right foot 1 bar 

32. During 1st and 2d quarters gentleman presents 

right hand to partner, and during 3d and 4th 
quarters lady presents right hand to gentleman 1 bar 



XX 



INTRODUCTION, 



33. Lady executes pirouette on left foot, gentleman 

with slightly raised heel turns partner. . . . 1 bar 

34. Both let go of hands and salute to right . . . , 2 bars 
35 to 38. Repeat 22 to 25 and let go of hands ... 6 bars 
39. Head couples separate and form lines with sides, 

making two Pas Ballotes, sides also facing in 

lines 2 bars 



Fig. 7.— Grand Traversez. 




40. With four Pas Ballotes all cross over and face 

around where they started from 4 bars 

41. Cross back to same places 4 bars 

42. With two Pas Ballotes ladies go to centre and 

form windmill, giving right hand ; at same time 
gentlemen face opposite by side of partners . . 2 bars 

Fig. 8.— Moulinet a la Gavotte. 




INTRODUCTION. XX J 

43. With two Pas Ballotes go forward one quarter of 

circle 2 bars 

44. With two Pas Ballotes turn next lady with left 

hand 2 bars 

45 to 50. Repeat three times 43 and 44 12 bars 

51. Salute partners 2 bars 

52. Gentlemen lead partners with walking step to 

form as Fig. 1 2 bars 

53. All salute to right 2 bars 

All separate with promenade 3 bars 



NEW MINUET DE LA COUR. 

(for four persons.) 

description of steps. 

PAS MARCHE. 

Simply a walking step on the toes ; always three steps to a bar. 

PAS BALANCE. 

Place right foot in front in 4th position, first quarter ; 
then place left at side in 2d position, and rise 
on toes, most of the weight being on right foot, 
second and third quarters. To repeat this step 
forward or backward, always commence with 
the foot pointed at side, in 2d position. To 
balance at side, place right in 2d position, first 
quarter, and left in 4th position, front, second 
and third quarters 1 bar 

PAS GRAVE. 

Place right foot in 5th position, bend both knees, first 
quarter; rise on toes, second quarter; descend 
on left heel, keeping right knee bent and toes 
pointed, third quarter. Then complete the step 
with Pas Balance, as described above .... 2 bars 



xxii INTRODUCTION. 

PAS MENUET. 

Place right foot in 5th position, bend both knees, 
first quarter ; rise and extend right to 2d 
position, second quarter ; transfer weight from 
left to right, entirely on the toes, and finish with 
left in 2d position, third quarter. To con- 
tinue in same direction, place left behind when 
bending again for first quarter. To move to 
the left, place left in $th position 1 bar 

PIROUETTE, 
Place right foot in front, 4th position, first quarter; 
cross left in front of right, turning half-way 
round, second quarter ; complete the remaining 
half of turn on toes, and finishing with right in 
front in 4th position, third quarter 1 bar 

THE DANCE. 

HONORS. 

The two couples stand facing each other, about twelve feet 
apart. Gentleman takes ladys left hand, hands held up as 
high as ladys shoulder ; lady holding dress out with right 
hand. Both standing in first position. 

1. Both place right foot at side in 2d position; 
transfer weight from left to right by rising on 
toes 2 bars 

Gentleman bows low with heels together, and at 
finish steps back with left foot to 4th position ; 
at same time lady courtesies low, with left 
foot in front. Pose with faces turned towards 
each other 2 bars 

Both step forward, gentleman with right, lady 

with left 1 bar 

Face partner with side slide, gentleman to the 

left Jady to the right; disengage hands . . . 1 bar 



INTRODUCTION. xxiii 

Gentleman bows and steps back with right foot 
to 4th position. Lady courtesies with left foot 
behind i bar 

Gentleman takes partner's right hand in his left, 
and both make two steps towards original 
places, gentleman commencing with left foot, 
lady with right, and finish in ist position, fac- 
ing opposite couple as in the beginning . . . i bar 

2. Pas Grave with right in front 2 bars 

3. Pas Marche, commencing with left 1 bar 

4. Pause with right in 2d position 1 bar 

5. Pas Menuet to right twice 2 bars 

6., Pas Balance forward twice, commencing with left. 

The couples pass each other 2 bars 

7. Pas Menuet to left twice, back to back with other 

couple 2 bars 

8. Pas Balance forward, commencing with right foot 2 bars 

9. Both give left hand and Pas Marche around each 

other, so as to bring lady on gentleman's right. 2 bars 
10. Salute partner, lady with left foot behind, and 

finish still facing each other 2 bars 

n. Pas Menuet twice to right 2 bars 

12. Pas Menuet twice to left 2 bars 

13. Pas Balance forward with right, backward with 

left, at same time both giving right hand and 
looking under hands on forward Pas Balance . 2 bars 

14. Disengage hands and salute, lady with left be- 

hind 2 bars 

15. Repeat 13 2 bars 

16. Pas Marche, commencing with right, change places 

and salute, lady with right behind, at same time 
disengage hands. 2 bars 

17. Repeat 13, commencing with left foot, and giving 

left hand 2 bars 

18. Repeat 16, commencing with left foot; lady cour- 

tesies with left behind; finish facing opposite 
couple in ist position 2 bars 



xxiv INTRODUCTION. 

19. The two ladies forward, with Pas Grave and Pas 

Marche, pause in centre of set and give right 

hand, right foot in 2d position 4 bars 

20. The two ladies change places with Pas Marche, 

commencing with right, and, still retaining 
hands, pause one bar with right foot in 2d 
position 2 bars 

21. Ladies and gentlemen give left hands to one an- 

other, the ladies still retaining right hands, 
thus form a line across the set. All Pas Bal- 
ance forward and backward twice, commenc- 
ing with right 4 bars 

22. Ladies disengage right hands, and Pas Marche, 

commencing with right, around gentlemen, who 
do the same, so as to bring ladies on right side. 
The ladies are now in opposite places .... 2 bars 

23. Face partner and salute, lady with left behind, and, 

disengaging hands, repeat to other side ... 4 bars 

24. Repeat 11 to 14 8 bars 

25. Repeat 15 to 18 8 bars 

26. Repeat 19 to 23 . 16 bars 

27. Both couples Pas Balance forward, gentleman 

holding lady's hand 2 bars 

28. All slide to right once, and salute opposite, finish- 

ing on left foot 2 bars 

29. All cross over with right and left movement, using 

Pas Marche, thus bringing all to original places 2 bars 

30. Salute partner 2 bars 

31. Pas Balance to right, giving left hand; same to 

left, giving right hand 2 bars 

32. Lady Pirouettes on right foot; gentleman, rising on 

toes, assists partner to turn, both giving right 

hand ; both salute, lady with right foot behind. 2 bars 

33. Repeat 31, using left instead of right 2 bars 

34. Repeat 32, using left instead of right 2 bars 

35. All with right foot Pas Marche to centre of set, 

forming star with right hands 2 bars 



INTRODUCTION. XXV 

36. Pas Balance sideways, with right towards centre 

of star, raising right hands ; same to left, lower- 
ing hands 2 bars 

37. Pas Marche, commencing with right, to original 

places 2 bars 

38. Salute partner, lady with right foot behind ... 2 bars 

39. Gentleman takes lady's left hand in his right; Pas 

Balance, lady with left, gentleman with right ; 
when placing foot in 2d position, face each 
other; repeat with other foot, turning back to 
back . 2 bars 

40. Pas Balance again, face to face, and salute part- 

ner, lady with left foot behind 2 bars 

41. Pas Marche to original places; gentleman com- 

mences with left foot, lady with right, gentleman 
holding lady's right hand in his left .... 2 bars 

42. Salute partner, lady with right foot behind ; dis- 

engage hands 2 bars 

43. Repeat the Honors No. 1 . 8 bars 



XXVI 



INTRODUCTION. 



THE PASADENA. 

The Pasadena is a new combination danced to any 
two-step music — waltz position. The explanation is 
for the gentleman, but will answer for the lady, if, 
where right is mentioned, she use her left foot, and, 
where left is mentioned, she use her right foot. Each 
repeats this strain, commencing with opposite foot. 













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T. George Dodworth. 



DANCING 

AND ITS RELATIONS TO 

EDUCATION AND SOCIAL LIFE, 



CHAPTER I. 

PERSONAL. 

Disappointment after Teaching many Years. — The Cause.— 
Traditional Belief in the Usefulness of the Dancing-lesson. 
— Object of Publication. — Dedication. — Warrant for Opin- 
ions on Musical Matters. — Suggestions to Parents. — What 
a Great Journal quotes from the London Lancet. — Two 
Methods. — Distinction between them. — Dance Teacher and 
Dancing-master. 

After teaching for many years, ever striving for 
the best methods, I found myself far from accom- 
plishing all that I thought it my duty to accomplish 
as an instructor in dancing. It was noticeable that 
many young persons of excellent education, in a gen- 
eral sense, and surrounded by circumstances most fa- 
vorable to the cultivation of good taste, were in move- 
ment and manner less graceful than was to be expect- 
ed. I keenly felt these failures among my own pupils, 
believing that there was much beyond mere skill in 
dancing that ought to be gained through or by means 
of the dancing-lesson ; for I am fully in accord with 
the traditional belief that dancing should be superior 
to all other exercises in its beneficial effect upon car- 

i 



2 DANCING. 

riage and manner. Knowing that this belief is based 
upon a truth, I have endeavored to discover and place 
before the reader the causes which have operated in 
later years to impair the usefulness of instruction in 
dancing. The struggle to overcome the difficulty has 
been a long one; but, I may say, not without a meas- 
ure of success on my part. The hope of aiding those 
who are now striving to gain the same ends, and, so 
far as was in me, to meet an evident desire for the es- 
tablishment of a general standard among teachers — 
the existence of which is shown in the formation of 
societies to promote uniformity — has encouraged 
me to publish this work. Its pages bear ample evi- 
dence of the fact that little may be claimed for it in 
a literary point of view ; I believe, however, they will 
testify to honest intentions. Such as it is, I dedicate 
the work to those who are interested, with an intense 
desire that it may assist in rescuing our art from false 
teaching and unjust prejudice. Lest it be thought 
presumption in me to offer opinions on musical mat- 
ters, it is well to say that my early education in that 
art gives me warrant for doing so. 

To Parents. 

Select your teacher with great care and allow him 
to teach without interference. If you cannot trust 
him, it would be better for your children never to 
learn to dance than to be placed under his influence. 

When the hope for promotion is used as a stimu- 
lant to effort, be cautious about removing that incen- 
tive, by requesting or insisting upon promotion before 
the proper time arrives, of which the teacher should 



PERSONAL. 3 

be the best judge. Promotion is not always prog- 
ress. 

The imitative ability of children, together with a 
strong feeling for rhythm, enables many to "pick 
up " the succession of motions which form a dance, 
who yet never acquire the art of making those mo- 
tions in a graceful manner. A belief is unfortunately 
too prevalent, that gracefulness is wholly due to nat- 
ure ; but the idea is as far from the truth as that 
expression in language and music is wholly natural. 
The nearest approach to ideal perfection, in all art, 
is where the greatest natural talent has received the 
highest cultivation ; but, in the absence of great gifts, 
ordinary ability may be much improved by training. 

With children, the effort to move gracefully pro- 
duces a desire also to be gracious in manner, and this 
is one of the best influences of a dancing-school. The 
frequently recurring circumstances of their social in- 
tercourse impress their minds practically with the 
value and beauty of politeness. To secure the great- 
est benefit, children should begin lessons in dancing 
at an early age ; as a general rule not later than 
five. 

It is true, they may not at that age know how to 
observe ; but the fascination of dancing creates in 
them so intense a desire to learn that every faculty 
is awakened, and this awakening develops concentra- 
tion and observation with wonderful rapidity. The 
pleasure experienced while forming these habits of 
mind may be said to give them a permanent charac- 
ter not easily gained at other times, without taxing 
the mental faculties, and thus the training serves as 



4 DANCING. 

an excellent preparation for the acquisition of other 
knowledge. 

When good motions are established, children should 
be allowed to take lessons for a time every year, so 
that physical growth may not create angularity. The 
dancing-lessons will serve as a wholesome relief to the 
activities of the brain when the child is studying with 
that intensity necessary to acquire a modern educa- 
tion. 

In many cases there will come a period when it will 
appear as though all previous benefit had been lost ; 
but after this is passed the results of practice will 
appear more clearly than ever. 

Dancing in well-ventilated rooms, under proper reg- 
ulation, is an excellent and healthful physical exer- 
cise, from which the most feeble may receive benefit. 
Physiologists inform us that exercise is doubly ben- 
eficial when accompanied by exhilaration of mind. 
This being true, where can the two be so happily 
united as in dancing to good music amid pleasant 
associations? 

" The Exercise of Dancing* 

" We have lately met with some valuable remarks on this 
subject in a well-known medical journal ( The Lancef), by a Mr. 
Sheldrake, a surgeon who has devoted the greater part of a 
long life to the cure and prevention of bodily weaknesses and 
distortions in the young, and who has been led by experience 
to regard dancing as a most material branch of the physical 
training of youth. 

" Dancing (says Mr. Sheldrake) is one of the most healthy, 
as well as one of the most pleasing, amusements that can be 

* From Chambers's Edinburgh Journal. 



PERSONAL. 5 

practised by the young. If it is learned from those who are 
well qualified to teach it, and practised, as it ought to be, con- 
sistently with the instructions given, it will contribute more to 
improve the health, as well as the form of the human frame, 
than any other exercise. 

" Mr. Sheldrake gives several examples of persons trained 
upon these initiatory principles to the profession of dancing, 
who have lived in health to a great age. ' This,' says he, ' is 
not the chance lot of a few; for I have, through life, been ac- 
customed to see many persons of the same profession ; I have 
communicated my own observations to many others, and all 
have agreed in remarking that those who follow this profes- 
sion have, very generally, excellent health, which very many of 
them carry into extreme old age. This indisputable fact can 
only be accounted for by supposing that the preparatory exer- 
cises which these persons go through are a modification of 
what I have called regulated muscular tension, or action, and 
the early and constant practice of which lays a firm foundation 
for that" high health which accompanies them through life. 
It is upon the same principle that a soldier is never seen with 
spinal curvature, or other personal deformity, or a stage dan- 
cer of either sex with a deformed person ; it is, perhaps, im- 
possible that such things should exist, for the plain reason 
that the exercises which they begin to practice early in life, 
and continue regularly through its whole course, render it im- 
possible for them to become so. 

"'The inference to be drawn from these incontrovertible 
facts is, that if we, in very early life, teach young children to 
practise similar exercises, and follow them steadily afterwards, 
we shall confirm them in excellent health, and prevent the ac- 
cession of those evils which so often cause deformity to the 
figure and destruction to the constitution, at later periods of 
life. I do not propose to make every boy a soldier, or every 
girl a dancer upon the stage, but to adopt the principles by 
the application of which those persons are trained to the suc- 
cessful practices of their several occupations, and so to modify 
them that they may qualify other classes of society to follow 
their different pursuits.'" 



6 DANCING. 

Angularity is a deformity, more frequently caused 
by habit than by nature ; and when the matter is 
neglected until the age of fourteen or fifteen, boys 
rarely correct such habits ; their exercises, plays, and 
games, with the prevalence of a silly but general con- 
viction among boys of that age, that it is effeminate 
to be graceful and manly to be awkward, have great- 
er influence in strengthening these angular habits than 
the efforts made on the other side can have in correct- 
ing them. In the case of boys, therefore, it is impor- 
tant to form good habits of motion and to encourage 
correct ideas upon the subject at an early time of life, 
as a shield against the coarser influences with which 
they find themselves surrounded at school and col- 
lege. 

Under favorable circumstances girls at this age ac- 
complish much, but it must be by great effort. The 
advantage is always with those who began their train- 
ing when young. 

Two methods are used in teaching. One is found- 
ed upon the theory that the simple practice of vari- 
ous dances creates gracefulness. The other rests upon 
the conviction that the training incident to the learn- 
ing of those dances is the source of all benefit re- 
ceived. 

Those whose opinions coincide with the first view 
allow their children to learn a variety of dances, mak- 
ing expertness of movement outweigh every other 
consideration ; not recognizing the important fact 
that one may waltz in such a way that all bad 
habits of motion and manner will be confirmed by 
the exercise. A polka may be so practised that ev- 



PERSONAL. 7 

ery angularity of motion will be increased. A galop 
may show in every movement an entire absence of 
good taste. The motions made, while executing the 
figures of the Lancers, may be so awkward as to be 
seriously injurious to a growing child. As these 
dances may be practised, so may they be taught. 
Should we expect good to spring from practising 
the bad ? 

Those who accept the second theory are of the 
same opinion as myself, which is, that when learning 
dances, pupils should also be taught what it is that 
constitutes true gracefulness, and educated to an ap- 
preciation of the highest expressions of intelligence 
and culture that can be given by means of motion. 
With this knowledge, which through familiarity grad- 
ually becomes an instinct, there are few who fail to 
express refinement in their own motions and manner. 

Those whose teachings are based upon the first 
idea are " Dance Teachers.'* Their work is not of 
the same nature as that of the true dancing-master, 
nor should they be confounded with those who are 
governed by the sounder doctrine. Preparation for 
the fulfilment of the duties required from the first is 
limited simply to learning the dances of the day; 
while, in the case of the second, the study of half a 
lifetime, in all that relates to gracefulness in sculpt- 
ure, painting, and music, scarcely enables a teacher 
to acquit himself with justice to his pupils. 



CHAPTER II. 

INTRODUCTION. 

Universal Pleasure in Motion. — What the Man of Science Says. 
— What the Poet Says. — Power of Rhythm in Man's own Cre- 
ations. — Every Nation and Tribe has its Dance. — Persistent 
Love of the Pleasure. — Irresistible Power of the Law. — Good 
People, in a Measure, Answerable for the Sinfulness of Dan- 
cing. — What they Ought to Do. — Christian Associations. — 
Dancing in our Public Schools. — Nationality of Motion. — 
Three Classes of Dancing-masters and their Influence. — 
Cause of the Deterioration in our Ballet-Dancing. — A Rev- 
olution in Social Dancing. — Cause of the Deterioration in 
Teachers. — What Followed the Introduction of the Polka. 
— Undue Attention Given to the Cultivation of Muscle. — 
Duty of Parents. 

MOTION is one of the universal sources of pleasure 
among mankind, a pleasure which increases with ac- 
cumulating intelligence. 

The scientist rejoices in it when gathering knowl- 
edge through his great telescope, reaching out tow- 
ards unthinkable distances where motion is observed 
in awful grandeur, almost paralyzing the mind with 
conceptions of its stupendous rhythm ; or when en- 
gaged in the minute investigations of the microscope, 
where an infinity of motion baffles imagination. 

The poet, in rapturous words, tells of its beauty in 
the heaving swell of an ocean, in the grand procession 



INTRODUCTION. g 

of the clouds, and in their chasing shadows. The 
rush of the mountain torrent and the placid flow of a 
river alike excite his imagination to fervor. He sees 
a charm in the yielding of the oak to violence, the 
graceful swaying of the palm, or the gentle undula- 
tion of the grain-field, when fanned by a summer's 
breath. The sweep of an eagle's flight and the daz- 
zling movements of the humming-bird afford themes 
for the expression of his delight. 

Motion is universal, and man is endowed with ca- 
pacity to appreciate its beauty and rhythm. Should 
we doubt, then, that the pleasure of motion is part of 
man's nature? 

How strong the effect of rhythm is upon the hu- 
man mind is shown in man's own creations ; what is 
it that .fascinates us when gazing upon a fine piece 
of machinery, with its rhythmical pulsations? No- 
tice the irresistible effect of rhythm when aided by 
melody and harmony in the stirring strains of a mil- 
itary band ; or of rhythm without music, as in a drum 
corps ; who fails to keep step ? or even without this, 
how thrilling to hear the steady tramp, tramp, tramp 
of a large body of men ! That nearly every nation 
and tribe upon the face of the earth has its dance is 
further evidence of the innate love of the human 
race for rhythmical motion. In our own country, 
notwithstanding the condemnations and exhorta- 
tions of many well-meaning people, repeated for 
years and still recurring, the dance, or rhythmical 
motion, maintains its hold upon favor as one of the 
chief amusements of the young; so, no doubt, it will 
ever do ; the instinct is so fully a part of our natures 

i* 



IO DANCING. 

that even those gray -haired ones, who so strongly 
condemn this motion to music, may be seen swaying 
to and fro in exact rhythmical accord, and with evi- 
dent satisfaction, while singing one of the good old 
tunes, such as " From Greenland's Icy Mountains/' 
or " Sound the Loud Timbrel, " thus proving in their 
own persons the irresistible power of this benign law. 

In this case, as in many others, a good is condemned 
for its abuse ; for certainly to make pleasant motions 
to good music cannot be sinful. It is said, how- 
ever, that dancing leads to many things that are sin- 
ful, which is often too true ; but these good people 
are in a measure answerable for this. They have 
blocked up nearly every road, except the one lead- 
ing to vice. Would it not be well, now, to open a 
few paths through this pleasure-ground which would 
lead to virtue? 

On all occasions, when numbers of persons are 
brought together by the attraction of dancing, our 
rooms are so crowded that there is scarcely space in 
which to stand with comfort. The air is vitiated by 
burning gas, and the exhalations from innumerable 
lungs at full play. Excitement is in every quivering 
atom of the atmosphere. The dancers are in con- 
stant collision, all feeling it to be a necessity to 
shrink into the smallest possible space — many inno- 
cent ones doing so unconsciously — until positions of 
indelicacy become no longer offensive. It may be 
truthfully asserted, that our young people of to-day 
are as virtuously and modestly inclined as those of 
any period ; and when space is sufficient, fashions of 
indelicacy in dancing are soon abandoned. 



INTRODUCTION. 1 1 

Would it not, therefore, be more in accordance with 
sound wisdom for the elder ones to provide those 
whose nature it is to dance with places and opportu- 
nities for the exercise of this pleasure, amid proper 
circumstances, and not compel them to seek it where 
they are too frequently surrounded by temptations 
destructive alike of health and morality? 

What reasonable objection would there be to every 
"Young Men's Christian Association " having weekly 
meetings for the enjoyment of this pleasure? Sur- 
rounded by parents and friends, the happiness expe- 
rienced by the young people would not make them 
less active in their Christian duties. The community 
could.be taught by example that extravagance of ex- 
pense, suppers, late hours, and other dissipations, have 
no necessary relation to dancing. 

The writer's own experience, for more than fifty 
years, abundantly justifies him in saying that pro- 
found impressions may be made upon children dur- 
ing the happy moments of their dancing -lessons. 
This being so, why should we not take advantage 
of the fact as a means for their moral elevation? In 
our public schools a daily lesson in dancing might be 
given as a recreation, the right of attendance upon 
which could be made a reward for good conduct. 
All children are fond of this exercise, and for the 
sake of its enjoyment would readily submit to that 
necessary lesson — subordination. 

The two sexes being brought together, all the cour- 
tesies of social intercourse could be insisted upon, mak- 
ing politeness and consideration for others habitual. 
The lessons would afford ever-recurring occasions when 



12 DANCING. 

children might be made to feel, from immediate prac- 
tice, how necessary and useful this is ; and that in 
thus treating others, at all times and in all things, 
with kindness and courtesy, they truly fulfil the pre- 
cepts of the Golden Rule. 

Surely, the daily practice of these social virtues 
would have a softening effect, and produce a better 
result than sending the children into the yard or 
play-room for recreation, as it is called, which usually 
means to romp and practice rudeness, the strong 
abusing the weak, and all taking daily lessons in 
tyranny, imposition, and turbulence ; the outcome 
of which is too often lawlessness in later life. The 
sight of two or three hundred young children enjoy- 
ing themselves, under the influence of their better 
feelings, and giving expression to their happiness in 
orderly motion, possibly to their own songs of joy, 
could not be otherwise than acceptable to a kind 
father, either on earth or in heaven. 

It is interesting to observe the effect nationality 
has upon human motion. The gesticulations of the 
French and those of the Germans are as unlike as 
are their two languages. The Spanish, Italians, and 
French have similar motions, yet those of each are so 
far peculiar as to be easily recognized. The Jewish 
people furnish a remarkable example of this persist- 
ency of race distinctions in motion ; for, although 
mingling with all nations, they retain their peculi- 
arities. As individuals of all nations rise in culture 
and intelligence, less and less of these peculiarities is 
observable. The dancing of each nation, when mov- 



INTRODUCTION. 



13 



ing to the same waltz, is generally marked by pecu- 
liarities that are not due so much to any difference of 
physical form as to early habit. How important is 
it, therefore, that good habits of motion should be es- 
tablished early in life ! There arises the question — 
how can this be secured ? 

One of the great authors of the last century said 
that " They move easiest who have learned to dance." 
The saying is not so true to-day as it was in his 
time. The principal influences that have produced 
the change may be traced in the following pages; 
others are mentioned under the head of " Minuet." 

The first revolution drove from France many per- 
sons of high rank, who took refuge in the larger cit- 
ies of Europe and America, where their accomplish- 
ments-could be made available in gaining a livelihood. 
Among the nobility, at that time, dancing was con- 
sidered an important element in forming the carriage 
and manners of a lady or gentleman ; consequently, 
great attention was given to the subject, and all were 
thoroughly educated in the art. In their days of ad- 
versity many had recourse to the teaching of this ac- 
complishment. The stately manners, refined motions, 
and graceful dancing of these noblemen were reflect- 
ed in their pupils, having great influence in form- 
ing their social manners. They were followed by 
another class, purposely educated as teachers of 
social dancing, who, having been under the instruc- 
tion and influence of their predecessors, continued all 
their excellent methods. It must be observed that 
the teachings of both classes had a close relation to 
the training of those who were to move in private 



14 



DANCING. 



life ; not so with a third class, who, having been edu- 
cated for the ballet, were removed from these influ- 
ences. They were at one time very popular as teach- 
ers, because of a general failure to apprehend the dif- 
ference between ballet and social dancing, which is as 
wide as that between operatic and social singing, or 
the pantomime and conversational motions. The ex- 
ercise required for these artists (for many were truly 
such) to gain the strength, endurance, and largeness 
of motion necessary in their department of dancing, 
in many cases, produced an excess of action unsuited 
to private life ; they were consequently conspicuous 
at all times for exuberance of motion and manner, 
w r hich was burlesqued in the well-known grotesque 
dancing-master of the stage. To them is due the ac- 
ceptance of the saying, " He moves and has the man- 
ners of a dancing-master/' 

Little else need be said to suggest the unfitness of 
their teachings for use in forming the habits of mo- 
tion necessary for private life. The exercise neces- 
sary to accomplish the difficult motions (steps) used 
in the quadrille, had a beneficial effect in giving elas- 
ticity to the muscles, free action to the larger joints, 
and balance to the body, and had a large share in 
producing that dignified carriage so often mentioned 
as belonging to the lady and gentleman of the old 
school. The effect of the methodical training of 
these three classes of teachers was shown in habits 
of precise and graceful motions, and the effort in their 
pupils to improve themselves taught them to rec- 
ognize true grace in others. This education is, in 
a measure, lost to the present generation, which is 



INTRODUCTION. 



15 



made conspicuously evident in our ballet -dancing. 
Among those who follow any art as an occupation, 
few can resist the tendency to yield to the taste of 
those who praise. 

In later years, it will be noticed that violence of 
motion, high jumping — the jumper showing in every 
movement how great is the effort — are most applaud- 
ed ; as a consequence, gymnastics have taken the place 
of graceful dancing. 

Not so when such artists as Vestris, Cerito, Fanny 
Ellsler, and Taglioni were in favor. It was not gym- 
nastics which so bewitched the people of their day ; 
it was exquisite refinement of motion, gracefulness in 
its highest expression. Such art would scarcely be 
recognized to-day. 

With the introduction of the waltz, galop, polka, 
and other round dances, a complete revolution in so- 
cial dancing took place. These were so easily learned 
that education in motion was deemed unnecessary ; 
simply to make the motions required was quite suffi- 
cient, manner becoming entirely secondary. Many 
learned from one to the other, frequently transmit- 
ting their own mistakes. And as it is true that many 
of our choice plants and flowers, when left without 
continued cultivation, return to their simple forms — 
so it is with human beings ; the grotesque is the 
original form of pleasure given by motion ; and so to 
the grotesque we naturally return, unless sustained by 
education. The diminishing importance of the danc- 
ing-lesson, as part of physical and moral education, 
was followed by a more serious loss to the world ; for 
it lowered the position of those who made the teaching 



1 6 DANCING. 

of the art a vocation. In consequence, many who were 
fitted for it by nature, education, and social experience, 
were deterred from assuming its duties ; and as the old- 
er teachers passed away, their places were taken by 
those who were neither by training nor education pre- 
pared for so responsible a position. Not having had 
the advantage of the teachings and association of the 
older ones, they were not aware of the proper nature 
of their duties ; but they were able to waltz expertly, 
and the teaching of waltzes and a few other dances 
was all they believed to be required from them ; they 
were, therefore, simply dance teachers, not teachers of 
motion and manner, which is the definition of danc- 
ing-master as the term was formerly understood. 
Conscious of their want of knowledge in regard to 
propriety of motion, they were ever ready to adopt 
the eccentricities introduced by the inexperienced 
young people in society, instead of giving direction 
to their judgment and taste. What would we think 
of a teacher of vocal music who, hearing many per- 
sons sing with a nasal tone of voice, should instruct 
his pupils to do the same, accepting this as fashion- 
able, and not asserting good taste by correcting the 
mistake? It is to this absence of better instruction 
that w r e must attribute the toleration of indelicate 
motions and manner among those whose education, 
in all other departments, is satisfactory. 

About the year 1840 the polka was taken from the 
peasants of Germany and adopted by the fashionable 
society of Paris. From Paris it was disseminated all 
over the civilized world, with consequences little an- 
ticipated at the time ; for the introduction of this 



INTRODUCTION. 



17 



dance had a serious effect in lowering the respect 
formerly given to good motions and manner, for the 
following reasons : 

In Paris the rage to learn this dance became so 
general that Cellarius was compelled to employ many 
ballet-girls to assist in teaching. This method be- 
came so very popular that other places were estab- 
lished, where this was offered as the chief attraction, 
not only in Paris, but in all the large cities of Europe. 
Subsequently places were opened in New York, mul- 
tiplying rapidly in many of our large cities. The 
managers of these places were not masters of motion, 
but simply dance teachers, and had very questionable 
taste in their methods. The young women willing 
to be employed were naturally those to whom the 
small, amount paid was of importance; they, there- 
fore, exercised little, if any, improving influence upon 
those who practised with them. But, being able to 
dance expertly, and always deeming it part of their 
duty to be as agreeable as possible to those who 
came to learn, they made the method very attractive 
at one time to our young men — the freedom of man- 
ners and absence of all attempts to practise the 
amenities of social life being to some natures very 
enjoyable. Small rooms were generally used, so that 
the crowding and squeezing of the parlor were re- 
peated, with surroundings not conducive to delicacy, 
to say the least. Many young men became very ex- 
pert by this practice ; but in gaining skill they lost 
the modesty and innocence that should accompany 
the pleasure. 

The bad influence, unfortunately, followed them to 



IS DANCING. 

the drawing-rooms of their friends; being expert, 
they were desirable partners, but the methods prac- 
tised in learning were communicated to their sisters 
and lady friends : there was, in consequence, a deteri- 
oration in the general tone of motion and manner. 
Another matter may be mentioned as marking the 
tendency of our prevailing ideas, which is the undue 
attention given to the cultivation of muscle. This 
seems to have led our young men to adopt as their 
ideal man a robust athlete \ not an athletic gentleman— 
the latter typified in Apollo, the former in Hercules, 
who is worshipped in the person of prize-fighters and 
" Go as you please" men. Strength is a valuable ac- 
quisition, but graciousness of manner may be termed 
a social virtue, which sheds pleasure upon all who 
come within its influence. The greatest strength in 
the world may yield to a cripple with a revolver, but 
no soul is so strong as to resist kindness of manner. 
Why the two should ever be separated is difficult to 
understand, except upon the hypothesis that the ex- 
treme cultivation of muscle has a tendency to increase 
the animal part of our natures, with its accompany- 
ing selfishness, unless sufficiently counteracted by an 
equal cultivation of the better qualities of che mind. 
For this we must look to the dancing-lesson, where 
sisters, brothers, mothers, and friends exert a benefi- 
cial influence in forming the manners and characters 
of the young. But for this thoroughly equipped and 
qualified teachers are as requisite as in any other de- 
partment of the education of children. The profes- 
sion of dancing-master is an occupation with very 
serious responsibilities ; and if these are conscien- 



INTRODUCTION. jg 

tiously fulfilled, it is a calling worthy of the efforts of 
the best. It may be added that parents fail in an 
important duty who do not exert the greatest care 
in selecting the person to whom they intrust the 
plastic minds of their children. 



CHAPTER III. 

MANNERS, OR MORALITY OF MOTION. 

Manners. — Morality of Motion. — Not Truly Valued. — The 
Opinion of a Great Philosopher. — Easy to Learn. — Foot- 
ball Habits. — Gentlemen in our Exchanges. — Effect of 
Habits. — Little Crimes before Greater. — Effect of Boxing, 
Wrestling, etc.— A Strong Influence Required. — Two Ex- 
amples. — What Good Manners Are. 

Observing the manner in which various persons 
move about in a large assembly, it will be noticed 
that one will make his way through the crowd seem- 
ing to conciliate more than offend those whom he 
disturbs. Another pushes his way in so different a 
fashion that antagonism is created at every step. 
The first of these two should certainly be classed 
higher in the moral scale than the second, yet the 
difference is only in the manner of doing the same 
thing. Truly, then, " Morality of Motion " would be 
a proper title for manners. In our bustling times 
this all -permeating virtue is not held at its true 
value. Speaking in a commercial way, no invest- 
ment pays higher interest or makes quicker returns 
than good manners. In conversation, relating to the 
business success or failure of friends, how often we 
hear it said : " I am not surprised at his success, his 
manners were so agreeable." And again, what so 



MANNERS, OR MORALITY OF MOTION. 2 I 

frequent as " Miss Blank is certainly not at all pretty, 
yet her manners are so very agreeable every one is 
charmed with her." As the great thinker of the age 
states it, " With the sympathetic being every one 
feels more sympathy than with others. All conduct 
themselves with more than usual amiability to a per- 
son who hourly discloses a lovable nature. Such a 
one is practically surrounded by a world of better 
people than one who is less attractive." * This ac- 
complishment is easier to learn than to play a little 
on the piano, or at the game of billiards, and is cer- 
tainly much more valuable in life; yet many young- 
people fail to recognize the fact. Young men some- 
times carry into their social intercourse habits learned 
in playing base or foot ball, where they must get at 
the ball, if they break a friend's leg in doing so. We 
hear of gentlemen, in our business exchanges, smash- 
ing each other's hats, tearing each other's clothing, 
pushing, kicking, and otherwise maltreating one an- 
other — truly justifying the names of Bulls and Bears. 
Should it be expected that this disregard of others, 
this neglect of conscientiousness — in other words, of 
good manners — will have any other effect than a de- 
basing one? It is surely reasonable to believe that 
the daily practice of these habits must have an ill 
effect upon the minds of those who indulge in them ; 
and notwithstanding earlier teachings, this may aid 
other influences in producing those terrible examples 
of dishonesty which have so shocked the world, dis- 
graced our nation, and lowered the standard of 

* Herbert Spencer. 



22 DANCING. 

business morality among our young people. It is an 
axiom that the greater are preceded by the practice 
of lesser offences, the latter insidiously preparing the 
mind by making it less sensitive to right impulses. 
What may we expect, therefore, from those young 
men who, in dancing, recklessly soil the beautiful fab- 
rics of women's costumes with perspiring hands, rath- 
er than avoid that injury by wearing gloves? Their 
only excuse is that such is the fashion, copied from 
the habits of a dissipated prince. 

Honesty of purpose and the desire to do justice to 
others so far transcend mere fashion in importance 
that it is astounding that any American gentleman 
can plead so small an excuse for so great a wrong. 
Boxing, wrestling, boating, base and foot ball, and 
the like, have a strengthening effect upon the muscles, 
and are undoubtedly useful to a certain extent ; but 
they have a tendency towards coarseness and brutal- 
ity, as is shown in the hazing, cane rushes, and other 
doings of young men who attend our educational in- 
stitutions. A strong influence of some kind is wanted 
to strengthen the muscles of morality, whereby our 
young men may become strong enough to stand erect 
in the presence of vice, creating that chivalric tone 
of mind so essentially a part of a gentleman's charac- 
ter in every position of life ; filling the soul with more 
moral pride and less intellectual vanity. An influence 
of great power is now wanted to increase the number 
of young men who are willing to sacrifice some of the 
ease and pleasure that wealth brings, for the great 
call of duty to fellow-man. Two examples are strik- 
ingly prominent at the present time, upon whom the 



MANNERS, OR MORALITY OF MOTION. 23 

citizens of New York and Brooklyn justly look with 
pride, as noble types of what young Americans of 
education ought to be. Good manners consist of a 
ready acknowledgment of the rights of others, a wil- 
lingness to concede in the way of kindness, a cheer- 
ful readiness and evident pleasure in fulfilling all the 
little duties of social intercourse — pleasure in the 
pleasure of others. As motion is the outward expres- 
sion of all forms of good manners, it cannot be gain- 
said that the Morality of Motion should receive a 
large share of attention. To discuss such subjects in 
a work of this kind may to some appear inappropri- 
ate ; but manners and morals are so inseparable that 
the book would be incomplete without such discus- 
sion — the time having arrived when every teacher, 
in every department of education, should do his part 
towards the moral elevation of the young. Not until 
every breath inhaled by a child conveys moral educa- 
tion, can we expect to overcome the selfishness of nat- 
ure. When to make others happy is our own greatest 
happiness, then will come the peace that passeth all 

understanding. 

Etiquette, 

Discussion of the laws of social intercourse has no 
place here, although the two (manners and etiquette) 
are frequently confounded. When we remember that 
manner is an individual virtue, the same in all nations, 
communities, and societies, while etiquette may vary 
at different periods of time and take a different form 
in each social circle, the distinction is easily drawn. 
Information upon that subject may be found in many 
excellent publications of the day. 



CHAPTER IV. 
POSITIONS AND MOTIONS. 

Positions. — Dodworth Method. — Six Radical Motions, 

Five Positions. 

SINCE dancing became an art, these have formed 
the basis of all motion. 

First Position. 
Stand with heels together, feet turned outward so 
as to form a right angle. This angle is maintained 
in all positions and movements. 

Attitude. 

The upper part of the body should be slightly in- 
clined forward, the hips backward — the forward in- 
clination just enough to cause a tendency in the heels 
to rise from the floor ; the head erect, legs straight, 
arms hanging by the sides, elbows very slightly turned 
outward, so that the arms will present gently curved 
lines to the front. 

This necessary inclination forward was at one time 
exaggerated into what was known as the " Grecian 
Bend ;" the phrase had reference to the fact, that in 
all Grecian statuary, where gracefulness is intended, 



POSITIONS AND MOTIONS. 25 

this beautiful curved line is always present. This 
may be termed the normal attitude, which should be 
maintained at all times. 

Second Position, 

Stand on one foot, extending the other directly to 
the side as far as the toe will reach, when pointed 
down, with legs straight. 

Second position of left when left foot is extended. 

Second position of right when right foot is ex- 
tended. 

Third Position. 
Stand with feet close together, with the heel of 
one in the middle or hollow of the other. 
Third position right w T hen right is in front. 
Third position left when left is in front. 

Fourth Position. 

Stand on one foot, the other extending in front as 
far as the toe will reach, with legs straight. 

Fourth position of right when right foot is in front. 
Fourth position of left when left foot is in front. 

Fourth Position Behind. 
Stand on one foot, and extend the other back- 
ward as far as can be reached by the toe, with legs 
straight. 

Fourth position behind of right when right is ex- 
tended. 

Fourth position behind of left when left is ex- 
tended. 

2 



26 DANCING. 

Fifth Position. 

Stand on both feet, the heel of one touching the 
toe of the other. 

Right in front is fifth position of right. 
Left in front is fifth position of left. 

In the third and fifth positions it is sometimes nec- 
essary to say, third or fifth position of right foot be- 
hind ; which is simply equivalent to saying, third or 
fifth position of left. 

The Dodworth Method. 

I present this as the most thorough method yet 
devised for conveying ideas of motion by language; 
my own practice, with that of others, having abun- 
dantly tested its usefulness. As I am not aware that 
the method was used previous to its adoption by me, 
I feel justified in naming it the Dodworth Method. 
If it could be adopted by teachers generally, their 
pupils from different parts of the country would be 
able to unite without difficulty in any dance. As my 
long career as a teacher draws near to an end, I offer 
this to the art I have so long endeavored to elevate, 
and to those who teach it, as my last, and I truly be- 
lieve my most valuable, contribution. 

Confessing that I am not free from the usual short- 
sightedness in regard to my own faults and mistakes, 
I would esteem it a great kindness if any of my fel- 
low-teachers would point out omissions or suggest 
improvements which would meet their views, promis- 
ing that what they say will be well considered ; and 



POSITIONS AND MOTIONS. 



27 



if good fortune shall call for a second edition of this 
treatise, the improved work will show the use made 
of the suggestions. 



Six Radical Motions. 
There are six radical motions which furnish the 
key to all that follows. 

1. The Change. 

Sideways. — Stand with left in second position. 

Strike the left heel against the right, immediately- 
extending right to second position, thus changing 
from one foot to the other. At the moment of 
changing the feet a slight spring is made. Repeat 
same, back again from right to left foot. 

Front Change. — Stand with left in fourth position. 

Bring the left heel back against the right to first 
position, and immediately extend right to the fourth 
position, springing lightly as the feet are changed ; 
repeat by changing back again to left in front. 

Backward Change. — Stand with left in fourth posi- 
tion behind. 

Change by springing lightly, and extending right 
to fourth position behind, and again back to the left 
behind. 

Alternate Change \ forward and backward, with left 

in front. — Stand with left in fourth position in front. 

Bring left back to first position, and immediately 



28 DANCING. 

extend right to fourth behind, springing lightly to 
make the change from one foot to the other. 

Bring right forward to first position, immediately 
extending left to fourth in front ; at the moment of 
changing spring gently from one to the other. 

Alternate, with right in front. — Stand with right in 
front, fourth position. 

Bring right back against left, in first position, and 
immediately extend left to fourth behind ; then bring 
left forward to first, and extend right to fourth in 
front. 

The spring should begin by a gentle bend of the 
knee from which the spring is made ; but at the mo- 
ment of changing both knees must be straight. 

In every round dance one or two changes occur. 

Accent. 




2. The Slide. 

Side Slides. — Stand with left in second position. 

Slide left, ten inches farther to the side ; at the 
same time transfer the weight of the body to the left 
foot, leaving right in second position ; in the same 
manner, slide right, leaving left in second position. 

In repeating slides in the same direction, it will be 
found that a change must occur between each slide ; 



POSITIONS AND MOTIONS. 



2 9 



when to the left, the changes are from left to right 
foot ; when the slides are to the right, the changes 
are from right to left foot. 

Forward Slides, with Alternate Feet. — Stand with 
left in fourth position. 

Slide left forward, then place right in fourth posi- 
tion and slide forward, and repeat with alternate feet. 

Forzvard Slides, with the same Foot. — Two or more 
slides with the same foot require a change between 
them. 

Backward Slides, with Alternate Feet. — Stand with 
left in fourth position behind. 

Slide left backward, then pass right to fourth posi- 
tion behind, repeating with alternate feet. 

Backward Slides, zvith the same Foot. — Two or more 
backward slides require a change between them. 

3. The Step. 

To prevent confusion it must be understood that 
this word step is used in the sense of stepping from 
one foot to the other, as in walking; but not in the 
sense in which we use it when we speak of polka 
step, waltz step, and other complicated motions. 

Throughout these explanations it is used as mean- 
ing a simple motion. 

Forward Steps, with Alternate Feet. — Same as in 
walking on the toes forward. 



30 



DANCING. 



Backward Steps, with Alternate Feet. — Same as 
in walking backward. 

Side Steps. — One step to right or left. 

To make a succession of steps with the same foot, 
either forward, backward, or sideways, requires the 
introduction of a change between each step and its 
successor. 

4. The Leap. 

This is the most difficult motion of all, so much 
so, that it has been named the " Pons Asinorum " of 
dancing ; but, as it occurs in nearly every round 
dance, the manner of its execution has a decisive 
effect upon the appearance of a dancer. One may 
leap with all the flexibility, lightness, and energy of 
an antelope ; another with the stiffness, heaviness, 
and angularity of a cart-horse. 

Side Leaps. — Stand with left in second position. 
Bend the right knee and leap to the left ten inches ; 
same to the right. 

Forward Leaps. — Stand with left in fourth position. 

Leap forward upon the left, then hold right in sec- 
ond position and leap forward upon that foot ; in 
the same manner for any number. 

Backward Leaps. — Place left in fourth position be- 
hind. 

Leap from right to left backward. Place right in 



POSITIONS AND MOTIONS. 3 1 

fourth behind and leap from left to right backward. 
This may be repeated indefinitely. 

As in sliding or stepping, when two or more leaps 
are required, following with the same foot, a change 
must occur between each leap and the one succeed- 
ing it. 

5. The Hop. 

Spring from and alight upon the same foot ; the 
position of the other has no connection with the 
motion, as it may be extended to the side, front, or 
rear, or the heels may be kept close together, while 

hopping. 

6. The Halt. 

The halt consists simply in stopping in first posi- 
tion. 

Every dance now in use is composed of two or 
more of these radical motions. Knowing these, there- 
fore, enables a learner to comprehend any description 
by this method without difficulty. Many persons 
will have difficulty in believing that the waltz and 
polka, as now danced, are composed of precisely the 
same three motions ; but the fact is easily demon- 
strated. 



CHAPTER V. 

GENERAL DIRECTIONS APPLICABLE TO ALL 
ROUND DANCES. 

Absurdity of the Notion that one Cannot Learn without a 
Partner. — First Duty of Beginners. — When Two may Dance 
Together. — Elements of Good Dancing.— Best Examples. — 
Dancers with but One Element. — A Prevalent Mistake. — 
Another Fact. — Only the Theory. — Who Complain. — An 
Amusing Incident. — Accent, Music, and Dancing Insepara- 
ble. — Natural Pulsation. — Who it is that Pooh-pooh Danc- 
ing. — Guiding. — Music for Dancing. — A Few Suggestions. 
— Metronome. 

The belief so prevalent among men that the round 
dances cannot be learned without the assistance of a 
partner is simply absurd. Is a partner requisite to 
strengthen the muscles or give freedom to the mo- 
tions? Can the assistance of some one to lean upon 
teach self-balance? Must not two persons separately 
learn to sing before joining in a duet? Truly, nine 
parts may be learned alone, a partner is only neces- 
sary for the tenth ; nor can any one dance well with 
a partner until he can dance well alone. It is a cu- 
rious and suggestive fact that ladies usually learn 
without assistance of this kind ; but men who be- 
long to athletic clubs, run in foot-races, and contend 
in jumping-matches, etc., are not unfrequently too 



GENERAL DIRECTIONS. 



33 



feeble (surely not in muscles) to learn to waltz with- 
out some one to lean upon. The first duty of a be- 
ginner should be to learn the exact motions of a 
dance and their proper accent. 

After learning the dance sideways, forward, and 
backward, one should learn to make the same mo- 
tions while turning first to the right, secondly to the 
left— the one as much as the other. Next learn to 
change from the turn to the pursuit, either forward 
or backward, and again back to the turn, both to 
right and left. In thus becoming familiar with all 
the various changes and directions of the dance, one 
acquires balance, elasticity, endurance, and expert- 
ness. All this should be done alone ; not until the 
learner can move himself has he the right to ask 
others, to move with him. 

After learning to turn themselves, two gentlemen 
may practise together quite as advantageously as 
with ladies. In truth, after acquiring all that is pos- 
sible alone, little is left to learn. 

If a beginner could at all times have a good dancer 
for a partner, either lady or gentleman, some little 
trouble might be saved, perhaps ; so might it be if 
an assistant could always be present when one is 
studying lessons of any kind. But this certainly 
does not produce self-reliance; and in the case of 
dancing, in order to obtain this trifling aid, many 
things of greater importance must too frequently be 
sacrificed. 

Taking the waltz as a type of all other round 
dances, we observe that it consists of six elements : 

2* 



34 DANCING. 

Attitude, Flexibility, 

Grouping, Accent, 

Precision, Expertness. 

1. Attitude in each dancer should be such as to 
show familiarity with the requirements of good taste. 

2. Grouping of the two must accord with the dic- 
tates of modesty and propriety. 

3. Precision should exhibit perfect knowledge of 
the motions belonging to the dance. 

4. Flexibility is an important part in gracefulness. 

5. Accent must be at all times correct. 

6. Expertness is that familiarity with every possible 
turn and angle which enables dancers to avoid col- 
lision. 

The best dancers possess all these in the highest 
perfection. As we descend, excellence in these ele- 
ments is gradually lost, until finally a dancer may be 
without good taste in attitude, immodest in group- 
ing, not precise in motion, not flexible, and incorrect 
in accent, yet very expert. This last it is which is 
so often mistaken for good waltzing, even where 
there is not one element of good taste. Not having 
had the advantage of the advice of a cultivated 
teacher, many persons stop at this point, and are sin- 
gularly conceited in this when modest in other things. 
Every one should remember that in the art of mo- 
tion there is no exception to the rule that prevails 
elsewhere in education : the highest excellence being 
shown through the purest taste in motion, accent, 
and manner. The first two might be self-taught; 
the third, never. 



GENERAL DIRECTIONS. 



35 



A very prevalent mistake is that the movements 
(or steps) for lady and gentleman are different, the 
fact being that they are precisely alike, but follow 
in different succession. 

The waltz, for example, consists of six motions ; the 
lady begins at I, continuing with 2, 3, 4, 5, 6; then 
beginning again at 1, and repeating the same succes- 
sion, in every direction, under all circumstances. At 
the same time the gentleman begins at 4, continuing 
with 5, 6, 1, 2, 3 ; then beginning again at 4, repeats 
the same succession throughout the whole dance, 
never varying. It will be observed, therefore, that 
while one is making 1, 2, 3, the other is executing 4, 
5, 6 ; thus one half is the counterpart of the other. 

Another fact must be equally well remembered, 
which is, that no revolving dance follows in a series 
of equal circles, but in a succession of alternate long 
and short semicircles or loops, which may be repre- 
sented in this manner: 




This would be the line followed by one person turn- 
ing to the right. Two persons together following 
same line thus : 

Turning to right. 




Turning to left. 




36 DANCING. 

It will be seen that when one is making the long 
curve the other makes the shorter, so that one half 
of the dance is a pivot for the other. 

In turning to the right in the waltz, the motions 
I, 2, 3 form the pivot; the 4, 5, 6 make the long 
curve. In reversing, the pivot is upon the 4, 5, 6; 
the long line upon the 1, 2, 3. 

To make the change from right to left or left to 
right turn, requires one bar in a straight direction, 
one person backward, the other forward ; this brings 
the opposite foot upon the short curve or pivot. 

Here the theory is given ; but it is as impossible 
to teach or describe all the various turns and angles 
required, when dancing in society, as it would be to 
teach a person to walk in a crowd. That can only be 
learned by practice among others, and is an essential 
part of a dancers education, requiring much practice 
after accomplishing the simple mechanism of move- 
ment. 

Some make the attempt too soon, before they can 
turn themselves properly, much less turn with an- 
other. These are they who so frequently complain of 
others being in the way, not understanding that they 
are themselves the offenders. Many ladies can tes- 
tify to the pain and shame experienced while attempt- 
ing to dance with a person thus unskilled. On the 
other hand, it is charming to witness the expertness 
with which many of our young people avoid colli- 
sions. 

An incident occurred a few years since, at one of 
the European watering-places, which illustrated this 
in a striking manner, affording not a little amusement 



GENERAL DIRECTIONS. 



37 



to those who were present. At one of the weekly 
reunions, a party of young people from New York 
were enjoying themselves, among the others, in the 
waltz. They, of course, moved in our way ; the others 
in their way, never reversing; that being, at the time, 
not fashionable. Happily the fashion has changed 
since then ! The five or six couples of young Amer- 
icans were excellent examples ; they glided about 
among the others in their easy and graceful way, in 
every possible direction. Some of the others ap- 
peared to be annoyed at this, and endeavored to vex 
the Americans by getting into their way ; but an ox 
might as well have tried to catch a butterfly. This 
the adverse party discovered ; but as they accepted 
the defeat good - naturedly, the contest ended in a 
hearty laugh on all sides. 

Accent. 

The descriptions of dances which follow will be 
found connected with music, so accented as to show 
precisely upon what note, or division of a bar, each 
separate motion should occur; and in order more 
fully to show the close connection of motion with 
music, the same melody is sometimes used for several 
dances, the time and accent being changed to corre- 
spond with changing requirements. 

Music and dancing are inseparable ; accent having 
so large a share of importance that different dances 
are formed by simply changing the accent of the 
same succession of motions. A slight variation of 
accent in the waltz, which at all times appears the 
same, renders two persons disagreeable partners ; yet 



38 DANCING. 

both may find others whose accent would be all that 
could be desired in a partner. 

It is natural for beginners to make accented mo- 
tions upon the accented portion of the music. This 
correspondence is found in the galop, polka, racket, 
and schottische movements. In the waltz the accent- 
ed motion occurs upon the unaccented part of the 
bar of music, causing a kind of syncopation, adding 
somewhat to the difficulty, but increasing the pleas- 
ure-giving qualities of the dance. 

To this, in part, may be attributed the unchang- 
ing popularity of this movement ; while the dances of 
simple accent have their waves of popularity, ebbing 
and flowing in periods of about ten or twelve years. 

There is also a natural swing, or pulsation, it might 
be termed, belonging to all dances, having a close re- 
lation with the pulsations of the body ; at one time 
slower than at another, yet never varying more than 
a few beats in a minute. 

A musician who feels this and can convey its mean- 
ing to the dancers through his music, is the one alone 
who can inspire the pleasure of motion to music ; and 
when to this is added the delight of a partner in ex- 
act rhythmical accord, then, and then only, is the full 
joy of rhythmical motion felt. The exhilaration felt 
in waltzing, sometimes amounting almost to ecstasy, 
can no more be described or imagined by those to 
whom nature has denied this pleasure, than the rapt- 
urous effect of fine music can be conveyed to the 
deaf, or the delight of grand scenery to the blind ; 
yet these are they who pooh-pooh the pleasure, with 
all the assumption of perfect knowledge, not being 



GENERAL DIRECTIONS. 39 

sufficiently just or generous to acknowledge their 
want of capacity for such emotions. As an el- 
derly lady of defective education in the matter of 
grammar once said, " What I don't like ain't no con- 
sequence. " 

Holding Partners. 

The idea of one holding the other should not be 
too strongly entertained. To dance together in sym- 
pathetic time and motion ought to be the dominant 
thought. 

The manner of holding is, however, of very great 
consequence, as what is seen in this is frequently 
used as a measure of character. In this is its great- 
est importance. 

Among the vulgar, uncultivated, and vicious, certain 
methods prevail, and we naturally suppose that those 
methods are the result of the habits and feelings 
caused by the surroundings of those so unfortunately 
placed ; but when like methods are found in culti- 
vated society, among those who have had every op- 
portunity to improve their taste, it is unquestionably 
a shock to a thinking person. 

To hold closely has many objections without one 
advantage. 

It is indelicate (vulgar might be the better word). 

It reflects unpleasantly upon the characters of the 
dancers. 

It prevents freedom of motion. 

It is ungraceful in appearance. 

And as it is always in favor with the vulgar and vi- 
cious, it ought to be frowned upon by the cultivated. 



4Q DANCING. 

In the schools where girls were employed to dance 
with men this close way of holding began, and was 
insisted upon. " Honi soit qui mal y pense " was 
repeated until modesty became a shame. 

If the observation of social waltzing in New York 
and Europe, for more than forty years, proves any- 
thing whatever, it is that the method of holding 
which is prescribed below is to-day, as at the begin- 
ning, adopted by all who may be noticeable for re- 
fined manners and movement. 

The gentleman approaches the lady, offering his 
left hand— one who is au fait will at the same time 
make a slight inclination or half bow. The lady 
places her right hand in that of the gentleman, who 
then extends his right arm in a direct line to the side, 
the forearm bent so as to form an acute angle. In 
this angle the lady will place herself, with the centre 
line of the person opposite the line of the gentle- 
man's right side, both persons on parallel lines, not 
forming an angle. In this position each will be look- 
ing over the other's right shoulder, and by the lady 
turning her head slightly to the left the effect of the 
group will be greatly improved, and prevent all pos- 
sibility of taking each other's breath, which is rarely 
pleasant, and in the case of a young man directly 
from the use of a meerschaum is " positively horrid," 
as many ladies have remarked. The lady, if not too 
short, places her left hand, hooked, upon the gentle- 
man's right shoulder, the fingers appearing in front. 
The right hand of the gentleman should rest very 
gently upon the lady's back, as near the waist as pos- 
sible, so as not to remove the upward pressure of the 



GENERAL DIRECTIONS. 



41 



elbow directly under the lady's shoulder, as this is the 
lady's support, and must be held with sure, but gen- 
tle, firmness. The hand on the back should rest very 
lightly, and on every possible occasion should be 
slightly raised, so that the air may pass between, as 
in some cases the close contact induces perspiration, 
and may leave its mark upon the lady's dress. Both 
persons should be slightly bent forward, from the 
hips upward, so that the shoulders may be only three 
or four inches apart, the distance increasing down- 
ward ; this leaves both parties free in their limbs, so 
that any contact of person or knees may be avoided, 
and should be so avoided as a most serious mistake. 
The gentleman's left hand, holding the lady's right, 
should be extended downward in a line with the 
body, the hands three or four inches distant from the 
person, the arms forming a gentle curve from the 
shoulders downward. No weight is placed upon this 
arm ; all the guiding and changes must be governed 
by the elbow under the lady's arm. It will be found, 
that this grouping will be perfectly modest in appear- 
ance, no more contact of person occurring than in a 
lady taking a gentleman's arm for walking. In con- 
clusion, let it be remembered that purity of thought 
and action may be as conspicuous in waltzing as in 
any other situation of life; that the gross waltz 
grossly, the vicious viciously, the refined and innocent 
innocently and in a refined manner. (See illustrations 
of waltzing at end of book.) 

Guiding. 
It seemed to express the prevalent idea upon this 
subject, when a person asked the question, certainly 



42 DANCING. 

not in very choice language, " How do you haul your 
partner round ?" 

Those who waltz well move together in perfect ac- 
cord, neither the one nor the other conscious of any 
control ; usually the lady follows every movement of 
the gentleman, but if necessity requires it, the gen- 
tleman may follow the lady, one changing, the other 
following, scarcely knowing what they are doing; 
for during this time an animated conversation is fre- 
quently maintained. These, however, have passed the 
anxious state, in which many persons find themselves 
who have not fully mastered the difficulties of self- 
movement, and made waltzing a memory of the mus- 
cles. There is no theory for this, it is all in practice. 

Always maintain a proper attitude. 

Disguise all effort. 

An extended leg must not be bent. 

Bend only the knee from which a motion is made. 

When moving the feet, let the heels pass close 
together. 

Keep the heels about half an inch from the floor. 

In rising, allow the toes to be the last part of the 
foot to leave the floor. 

When descending let them be the first to touch. 

Endeavor to keep the feet at a right angle at all 
times. 

These can only be suggestions; gracefulness of mo- 
tion must be learned from example. 

Metronome. 

The letters found at the beginning of each dance, 
M. M. J=36, refer to Maelzel's time-indicator or me- 



GENERAL DIRECTIONS. 



43 



tronome, by which the exact speed of all music is de- 
termined. 

M. M. means Maelzel's metronome, the notes ^ T f £ 
indicate the length of note to be taken at each beat 
of the pendulum. 

The figures are those at which the index upon the 
pendulum should be placed. A simple substitute can 
be made by attaching an ounce weight (a bullet of 
lead is best) to a piece of thread. Allowing this 
to swing, and varying the length of the thread ac- 
cording to the following scale, it will be found suffi- 
ciently accurate for the purposes here required. 

Metronome. String.— Ins. 

Waltz J 72 23 One beat to a bar. 

Galop J 76 22 

Polka <J 104 11 Two beats " 

Polka Redowa J 60 36 

Schottische J 76 21 

Knickerbocker J 76 21 

Polka Mazurka ^J 56 43 One beat 

Five Step J 144 5 Five beats 

Quadrille J 104 1 1 Two beats " 

Lancers J 104 1 1 

Varsovianna ^J 54 49 One beat 

Court Quadrille J 76 21 Two beats 



(< t< 

u a 

u a 

a 
a 
it 
u 
14 
li 



CHAPTER VL 
GALOP. 

Motions, Time, Accent. — Method of Practice. — How to Turn 
to Right and Left.— To Change. — Deux Temps.— Why it 
should be Named the Ignoramus Waltz. — Motions.— Time 
and Accent. — Trois Temps.— Four-Slide Galop. — An Agree- 
able Change. 

THE galop is selected for a beginning, being the 
simplest both in motion and accent. It is in two-four 
(2-4) time, requiring but two of the radical motions, 
viz., Slide and Change, in the following succession- 
slide, change, slide. 

Accented to music. 



MM. j 




etc. 



The dance consists of the repetition of these three 
motions in every possible direction. 

Method of Practice. 

A beginner should commence with side slides, two 
to the left, two to the right, repeated to and fro many 
times; then forward slides, following a straight line, 
two with left, two with right, as far as space will 



GALOP. 45 

allow, and backward upon the same line, two slides, 
with alternate feet. 

Note. — In order to save great repetition in the description 
of this or any other dance, let it be understood that when two 
or more slides are directed for the same foot, the inevitable 
change, which must occur between those slides, will not be 
mentioned. 

After these are fully accomplished, then follows : 

Turning, while Making the Same Motions. 

Experience proves that beginners are frequently 
unable to decide readily which is the left or right 
turn. A simple way to determine this is to extend 
the right arm to the right, the face turned in the 
same direction ; then, by turning round bodily, as on 
a pivot, following the right arm, the right turn is 
made. 

Extending left arm, facing left, and turning in same 
manner, following the left arm, makes the left turn. 

Right Turn. 
Point of beginning. 

Slide Change Slide .• ., Slide Change Slide *-""'N 



Left foot. Right foot. 

The gentleman begins as if facing the bottom of 
this page. 

After making two slides along the first line with 
left foot, as shown in the diagram, and while pois- 
ing upon that foot, the body is thrown or twisted 
half round to the right, keeping the heel from the 



46 DANCING. 

floor, so that the foot may turn with the body; dur- 
ing this turn, the right will follow the dotted line 
until ready to fall upon the succeeding straight line, 
upon which two slides are made with right foot, fol- 
lowed by a half turn upon right foot, similar to the 
one described for the left, during which the left will 
follow the dotted line, until it is ready to fall upon 
the next straight line. This is one complete revolu- 
tion. All being alike, other examples are unneces- 
sary. 

The lady would begin as though facing the top of 
the page, making the first two slides with the right 
foot, and the half turn upon the same ; the second 
two slides upon the left foot, with half turn upon the 
same. 

Left or Reverse Turn. 

Slide Change Slide Slide Change Slide 

Left foot. V... ..-''* Right foot. V...-**'' 

After the first two slides with left, the half turn 
upon left must be to the left, causing the right to fol- 
low the dotted line as above ; and after the two slides 
with right, the half turn must be to the left, left foot 
following the dotted line. Motions for the lady are 
precisely the same, but she begins with right foot as 
if facing the top of the page. 

In practice, there will be found a tendency to dis- 
tribute the turn upon all three motions, caused by the 
momentum of the whole person ; this ought not to 
be resisted, unless there should be liability to turn 
more than is required. Evenness of motion is part 
of gracefulness. Brusque or sudden motions must 



GALOP. 



47 



be avoided at all times. Written description of mo- 
tion in any case can give only an approximate idea of 
the best. 

It will be found that the movements of the galop 
will generally assume the curved or loop form men- 
tioned in " General Directions." From this point, 
therefore, it will be treated as in that form. 

To Change from Right to Left Turn. 

Backzvard Change. — While turning to the right, af- 
ter the half turn upon the left foot, the two slides 
which follow with the right are made directly back- 
ward ; then immediately upon the following two 
slides with the left foot, the left turn or reverse be- 
gins. When necessary to resume the right turn, after 
the two slides of the right, the two slides of the left 
are directly backward ; then the right turn begins 
again upon the right foot slides. 

Forward Change. — In turning to the right, after the 
two slides with the right foot, the next two slides of 
the left are directly forward ; then the reverse begins 
with the right. To change back again to right turn, 
two slides are made with the right foot directly for- 
ward, then the right turn begins upon the left foot. 

Deux Temps * ( Two Time) — Ignoramus Walt 'z. 

The latter name is the more descriptive of the two, 
for various reasons. First, the dance being in three 

* All directions given for the galop are applicable to this 
dance. 



4 8 



DANCING. 



time, it is a curious mistake to name it "Two time." 
Second, the motions are so easy to learn that many 
men attempt the dance without preparation. These 
are the motions used by those whom we see "tear- 
ing" about with great athletic vigor, more frequently 
observed among certain of our English cousins than 
among us. These are they who "just get their sis- 
ters to show them what it is," and away they go in 
full quarter-stretch time. The only difficulty of the 
dance is in the accent. When in two-four time, the 
motions are those first taught to children, who learn 
it with great facility ; but the same motions to three- 
four time are at first beyond their understanding, and 
so it is with children of larger growth ; consequently, 
out of twenty couples attempting the dance, it is rare- 
ly that more than one or two will be in true accent. 
When the motions are well executed in appropriate 
accent, by those who know what it is they are doing, 
it is certainly not an ungraceful dance, and is at times 
very pleasurable, from this peculiarity of accent. 



MM. J ~ 7 2v 

3 6 3 



** 



,_ — _j — q. 



« 






Accent, 



3 



Left. 



EE^ 



2 



Right. 



Left. 



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etc. 



Right. | 



Trots Temps {Three Time). 



MM. J: 


=56. 








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GALOP. 



49 



Here we again have three-four time, but with a 
different division of notes, giving a change of accent. 
All the directions given for the galop are again ap- 
plicable, the variation from that dance being simply 
the addition of one slide, requiring two slides before 
commencing each half turn. 

Four-Slide Galop. 





























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The directions for the galop are applicable in this 
dance also, observing that three slides occur before 
beginning to turn, four bars being required for one 
complete revolution. 

A very agreeable change is made by alternating 
the two-slide with the four-slide galop ; that is, com- 
mence with left, two-slide galop with left, two bars, 
then four-slide with left two bars, as this latter causes 
only half a turn ; commence the two-slide for two bars 
with right, then two bars with right of four slides, 
which again makes but half a turn, so that the two- 
slide begins again with left. 

3 



CHAPTER VII. 
RACKET AND POLKA 

AND THE VARIOUS DANCES FORMED FROM THE SAME MOTIONS. 

Motions, Time, and Accent. — Not a Round Dance.— Racket 
Waltz or the " Society."— Two-Slide Racket.— Three-Slide 
Racket to Galop and Waltz. — Polka Redowa. — Polka Ma- 
zurka. — Esmeralda. — A Pleasant Variation. — Bohemian. — 
Combination. — Old and New Varsovianna. — Old and New 
Five-Step. — A Curious Illustration. — Schottische. 

HERE, again, we have to deal with but two mo- 
tions, and they are the same used in forming the 
Galop, viz., Slide and Change. 



Galop Racket (or One-Slide Racket). 

This requires one slide and two changes, accented 
as follows : 

Accent. 




Right. 



T 



3 






Left. 

3 



Lady. I 



LeftT"* i Rigl 



| Right . 




This cannot be said to be a revolving dance — say,, 
rather, a dance of angles, there being no full turn. 
The learner should begin by repeating the motions, 



RACKET AND POLKA. 



Si 



to and fro, sideways, one bar each way, being careful 
not to throw the foot out farther than will allow the 
toe to touch the floor when making the two changes. 
By simply changing the angle of the slide to every 
possible direction, the whole dance is accomplished. 

Racket Waltz {One-Slide Racket in Waltz Time). 

MM. j = 72. 




etc. 



The racket, in this accent, is that unfortunate dance 
known as the " SOCIETY," and is the medium through 
which not a few show an entire absence of good taste 
in motion. 

Two-Slide Racket to Mazurka or Polka Redowa. 



MM. j = 6o. 



Gent. 



Left. 



8 8 



gaiups 



Lady- 



Right 



Right. 



Left. 





^ ^ 






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8 8 


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Right. 



£^==£3 



Left. 






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| Right. 



Left. 



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etc. 



Three-Slide Racket to Galop. 
To Galop. 




etc* 



52 



DANCING. 



Changes are made, giving pleasant variation to these 
motions, by alternating the one-slide racket with the 
three-slide. 

To Galop. 



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etc. 



Same for other foot. 



To Waltz. 




Same for opposite foot. 



Polka * and its Derivatives, 

In this class of dances two other motions are intro- 
duced, viz., the Leap and Hop. We have, therefore, 
slide — change — leap — hop — sideways either to right 

or left. 

Accented to the Music. 

MM. j — 104. 

T 



Gent. 



Left. 



Right. 



<*0 So 

^ ^ ^ ^ <o O ^ ^ 




Left. 

Eo 3 ^ 



Right. 

Co <0 K) 



etc. 



The same method is applicable to this as to the 



* Introduced to my pupils in 1845. 



RACKET AND POLKA. 53 

galop, that is to say, the revolutions should be 
learned, following a straight line. 

Starting with the left foot, as for gentleman, at 
the slide no turn is made ; at the change begin to 
turn to the right ; at the leap turn still farther ; at 
the hop, or rather between the leap and hop, finish 
the half turn, so as to commence with the right foot, 
and by following the same method the turn will be 
completed, the pupil advancing along the line. 

The explanation given in " General Directions," 
in regard to making one half the pivot of the other 
half, must never be forgotten. 

To Reverse or Turn to Left. 
The same motions are made, but the pupil is re- 
volving -or turning to left while executing them. 

Pursuit. 

One dancer follows the other; one going back- 
ward, the other forward. 

The same four motions are used, not sideways, but 
forward or backward, as may be required. 

It may be remarked that a better and more grace- 
ful effect is produced when the hop is reduced to 
the smallest possible amount ; a rising and falling on 
the foot without leaving the floor is preferable to a 
more distinct hop. 

In changing from the right to the reverse, or left 
turn, one bar must be made as in the pursuit. 



54 



DANCING. 



Polka Redowa* 
Polka to Redowa Music. 



MM. J = 60. 

co <o s ^ 






I^^SlpS 



5* 



00 O ^ ^ 



:£=£: 



-I F 



^ — J-v-J -1 etc. 



Same directions as for Polka. 



Polka Mazurka.^ 

Combination of Polka and Mazurka. 

The polka as already described, omitting the hop. 
Mazurk — slide — change — hop. 

For example, sideways with left foot. After the 
slide and change, the left foot is held from the floor 
while the hop is being made upon the right. It will 
be observed that there is no return in the opposite 
direction ; the three motions, therefore, can be repeat- 
ed only in the same direction, either to right or left. 
When followed by the polka the change of direction 
is available. 



Accent. 



MM. J - 56. 











28 






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CO 


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etc. 



During the first bar no turn occurs, in the second 



* Introduced in 1852. 



t Introduced in 1850. 



RACKET AND POLKA. 



55 



the turn is the same as the polka. All the changes 
may also be introduced as in that dance, viz., right 
and left turns, and pursuit, with the addition of the 
" Oscillations," which consist of the lady passing to 
and fro in front of the gentleman (without changing 
the position of holding), that is, half round to left, 
and half round to right, each half round occupying 
two bars. 

Esmeralda (or Three-Slide Polka), 

As the second name denotes, this is simply the 
polka with two additional slides. 

Accent. 



MM. J=io4. 




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^j^gEzzzg=z£gz^=g ^g-gzz zg=p 



The first two slides at the first bar are made with- 
out turning ; at the second bar turn half round as in 
the polka ; at the third bar two slides are made with 
the opposite foot without turning, and one revolu- 
tion is completed by turning half round at the fourth 
bar. 

All the various changes of direction (reverse and 
pursuit) occur in this dance as in the polka, the suc- 
cession of the motions being always maintained. 

A pleasant way of varying this dance is to make 
the three-slide polka two bars, then one-slide polka 
two bars, turning once and a half before sliding three 
times on the opposite foot. 



56 



DANCING. 



Bohemian * {or Heel-and- Toe Polka). 

This is one of the eccentricities of dancing, not 
graceful unless exceedingly well executed. 

Place the right foot in the second position, but 
with the toe turned upward, heel upon the floor; at 
the moment of placing the heel down hop upon the 
left foot, so that the two motions are simultaneous. 

Next place the right foot in the fifth position be- 
hind the left, but with the heel raised (by bending 
the right knee). Just as the toe is placed upon the 
floor make a second hop upon the left foot. 



The two motions, occupying one bar, are followed 
by one bar of the polka, turning half round, when the 
Bohemian occurs with the opposite foot, again fol- 
lowed by the polka half round. The most agreeable 
way of using these motions, which in a measure re- 
moves the monotonous effect of the recurring heel- 
and-toe, is to repeat the Bohemian four bars, then 
the one-slide polka four bars. 



Accent. 



MM. j 




* First introduced as one of the movements of the original 
polka. 



RACKET AND POLKA. 



57 



Combination Polka, 
Combining Bohemian, Esmeralda, and Polka. 



Accent. 




Recommence with the opposite foot. 

Varsovianna* {old). 
This dance is composed of polka and mazurka mo- 
tions, the peculiarity of the dance consisting in the 
stop after each half turn, when the foot is extended 
to the second position. In another way, say, starting 
with left foot, 



{' Polka Redowa half round, 
Stop and point right foot, 
Polka Redowa half round, right foot, 
, Stop and point left foot, 
Mazurka with left foot, . 
Polka Redowa half round, left, 
Stop and point right, 
Mazurka with right, 
Polka Redowa half round, 
Stop, pointing left, 



bar. 

«< 
t* 

a 
it 
it 
It 

it 



* First seen in Paris, and introduced to my pupils in 1853. 

3* 



58 



DANCING. 



Continuing, with the same succession, throughout 
the dance. 



First phrase 
repeated. 



Varsovianna {new). 

Slide and slide, change, leap, left, . . i bar. 
Stop and point right, . i 

Slide and slide, change, leap, right, . i 
Stop and point left, . . i 

Repeat same 4 

Slide, change, hop, slide, change, hop, left, 2 
Slide and slide, change, leap, . . 1 
Stop and point right, . 1 
Slide, change, hop, slide, change, hop, right, 2 
Slide, change, leap, right, . . 1 
Stop, pointing left, 1 



MM. J. =54. 



Old. 3 4 1 



Accent. 
First Phrase. 




Second Phrase. 




\t 



Same for other f cot. 



9 



t= 



gEESg^g=i=g=a 



Same for other foot. 



-WZ^L 



?Z 



RACKET AND POLKA. 



59 



Five Step* 
This is a peculiar dance in five-four time, for which 
we have but few musical compositions. It consists 
of the mazurka with leap and hop. 



Accent. 



MM. J=i44. 




^^^^ 



Same succession continued. 



The turn is made at the leap ; hop (fourth and fifth 
motions), two bars being required for one revolution. 
At the moment of making the last hop (fifth motion 
of each bar), the disengaged foot should be brought 
to the first position, so that the heels will touch si- 
multaneously with the hop. 

New Five-Step. 

A very agreeable change is made by making two 
slides at the first and second motions, and at the 
third a change instead of the hop. 

The accent will be seen under the music. 



* Introduced in 1849. 



6o 



DANCING. 



This dance is a curious illustration of the effect of 
education or habit. If the music is placed before a 
musician, who may be a very thorough one, he will 
very likely exclaim, at first seeing it, " that the time 
is unnatural" and will probably have some difficulty 
in playing it ; yet children, even of four or five years 
of age, learn the dance and its rhythm as easily as the 
galop or polka. 

Surely, the unnaturalness cannot be in the children. 

Schottische* 
The schottische consists of two phrases with the 
motions used in the polka, viz., slide — change — leap 
— hop. 

First Phrase, — Slide, change, leap, hop ; repeated 
twice during two bars. 

Second Phrase, — Leap, hop ; repeated four times 
during two bars. 

Accent. 



MM. J -76. I 

3 



if 

8 



1- 



> 



51 

8 



& 



o &5 



•=t 



*t 




^^^^^^^M 



etc. 



* Introduced to my pupils in 1849. 



RACKET AND POLKA. 6l 

Manner of Dancing. 

The first phrase, to and fro sideways, without turn- 
ing, during two bars. 

The second phrase, turn half round with each leap 
and hop, making two complete revolutions during 
two bars. 

As a variation, turn half round upon each of the 
first two bars, as well as turn during the leap and 
hops. 

The same changes are made as in the other dances. 

Turn to right, turn to left (or reverse), and pursuit. 



CHAPTER VIII. 
WALTZ AND KNICKERBOCKER. 

Survival of the Fittest. — A Picture of Good Waltzing—An- 
other Picture. — Malaria. — Motions, Time, and Accent.— 
Turning and Pursuit. — Six Examples of Accent.— Length 
of Motions. — Starting. — Knickerbocker. — Its Origin. — 
Knickerbocker to the Waltz and Galop. — Redowa. — Its 
Origin. — Hop Waltz. — Boston. 

The Waltz. 

We have now arrived at the culmination of modern 
society dancing, the dance which has for fifty years 
resisted every kind of attack, and is to-day the most 
popular known. From palace to hovel its fascination 
is supreme, and it is truly worthy of this universal 
love, for no other dance so fully gratifies the sense of 
rhythmical motion as the modern waltz with its poetic 
time and phrasing. 

What is so charming as to see a couple of our 
young people, just blooming into manhood and 
womanhood, gliding about here and there in perfect 
accord of motion, rhythm, and sentiment with the 
strains of one of those exquisite compositions of 
Strauss or some other master, the ever-varying mel- 
ody and harmony of the music suggesting to the 
dancers ever-changing expressions of motion. At 



WALTZ AND KNICKERBOCKER. 



63 



first a legato movement, smooth, flowing, and gentle ; 
a beautiful bud, as it were, promising a glorious 
flower. The dancers glide over the floor in subdued 
joy, scarcely yet awake to the full meaning of their 
pleasure. A burst of harmony, changing the key, 
and introducing a more vigorous thought in the 
music, the dancers, in delighted sympathy, spring 
about with more and more action. 

" See how like lightest waves at play, the airy dancers fleet, 
And scarcely feels the floor the wings of those harmonious feet, 

5fC SjC if* -fi *jfi ifC 

So sport the docile footsteps to the heave of that sweet 

measure, 
As music wafts the form aloft, at melodious pleasure." * 

In another strain, the tone poem may express that 
gentle sadness which so frequently flows in upon us 
when very great happiness is experienced. Our 
poem of motion quickly yields to the sentiment, ex- 
pressing it in subdued action, for who can bound 
about in such a mood ? 

Suddenly the major supplants the minor — forte- 
crescendo-poco-a-poco-crescendo-fortissimo. The mu- 
sic is full of electricity ; this reaches the dancers ; they 
spring about, as if the previous gentleness had renewed 
all their vigor for the rapture of this strain, where 
both music and dancers seem to be overflowing with 
vitality and joy. Let us draw another picture : 

A man approaches a woman, tucks his arm under 
her shoulder, she seizes that arm above the elbow, 
with fingers well under, as if to tickle him. She will 

* Schiller. 



64 DANCING. 

then perhaps lay her anointed locks upon his snowy 
shirt-front, mingling her crisp frizzes with his flowing 
whiskers. He extends his left hand, palm upward, 
as though catching rain, she seems to plaster hers 
on top of it, both arms extended in imitation of a 
pump-handle. Or perhaps he may take her hand, and 
place it behind, in close proximity to the two buttons 
at the top of his swallow-tails. They are now ready, 
and commence with a simultaneous kick sideways; 
then there is a slide, and a tremendous sway in the 
opposite direction ; then the kick is delivered on that 
side ; another slide and sway sends them back again; 
and so they continue to kick and sway. 

The music may express every possible accent, or 
shade of sentiment, yet these dancers will continue 
their kicking and swaying, unconsciously proving, in 
their case at least, that, " A little knowledge is a dan- 
gerous thing." When asked what they are doing, 
they tell us they are dancing the " Society," a substi- 
tute for the waltz, forsooth : but this has the same 
relation to true waltzing that " Hey, diddle, diddle, the 
cat and the fiddle/' has to true poetry. Such sorrow- 
ful pictures may be seen, unfortunately, not always 
confined to the ignorant or vicious. 

Another curious phase of manner may also be oc- 
casionally seen, arising, as it is said, from the preva- 
lence of that fashionable disease, Malaria; this causes 
the arms of many of our young people to shake ter- 
ribly while waltzing. If the cause given is a true one, 
then we can only pity them for their misfortune, as 
it can scarcely be believed that any one would do as 
they do intentionally. 



WALTZ AND KNICKERBOCKER. 65 

The Waltz Motions. 

The following is the simplest form of the waltz 
motions, and the best way for a beginner to learn is 
to adopt this form : 
1st Motion. Raise right, in fourth position, and leap 

forward, say eight inches. 
2d " Place left in second position, and slide to 

side twelve inches, not forgetting to 

transfer the body to left foot, leaving 

right in second position. 
3d " Change from left to right (slight spring), 

at the same time raise left in fourth 

position behind. 
4th " Leap backward upon left, say, eight 

inches. 
5th " Extend right to second position, and 

slide, say, twelve inches, not forgetting 

to transfer the body to right. 
6th " Change to left, at the same time raise 

right in front, ready to begin the same 

series of motions again. 

These six motions require two bars of music. 





Reverse. 


1st Motion. 


Leap forward on left. 


2d 


Slide to right. 


3d 


Change to left. 


4th 


Leap backward on right. 


5th « 


Slide to left. 


6th 


Change to right. 



66 DANCING. 

Pursuit (Forward)o 

1st Motion. Leap forward on right. 

2d " Slide forward with left. 

3d " Change forward to righto 

4th " Leap forward on left. 

5th " Slide forward with right. 

6th " Change forward to left. 

Pursuit (Backward). 
1st Motion. Leap backward on left. 



2d 


a 


Slide 


a 


with righ 


3d 


a 


Change 


u 


to left, 


4th 


u 


Leap 


a 


on right. 


5th 


a 


Slide 


a 


with left. 


6th 


a 


Change 


a 


to right. 



Before going further, a learner should make himself 
complete master of these four movements, so that he 
can execute them at any speed, making them in 
reality a memory of the muscles, not of the mind. 

Waltz. — Turning to Right. 

Two bars of music are required for each revolution. 
One bar may be termed the progressive, the other 
the pivot. 

1st Movement. Leap forward upon right. 

2d " Slide left. 

In making this slide, turn to the 
right, so that the slide will follow 
the same direct line forward as the 
leap. 



WALTZ AND KNICKERBOCKER. 67 

3d Movement. Change to right. 

At this change, complete the half 
turn with left foot raised behind. 

4th " Leap backward upon left. 

5th " Slide backward with right. 

At this slide continue the turning 
to the right, keeping upon the same 
line. 

6th " Change to left. 

Complete the second half turn, 
resting upon left with right in 
front, ready to recommence the 
same series of motions. 

Turning to Left, or Reverse. 
1st Motion. Leap forward upon left. 
2d "" Slide right, at the same time turning to 

left. ° 
3d " Change to left, completing the half turn. 
4th " Leap backward upon right. 
5th " Slide left, turning farther to left. 
6th " Change to right, completing the second 

half turn. 

Backzvard Change from Right Turn to Reverse. 

After as many revolutions to the right as may be 
pleasurable, one bar is made as in the pursuit, with- 
out turning ; this brings the right foot behind, raised 
for the leap, which is made directly backward, but at 
the slide which follows a turn is made to the left, 
the other half turn being completed at the change, 
when the reverse is continued as described above at 
4, 5, 6, then 1, 2, 3, 4, 5, 6. 



68 



DANCING. 



Forward change from right to reverse. — When it is 
necessary to change one bar is executed straight for- 
ward, as in the pursuit, which leaves the left foot in 
front, raised for a leap, which is made straight forward ; 
the following slide with right foot should turn the 
body to the left, and at the change the half turn is 
completed, and is followed by the other half turn, as 
described above at I, 2, 3, 4, 5, 6, following. 

Various Accents that are Given to the Waltz in 

Dancing. 



MM. J =72. <* 




3 






z^—-e. 



m 






IS 

to ^3 
kj Co 



<3 li 1 ^ « 
« to<|** 

O «^coO 



3 



^ 



etc. 




* 3 

k) Co 



<i to 



So 

3 



I 

to 

^1 



to 
Co O 



m 



vj=*=£: 



#=i 



w- 



3^mm 



etc. 



Accent of the Redowa, 




Or this : 



KJ Co 




j^jg^; 



to 
8 



^ CO 



1? 

3 



I: 



=p=3- 






« 



g 



55=3: 



WALTZ AND KNICKERBOCKER. 



69 



To Galop. 







etc. 



To Polka. 




etc. 



The first four examples (to the waltz) show the 
difficulty encountered by two persons dancing to- 
gether who have not the same accent. The first is 
recommended as giving more smoothness to the 
motions. 

The length or distance covered by the various mo- 
tions should not be the same at all times ; freedom of 
motion is one of the great beauties in waltzing, and 
that cannot be produced by exact measurement. 

When a couple is seen darting about from one 
place to another, and then fluttering, as it were, with 
short motions upon a small space, as if extracting the 
very essence of pleasure from the flowers of music, 
bringing to memory the fascinating movements of 
the humming-bird, we feel within ourselves the 
pleasurable effect of this freedom ; but the unchange- 
able revolutions of others present to the imagina- 
tion a picture too closely resembling the revolving 
figures upon a hand-organ to be agreeable. 



70 



DANCING. 



Starting the Waltz. 

To begin the waltz with the leap is somewhat awk- 
ward, and for that reason many dancers adopt the fol- 
lowing excellent expedient : 

Immediately upon taking position for waltzing, the 
gentleman slides the left foot, occupying two of the 
three notes of the measure ; at the third, a change is 
made from the left to the right foot, leaving the left 
elevated for the leap which follows ; with these two 
movements the gentleman places himself in front of 
the lady, so that his first leap may be backward. At 
the same time the lady makes a very short slide with 
the right, then a change to the left foot, raising the 
right preparatory to the first forward leap, which oc- 
curs simultaneously with the gentleman's backward 
leap. 

It must not be forgotten that a waltz is written in 
phrases of two bars each, the lady beginning each 
phrase with the right, the gentleman with the left 
foot; as the foregoing method of starting requires 
but one bar, it is necessary to wait for the second bar 
of a phrase before beginning. 



Knickerbocker. 
Although this dance was introduced and named by 
me, I cannot say it is of my invention ; it is rather a 
copy from my own pupils. Observing a couple of 
the best amusing themselves by trying to invent a 
variety of motions while waltzing, I recognized the 
beauty of this combination. After giving those mo- 
tions form and regularity, I induced my pupils to 



WALTZ AND KNICKERBOCKER. 



71 



learn the dance. So universal were the expressions 
of pleasure that I was encouraged to compose music 
for it with vocal accompaniment ; those not dancing 
joining the others in the recurring vocal strain. 

Among children, whose innocent tones of voice are 
at all times so touching to us older ones, the effect 
is at once novel and charming. To give still more 
zest to the dance, I also introduced an octave of 
small bells, which, joined to the voices, produced a 
pleasing effect. 

The dance having begun its career among our 
young New-Yorkers, the name Knickerbocker was 
deemed appropriate. 

These motions, when accompanying the delightful 
rhythm of a suitable waltz, are certainly more in ac- 
cord with our ideas of poetic motion, and more fasci- 
nating to the dancers, than any other combination. 

Knickerbocker. 




Knickerbocker Waltz. 




5 



t 






<o 



3 



z=x=f=^===r== 



1 H r -f^b ^ ^g ^=p 



72 



DANCING. 




: etc 



Redowa. 

When first introduced this dance had the time of 
a polka mazourka, the melody usually being smoother 
and more gracful in style. It consists of the three 
motions, leap, slide, change, the same as in the waltz. 
The accented motion falling upon the unaccented 
part of the music, at this slow speed many persons 
failed in accenting it correctly, gradually falling into 
the simpler succession of slide, change, leap, as in the 
polka ; after a time this was called polka redowa, and 
completely displaced the redowa. The name was, 
however, retained in the redowa waltz, and a distinc- 
tion was made between that and the ordinary waltz 
by springing with great energy upon the leap — the 
" too-too's " (or excessives) of those days not failing 
to make their disposition known by exaggerating the 
leap. Our beautiful waltz of to-day is a subdued red- 
owa. Those who failed in those days, finding this 
redowa beyond their powers of accomplishment, 
modified it to the hop waltz, as those who fail now 
modify the waltz to what is called the Boston ; both 
of the modifications are childish forms of waltzing, 
scarcely worthy of adults. 



HOP WALTZ AND BOSTON. 



73 



Hop Waltz. 

Accent. 






^ ^ ^ ^ 

►^ «5 ^ k; 




jTrTirr 3 



iiTT 



tzfzt 



t=^X 



etc. 



One revolution in two bars, 



Boston. 

Accent. 




etc. 



The motion step is the same as described in the 
account of radical motions. When stepping with 
the right foot, the left knee is slightly bent, produc- 
ing the dip, from which the name Boston Dip was 
derived. 

In stepping with the left foot, bend the right knee. 

The motion rise is simply raising the heel of the 
foot upon which the step is made, marking the third 
beat by the descent. The turn is made by changing 
the angles of the steps, and twisting upon the foot 
at the rise, while the heel is up. 

Right turn, right forward, left backward. 

Left turn (reverse), left forward, right backward. 

4 



CHAPTER IX. 
WALKING.— SALUTATIONS. 

Use of the Arms. — Walking. — Salutations. 

Graceful walking depends greatly upon the man- 
ner of swinging the leg forward ; the knee should be 
bent as little as possible, yet it must not be rigid, as 
flexibility is a large part of gracefulness. When the 
foot is placed down, the heel should touch barely an 
instant before the forward part, and the weight of 
the body should be carried forward as the foot is 
put down, the knee behind being allowed to bend 
very slightly. Of course the body should be erect, 
as described in standing. 

To walk well, means a graceful carriage of the en- 
tire person. A favorite theme with writers is the 
beautiful walk of the Spanish ladies. 

Let us remember that this is not learned without 
study and practice, which is also shown in their use 
of the fan. 

Climate has much effect upon these motions, as it 
has upon the greatly praised Spanish waltz, causing 
them to be slow and curved, with an expression of 
languid gentleness natural to the warmer latitudes. 
Angularity is a characteristic of colder climates. 



WALKING.— SALUTATIONS. 



75 



Arms. 

As a general rule, the arms should be raised from 
the shoulder, the entire arm rising in a curved line. 
If there is any deviation from the straight line up- 
ward, it should be from the inside towards the out- 
side, seldom in the opposite direction — the curve 
being the line of beauty. All the motions should co- 
incide with that idea. Angularity should be avoided 
as a serious mistake. When one hand is given, the 
face should always be turned in the same direction. 



Salutations. 

The manner of making these motions are sure in- 
dications of the standing and associations of both 
lady or gentleman, but more especially of the latter. 
The various circumstances of social intercourse re- 
quiring their use in almost unlimited variety, unmis- 
takably show the difference between good habitual 
motions and an occasional attempt. 

The Bow, 
The test of good-breeding. 
Stand in first position. 

1. Slide right to second. 

2. Close the left. 

3. Bend the head forward, looking downward ; this 
may be described as a curling over forward. 

4. Bend shoulders. 

5. Commence to rise. 

6. Finish the rising. 

The arms should be allowed to hang in the normal 



7 6 



DANCING. 



position, loosely, so that they may swing slightly for- 
ward as the body is bent. The slide (No. i) changes 
the direction of the bow, to right or left, straight for- 
ward, or, if to turn to the left, the right slides forward, 
while the body turns to the left ; if to the right, the 
left slides forward while turning in that direction. 
Never bow while the feet are apart. 

The Courtesy. 

This is a combination of motions, of no little diffi- 
culty, requiring repeated practice for its accomplish- 
ment with the necessary ease. It is singularly artifi- 
cial and unnatural, and yet is of great beauty when 
executed by a well-trained lady. The best form and 
method of practice is as follows: At first, the lady 
should practice the bow, with all its variations, as 
described for the gentleman ; when entirely familiar 
with those movements she should proceed to add 
what follows : 

At the preliminary slide mentioned for the bow, 
the lady should not bring the heels together, but pass 
the foot behind. For example, if the slide is made 
with the left foot, the right is passed behind ; if the 
right makes the slide, the left is passed behind into the 
fourth position, the feet being thus separated about 
twelve or fifteen inches. While thus standing upon 
both feet the lady commences to bow, but at the 
same time both knees are bent outward sideways, so 
that the bow and sinking down may be simultaneous. 

Upon rising, the front foot should be carried back 
to the one behind, so that the courtesy is finished in 
the first position. 



SALUTATIONS. jj 

If the walk is begun directly from the courtesy, 
the front foot must make the first step. There are 
occasions when it may be necessary to walk backward 
a few steps, as at very ceremonious receptions or 
presentations. In this case, the backward steps 
should be commenced while the body is still bent 
for the bow, and it should be retained in that attitude 
until the final step is made. The heel of the foot 
extended backward should not touch the floor, while 
the leg should be pushed backward as straight as 
possible. In this way, if the lady is " en traine," the 
skirt is pushed backward out of the way at each 
step, obviating the exceedingly unpleasant " faux 
pas " of stepping upon the skirt. 

The preliminary slide is used in changing the direc- 
tion of the courtesy. If to the right, the left foot is 
extended in front, while the body is turned to the 
right, so that when fully turned to the right the right 
foot will be to the side in second position, that foot 
is then passed behind as described above. The same 
when turning to the left ; while turning, the right is 
extended and the left passed behind. 

Every degree of respect may be indicated by the 
courtesy and bow in their several forms, from the 
supercilious nod, which says, " How are you, Billy/' 
with an upper inflection of voice and sneering ex- 
pression, to the movement which plainly means, " I 
present myself before you with profound respect/ 5 

Passing Salute. 
The passing salute is the same for lady and gentle- 
man. It is, in fact, a slight bow or curved inclination 



78 DANCING. 

forward, from the hips upward. The important point 
to be observed is, to make that inclination forward 
just as the left foot is placed down in walking when 
the person saluted passes on the right. If to a per- 
son passing on the left, the inclination is made just 
as the right foot descends ; the face, in both cases, is 
turned towards the person saluted. No check, how- 
ever, should be made in the natural walk. 

When the hat is removed in saluting it should be 
with the hand on the side opposite the person pass- 
ing, other circumstances allowing. 



CHAPTER X. 
QUADRILLE 

AND OTHER FIGURE DANCES (SO-CALLED SQUARE DANCES). 

Manners in this Dance. — Want of Good-breeding. — Conse- 
quence of Attention to these Dances. — A Hint on Eti- 
quette. — Motions, Time, and Accent. — Formation. — Head 
of Room. — The Figures as Danced at Present- — The Origi- 
nal Form. — Modifications Introduced. — Extra Figures. — 
Polo. — Caledonians. 

At no time are the habits of good-breeding so evi- 
dent as when moving through the figures of this 
class of dances. This will be readily appreciated by 
those who have enjoyed the good-fortune of joining 
a set composed of cultivated persons. Each one 
appears to vie with the others in efforts to increase 
the general pleasure, at one time advancing in a pleas- 
ant manner to meet the opposite couple, then courte- 
ously presenting hands ; at all times a conscientious 
readiness and visible pleasure in doing the part re- 
quired render the entire dance a mutual interchange 
of kindly consideration and a consequent satisfaction 
to all. 

We may easily conceive that when one is used to 
such movements in dancing, they are not forgotten 
at other times. How different the same dance is 



80 DANCING. 

without this element of good-breeding many can tes- 
tify from experience. 

You have been induced perhaps to obtain a part- 
ner in order to complete a set lacking one couple ; 
you take the place, feeling under an obligation to 
be fully prepared to aid the others in the execution 
of the various movements, naturally supposing that 
those you assist are actuated by the same sense of 
duty. Your first experience may be, when, after the 
salutation to your partner, you turn to the lady at the 
side, with the expectation that she will be ready to 
receive your compliment, and thus prepare the way 
for a series of movements equally agreeable to both. 
A keen sense of disappointment occurs when you 
find your polite motions ignored — the young person 
being too much engaged in entertaining her part- 
ner to remember her duty to others. You advance 
to take hands, and find the person opposite suddenly 
drops her previous animation, and presents her hands 
to you in a way that unmistakably says, " This is en- 
tirely compulsory, and I don't like it ;" turning with 
you in evident anxiety to fulfil the disagreeable duty 
as quickly as possible. This manner is repeated in all 
the many movements which occur in such a dance, 
making the duty you and your partner have assumed 
anything but pleasurable ; you feel a sense of injus- 
tice in the fact that at every moment these others 
are taking from you that which as truly belongs to 
you as your own property, viz., the right to an agree- 
able period of pleasure. A kind of resentful indif- 
ference soon makes itself felt, and the dance, which 
should have been a gentle contest of kind attentions, 



QUADRILLE. 8 1 

degenerates into a competition of supercilious indif- 
ference not creditable to those engaged. It is not 
surprising, therefore, that persons of sensitive nat- 
ure should shrink from such encounters, and, when 
not among intimate friends, content themselves with 
those dances that require but one partner for their 
execution. 

There is, perhaps, stronger individuality shown in 
the manner of making the simple motions required 
in these " square " dances than at any other time, 
and they reveal the habits, education, and surround- 
ings of those dancing, as is shown in the stately 
movements of a court ball, and in other forms of fig- 
ure dancing, through every descending phase down 
to the notorious can -can, which is only a quadrille 
danced by gross people, who make motions outrag- 
ing decency. Unfortunately, so little attention has 
been given to these dances of late years that when 
a quadrille is required to open one of our great balls, 
scarcely eight persons can be found capable of ren- 
dering the dance worthy of the occasion or of them- 
selves. 

When once a place is taken, and the other dancers 
see that it is accepted, a change to another set should 
not be made except under very exceptional circum- 
stances, and then not without proper apologies, nor 
until another couple is found to assume the place 
vacated. Etiquette, justice, and self-respect require 
this. 

Motions. 

All figures may be executed by the aid of three 
motions: 

A* 



g 2 DANCING. 

1. Walk (Pas Marche). — No explanation is neces- 
sary, except that it is better to push the feet about, 
not raising them from the floor. 

2. Slide (C/iasse), as explained in " Radical Mo- 
tions" for two-slide galop or side slides. 

3. Balance. — The English word balancing might 
be used, as somewhat descriptive of the motion. 

Balance, Forward. 

1. Step forward on the right, balancing on that 
foot. 

2. Extend the left, to second position. 

Balance, Backward. 

1. Step backward on the left, balancing on that 
foot. 

2. Extend the right to second position. 

This is also executed twice forward, with alternate 
feet, and the same backward. 

Movements. 
Forward and Back. 



$ 3 5$ &Q 



£ 3 ^ £ 



P^^g^^^^^^^etc. 



Forward. i Backward. 



Cross Over. 







"& 



m^^^&. 



etc. 



Straight forward. Turning. 

Return the same. 



QUADRILLE. 



83 



Balance. 




*— v-t- 



co 



CO 



Forward. 



Backward. 



Same repeated. 



Balance, Forward and Back. 



Co Co Co Co 


1 

... Stop 

....Step 
. Stop 


w-^—j — *-* — P — ' — ' — 


- -1 — &— *HH — * ' J 



Movements. 

The original quadrille probably contains two thirds 
at least of all the movements used in any of the fig- 
ure dances. It is upon this that all subsequent com- 
positions of the kind are based. A minute descrip- 
tion of them will, therefore, enable a learner readily 
to comprehend other combinations. 



Formation in Square. 



2d Couple. 
L. G. 



V 



Side 



a 

o 
U 



Couples. 



to 
n 



G. L. 

1st Couple. 

(G- for Gentleman. L. for Lady.) 



8 4 



DANCING. 



The head of a room, by which the position of the 
couples is determined, is rarely designated. The po- 
sition of the music is sometimes adopted as the head, 
but that appears somewhat awkward, when the or- 
chestra is at the side. If the entrance is at one end, 
then it seems natural to adopt the opposite as the 
head. In private houses the end of the drawing-room 
towards the street is usually taken. This being deter- 
mined, the first couple would face the opposite end, 
the second face the first, third on the right of the 
first, and fourth facing third. 

The figures are first described as danced at the 
present time ; then according to the original form, 
followed by the various modifications that have been 
introduced in successive years. 

First Figure. 

Introductory salutation to first strain. 8 bars. 

(Alike in all square dances.) 
ist Movement. Right and left {Chaine Anglaise). 8 bars. 
2d " Balance. 8 bars. 

3d " Ladies' chain. 8 bars. 

( This to the " da 1 
4th " Balance < capo " to the > 8 bars. 

( first strain. ) 

Describing them in the order as above : 
Introductory Salutations. 

For Lady. — Slide the right foot towards the cen- 
tre of the set, at the same time turn to face 
your partner; courtesy with the left behind; 
then slide back to place with the left, at the 



QUADRILLE. 85 

same time turn back to your partner ; slide the 
right outward, and again courtesy with the left 
behind ; then slide back to place and side to 
partner. 

For Gentleman. — Slide the left forward, at the 
same time face your partner, bring the right to 
left and bow ; slide the right back to place, 
and turn back to your partner ; slide the right 
outward, bow and return to place by sliding 
the right foot. 
1st Movement. 
Right and Left. 

Two couples cross over ; when crossing, the two 
ladies pass between the two gentlemen, each 
lady giving her right hand to the opposite 
gentleman's right ; immediately upon passing 
through, which should be at the fourth step, 
the right hand is disengaged and the left given 
to partner's left ; at the fifth, sixth, and seventh 
steps the partners pass each other across the 
line of advance, the lady in front ; and when ar- 
riving at the halt, the lady should be upon the 
gentleman's right, both facing the opposite 
side (their own places) or point from which 
they started. 

This requires music, 4 bars. 

Going across is half right and left. 

Going and returning is known as Right ) ft • 
and left. \ * ^' 

2d Movement. 
Balance. 

This movement must not be confounded with the 



86 DANCING. 

motion Balance, though the same word is used 
for both. The confusion arose in this man- 
ner : Originally the word described the mo- 
tions used at this part of the dance, which 
were balance ajid turn partners. Latterly, va- 
rious other movements have been introduced 
taking the place of these, but the word ba- 
lance has been continued as indicating that 
part of the music. 
A distinction may be made by using balance for 
the movement, and balance for the motions. 

Original Form of Balance. — The two couples who 
are executing the other parts of the figure stand face 
to face with partners. 

They balance forward and backward. Four bars. 

Then turn partners. Four bars. 

In turning partners the lady and gentleman take 
both hands, holding them downward, but extended 
out slightly, and then walk round each other, each 
walking upon the same circle, ending in original 
places, ahvays going to the left. 

Second Form of BalancL — The gentlemen take 
partners' hands crossed in front right above the left ; 
standing face to face, both couples slide seven times 
in succession across the set, passing to the right and 
returning to places with the same slides and upon 
the same side. 

Third Form. — Same position of hands. Only three 
slides are used, to and fro, which must be repeated. 



QUADRILLE. 87 

Fourth Form. — Take one hand, the dancers stand- 
ing sideways (lady's left, gentleman's right) ; walk 
across, passing to the right of the opposite couple ; 
at the seventh step both turn half round, change 
hands and walk back to places. 

Fifth Form. — Hands the same ; walk three steps, 
and three backward and then turn partners. 

3d Movement. 
Ladies Chain. 

Two ladies cross over, giving right hands in pass- 
ing, then give left hands to opposite gentle- 
men, passing round until the opposite lady's 
place at the right of the gentleman is reached, 
at the same time the two gentlemen follow 
' their partners, each extending the left hand 
to receive the opposite lady as she advances 
towards him, and so handing her round to his 
partner's place, he stopping in his own. 
This is half ladies' chain, requiring 4 bars. 
Repeating the same movements in returning 
to places forms the whole ladies' chain. 8 
bars. 
4th Movement. 
Balance. 

As described at 2d movement. 8 bars. 

Originally the 4th movement was half prome- 
nade, half right and left. 
In the half promenade two couples take each 
one hand of partner, and walk across to the 
opposite couple's place, passing to the right. 



88 DANCING. 

Half right and left as described in 1st movement. 
These four movements are repeated once by the 
head couples, and once by the sides. 

Second Figure. 
Wait. 8 bars. 

1st Movement. 
Forward Two. 

Two opposite couples forward and back. 4 bars. 
2d Movement. 
Cross Over. 

Same two couples cross over, ladies pass- 1 

ing between, not giving hands nor I 

turning round, except when on the [ 4 

other side, when each faces partner. 

3d Movement. 

Pass Partners. 

The same couples balance forward and 

back, passing in going forward, also [>- 4 bars. 
in going back, ladies inside. 
4th Movement. 
Recross to Places. 

Same as 2d movement. 4 bars. 

5th Movement. 
Balance. 

Same as described in 1st figure. 8 bars. 

Repeated twice by head couples and twice by 

sides. 

Originally, two persons only executed the 1st, 2d, 

3d, and 4th movements, hence the words " forward 

two." 



QUADRILLE. 



8 9 



8 bars, 



4 bars. 



Third Figure. 
Wait. 
1st Movement. 
Right Hands Across. 

Two opposite couples cross over, each 
lady giving the right hand to the 
opposite gentleman's right, all turn- 
ing to face when passing ; disengage 
hands, then separate backwards ; this 
brings each couple to the opposite 
side, with ladies on the left of their 
partners. 
2d Movement. 
Left Hands Back. 

The same couples return, giving their > 
left hands ; when past the other 
couple they turn and face without 
disengaging hands ; each one then 
gives the right hand to partner's right, 
forming a circle ; in order to do this, 
the ladies cross the right arm over 
the left. 
3d Movement. 
Balance in Circle. 

While holding hands in circle, all bal- ^ 
ance ; but the step should be more 
to the right than straight forward, \ 4 bars, 
and more to the left than straight 
back. 
4th Movement. 
Cross Over. 



4 bars, 



go DANCING. 

The two couples disengage hands, re- 1 
taining partners, and slide or walk I 
round to right, continuing until each j 4 oars, 
reaches the other couple's place. j 

5th Movement. 

Two Opposite Ladies Forward and Back. 4 bars. 
With walk or balance. 
6th Movement. 

Two Gentlemen Forward and Back. 4 bars. 

7th Movement. 

Four Forward and Back. 4 bars. 

8th Movement. 

Half Right and Left to Places. 4 bars. 

Each figure repeated twice by head couples, and 
twice by the sides. 

Originally, the 1st and 2d movements were exe- 
cuted by one lady and the opposite gentleman ; at 
the left hand back, retaining the left hand, each gave 
the right hand to partner's right, thus forming a line 
across the set. 

At the 5th and 6th movement also, one lady and 
the opposite gentleman executed the forward and 
back, forward again, and dos-a-dos — which is to pass 
round each other back to back ; this was afterwards 
modified to going forward and back twice, the second 
time making salutations before going back. 

Fourth Figure. 
Wait. 8 bars. 

1st Movement. 
Forward Four and Back. 4 bars. 

(Opposite couples.) 



QUADRILLE. 



91 



2d Movement. 

Leave Lady on Opposite Side. 

The same couples forward a second time, 

when the first gentleman hands his 

lady to the opposite gentleman, the 

lady taking his left hand with her \ 4 bars. 

left, then all go backward, the first 

gentleman alone, the three together, 

a lady on each side of the gentleman. 

3d Movement. 

Forward Three and Back. 

The two ladies face outward, so that ] 

while the gentleman walks forward, , 

• 1 1 , . 1 \ 4 bars, 

they are going backward in the same 

direction. J 

4th Movement. 
Change Ladies. 
The three go forward a second time ; at " 
the same moment the single gentle- 
man walks forward to meet them, 
and while in the centre the second 
gentleman transfers the two ladies to 
the first gentleman, who goes back- 
ward with them, while the other gen- 
tleman goes backward alone. 
5th Movement. 
Forward Three and Back. 

In same manner as at 3. 4 bars, 

6th Movement. 
Forzvard and Stop. 

The same three forward a second time, 

and stop while the single gentleman \ 4 bars, 
advances to meet them. 



4 bars, 



9 2 



DANCING. 



7th Movement. 
Hands Round. 

The four take hands in a circle, and i 
slide or walk round to the left, con- 
tinuing until each couple arrives at 
the other's place. 
8th Movement. 

Half Right and Left to Places. 
Each figure repeated twice by the heads, twice by 
the sides. 



4 bars. 



4 bars, 



First time the 1st lady passes over to the 2d couple. 
Second " 2d " " " 1st " 

Third " 3d " " " 4th " 

Fourth " 4th " " " 3d " 



Originally the 5th and 6th movements were a solo 
for the single gentleman, who then took occasion to 
show all his skill ; at times motions of great difficulty 
were introduced. 

This was first modified by the gentleman going 
forward and turning the two ladies, the opposite lady 
first, then his partner. 



Fifth Figure. 

Wait. 
1st Movement. 

Ladies' Chain. 
2d Movement. "1 Forward Two. 
3d " Same as 1st, 2d, 3d, and 

4th " 4th movements of 2d 

5th " 1 figure. 



8 bars. 
8 bars. 

16 bars. 



1- 8 bars. 



QUADRILLE. 93 

6th Movement. 

Balance 8 bars. 

After repeating these movements four times, 
twice by the heads, and twice by the sides, at 
the second eight bars of the first strain. 
7th Movement. 

All Chasse Across, 
All standing side to side with partners, 
the lady a little in advance, all slide 
sideways three times, lady to left in 
front, gentleman to right, thus pass- 
ing or crossing each other, then all 
balance once forward and once back- 
ward ; repeat the three slides going 
back to places, lady again in front. 
All then turn to partners and make 
* the concluding salutations. 

Originally, all promenade was used in place of ladies' 
chain. The movement consists simply in the couples 
following each other in walking round the circle of 
the set, holding partner's hand. 

Quadrille in Lines. 

L. G....L. G....L. G.. L. G....L. G... L. G- .. L. G v etc., 

any number. 
G. L. . . . G. L. . . G. L. . G, L. . . . G- L. . . . G. L. . . . G. L., etc., 
(When in this form, each number is repeated twice only.) 

In Europe this is more generally adopted than 
with us. As a vis-a-vis only is required, this form 
affords an excellent method by which w r e can avoid 
those unpleasant people who intrude themselves 
without previous knowledge, either of motion or 



94 DANCING. 

movement, and who, not expecting to have much 
pleasure, are satisfied with the idea of learning ; at 
the end the egotism of such persons will frequently 
prompt them to say, and believe, " that they were as 
successful as the others, as they all occasionally ap- 
peared to be in great confusion," their lack of infor- 
mation blinding them to the fact that they alone 
were the cause. After thus marring the pleasure of 
the other unfortunates, they retire to their seats quite 
satisfied with their doings. Surely such persons do 
not remember the Golden Rule ; could they do so, 
self-respect would prevent such mistakes. 

Would it not be quite as reasonable to take part 
in a chorus, without previous knowledge of music ? 

Jig Figure. 

Hands all Round. 8 bars. 

All ladies to the right, balance to, and turn, ) 

the next gentleman on their right. ) 

In the same manner balance to, and turn, ) g , 

the next gentleman. ) 

In the same manner balance to, and turn, ) g , 

the next gentleman. ) 

Finally, all balance to, and turn, partners. 8 bars. 

Hands all Round. 8 bars. 

All the gentlemen to the right, passing \ 

their partners, balance to, and turn, the V 8 bars. 

next lady on their right. ) 

Same to each lady of the set, and finally ) 

7 \ 24 bars, 

to partners. ) 

Hands all Round. 8 bars. 

All ChassL 8 bars. 



QUADRILLE. 95 

Cheat, or Coquette. 

First Couple Balance to Right. 

Forward and back ; forward again and turn, giving 
both hands to opposite persons. Balance to 
the next couple, then to the fourth couple, and, 
finally, balance to and turn partners. 
Third Couple Balance to Right. 

And the same as above. 
Second Couple Balance to Right. 

And the same as above. 
Fourth Couple Balance to Right. 
And the same as above. 

This figure derives its name from the privilege al- 
lowed after balancing, either to turn the opposite 
person, or make a feint to do so, and suddenly turn 
some other person, thus cheating the first. 

Basket Dance. 

Forward Two. 16 bars. 

Balance. 8 bars. 

Ladies, hands round in centre to left and " 
right, remaining in centre; gentlemen 
hands round, outside of ladies, to left 
and right, stopping on left of partners ; 
gentlemen pass their hands over the 
heads of the ladies (ladies stooping), 
and form the basket. All balance to, 
and turn, partners. 



96 



DANCING. 



The Polo Quadrille. 

Four couples, formed as for the ordinary quadrille 
or lancers. Each number twice. Eight bars are 
played before the commencement of each figure. 

No. i. 

A 11 Promenade Half Rotmd. 4 bars. 

Head Couples Forward and Back, 4 bars. 

When head couples are going back, the sides for- 
ward, and go back as the others forward again 
for next movement. 
Head Couples Half Right and Left to Places, 4 bars. 
Sides Same. 
Double Ladies Chain, ladies crossing hands \ 

in centre. 
Same for Gentlemen. 

No. 2. 

Hands all Round to Left. 

Four Ladies in Centre, back to back, and " 
gentlemen promenade all round outside 
to left, turning partners with both hands 
when in places. 

Gentlemen Inside, back to back, and ladies 
promenade all round outside, turning part- 
ners to place. 

Second time, finish with hands all round. 



< 



4 bars. 

8 bars. 
8 bars. 

8 barsc 
8 bars* 

8 bars. 



No. 3. 

Four Ladies Cross Over to each other s Places, 

the first two passing first, and all turning \ 4 bars 
to face inside. 



QUADRILLE. 97 

Four Gentlemen same. 4 bars. 

The gentlemen do not turn round, but each gives 

his left hand to his partner and right to the next 

lady on his right, forming a circle, with ladies 

facing inward and gentlemen outward. 

All Toward the Centre and Back, holding ) « 

hands. ) 

All Round to Places, still holding hands; ) * 

gentlemen to left, ladies to right. f 

All the Gentlemen Pass in Front of Partners, \ 

and turn, with both hands, the lady on > 4 bars, 
the right. ) 

And in Succession each Lady ; lastly, their ) , 

partners. ) 

No. 4. 

Head Couples Forward and Back. 4 bars. 

While the head couples are going back, the sides 
forward, and go back when the heads forward for 
the next movement. 

The Two Gentlemen of the Head Couples 
leave their ladies with the right-hand side \ 4 bars, 
couples. 

The Six Forward Again, and hand the la- 
dies to the other gentlemen ; the right- \ 4 bars, 
hand lady to the right, the left to the left. 

Six Forward and Back at the Heads. 4 bars. 

Forward Again, and leave ladies with partners. 4 bars. 

Hands Round, half way to left and back to ) ~ , 
right. ) 

No. 5. 

Hands All Round to Left. 8 bars. 

Form " Basket," and again round to left. 8 bars. 

5 



9 8 



DANCING. 



" Basket " is formed by all the ladies taking hands 
together in front of the gentlemen, and the gen- 
tlemen taking hands in front of the ladies, the 
arms of the gentlemen above those of the ladies. 

Ladies Round Inside to Right, while gentle- ) o i 
men round outside to left. ) 

To bring the ladies inside, the gentlemen raise their 
arms, still holding, and allow the ladies to pass 
under. 

All Promenade Round in Star. 8 bars. 

To form the star, the gentlemen, when coming 
round to places in the previous movement, give 
right hands to partners and change places, bring- 
ing the gentlemen inside, when all four gentle- 
men take left hands, forming the star, and, at 
same time, take their partners about the waist 
with their right arms, and in that way prome- 
nade round. 

After the second time, finish with hands all ) « . 
round to left. f 



Caledonian Quadrille. 
First Figure {Twice). 

First and second couples cross hands round ) , 

• 1-111 f 4 bars - 

with right hands. ) 

Same couples cross hands back to places, ) , 

with left hands. f 

Same balance to, and turn, partners. 8 bars. 

Ladies' chain. 8 bars. 

Half promenade. 4 bars. 

Half right and left. 4 bars. 



QUADRILLE. 99 

Second Figure {Four Times). 

Forward four and back twice, second time \ o u 

bowing to opposite lady, when forward. f 

Four ladies balance to gentlemen on the right. 4 bars. 

All turn the gentlemen on the right, and ) J , 

11,1 4 bars, 

take next lady s place. J 

All promenade with changed partners. 8 bars. 

After the fourth time, all the ladies will have re- 
gained their partners. 

Third Figure (Four Times). 

Opposite couples forward and back. 4 bars. 

Forward again, and swing round to places ) , 

with right hands. ) 

First and second couples cross over, first ) , 

.111 1 4 bars, 

couple passing through the second. ) 

Return to places, second couple passing ) , 
through the first. f 

All balance at corners. 4 bars. 

Turn partners. 4 bars. 

All form circle (hands all round), and for- ) ~ . 
ward and back twice. ) 

Fourth Figure {Four Times). 

First lady and opposite gentleman forward ) , 

- r £ oars, 

and stop. ) 

Second lady and opposite gentleman for- ) , 
ward and stop. ) 

Turn partners to places. 4 bars. 

Four ladies pass to the right and stop, each ) , 
in the next lady's place. f 



> 4 bars. 



IOO DANCING. 

Four gentlemen pass to the left and stop, 

each in the next gentleman's place. 
Four ladies again to the right. 4 bars. 

Four gentlemen again to the left (thus meet- \ A u 

ing partners on the opposite side). ) 

All promenade to places, and turn partners. 8 bars. 

Fifth Figure {Four Times). 

One couple promenade or polka round in- ) ~ , 
side of the set. ) 

Four ladies forward and back. 4 bars. 

Four gentlemen forward and back. 4 bars. 

All balance to, and turn, partners. 8 bars. 

Grand chain half round the set. 8 bars. 

All promenade to places and turn partners. 8 bars. 
Finish with all chass6 across, saluting at the cor- 
ners, and the same to partners upon returning 
to places. 



CHAPTER XL 

LANCERS. 

As Now Danced. — The Original, and the Changes Intro- 
duced. — Saratoga Lancers. — New York Lancers. 

LANCERS, AS DANCED AT THE PRESENT TIME. 

First Figure. 
1st Strain. 

Salutations to partners and then to corners. 8 bars. 
1st Movement. 

Forward and Back, two opposite couples. 4 bars. 
2d Movement. 

Forward and Turn, 

Same two couples forward a second ^ 
time, each gentleman presenting both j 
hands to the opposite lady, walking > 4 bars, 
round as in turning partners (to left), I 
and returning to places. J 

3d Movement. 
Cross Over. 

Same two couples cross over and re-"] 
turn, one couple passing through the I 
other, but returning outside to allow [ ars ' 
the other to pass through. J 



I02 DANCING. 

4th Movement. 

All Balance to Corners. 

The four ladies turn to the right, the 
four gentlemen turn to the left ; those 
turning will thus be face to face ; all 
balance forward and back, then walk \ 8 bars, 
forward round to the left, giving both 
hands, and back to places (same as 
in turning partners). 

These movements are repeated four times. 
At 3d movement (crossing over). 

First time, first couple passes through, and re- 
turns outside. 

Second time, second couple passes through, and 
returns outside. 

Third time, third couple passes through, and re- 
turns outside. 

Fourth time, fourth couple passes through, and 
returns outside. 

Original Lancers — Same Figure. 

1st Movement. 

One Lady and Opposite Gentleman only, Forward 
and Back. 
2d Movement. 

Same Two Forward and Turn. 
3d and 4th Movements as before described. 

Double or Saratoga Lancers — Same Figure. 

1st Movement. 
All Four Couples Forward and Back. 4 bars. 

The heads towards the sides — sides towards heads. 



LANCERS. 



*03 



First and second times heads to right, sides to 

left. 
Third and fourth times heads to left, sides to 
right. 
2d Movement. 

Forward and Turn zvith Same Side. 4 bars. 

3d Movement. 

Cross Over, passing through, with same ) o v 
side couple, returning outside. ) 

First time, heads pass through, returning outside. 
Second time, sides pass through, returning outside. 
4th Movement. 

Balance to Corners, as before described. 8 bars. 

Second Figure. 
Wait. 8 bars. 

1st Movement. 

Fonvard and Back, two opposite couples. 4 bars. 
2d Movement. 

Leave Ladies Inside. 

The two gentlemen stand and hand 
their partners in front, thus facing 
each other, each lady walking three 
steps, commencing with left, at the \ 4 bars. 
fourth facing partner, when both 
make salutations, the lady with the 
left foot behind. 
3d Movement. 
Balance. 

Both couples balance forward and back, 

passing partners each way to the \ 4 bars, 
right. 



io4 



DANCING. 



4th Movement. 

Turn Partners to Places. 
Same couples present both hands to part- ) * 
ners, and so hand the lady back to place. ) 
5th Movement. 

All Forward in Lines. 

The head couples separate from part- 
ners, ladies going to the right, gentle- 
men to the left sides, joining hands 
with side couples, forming a line of 
four on each side ; in this form all 
forward and back. 
First and second times, side couples 

join the heads to form lines. 
Third and fourth times, head couples 
join the sides to form lines. 
6th Movement. 

All Turn Partners to Places. 
Figure repeated four times. 



4 bars, 



4 bars. 



2d 

3d 
4th 
5 th 
6th 



a 



Original Lancers — Second Figure. 
Wait. 8 bars, 

1st Movement. One Couple only, Forward " 

and Back. 
Leave Lady in Front. \ 16 bars, 

Same Balance. 
Turn Partner to Place. 
As before described. 4 bars. 

As before described. 4 bars- 



Double or Saratoga Lancers — Second Figure. 

All the couples execute the 1st, 2d, 3d, and 4th 
movements alike. 



LANCERS. I05 

5th Movement. ) Same as before described or 

6th M ) 

5th " All Hands Round, half way, ) , 

to left, i 4 

6th " And Return to Right. 4 bars. 

Third Figure. 
Wait. 8 bars. 

1st Movement. 

Forward and Back, two opposite couples. 4 bars. 
2d Movement. 

Forward, make salutations, and back, same ) . 
two couples. i 

3d Movement. 
Ladies Chain. 

Same as previously described in quadrille. 8 bars. 

Original. 

One lady and opposite gentleman execute the 1st 
and 2d movements. 

3d Movement. 

(In place of Ladies' Chain.) 

Four ladies cross hands half round with right 
hands, and return to places, giving left hands. 
3d Movement, again. 

(In place of that given above.) 

Four ladies cross hands half round with right 
hands, when at opposite side give left to op- 
posite gentleman's left, going round the gen- 
tleman, to cross right hands in centre again, 
and round to partners, in going round giving 
left hand to partner. 

5* 



I0 6 DANCING. 

Double or Saratoga — Third Figure. 

1st and 2d Movements by all four couples. 8 bars. 
3d Movement. 

Double Ladies Chain. 8 bars. 

Same movement as described in " 3d Move- 
ment, again " of Original Lancers. 

Fourth Figure. 

Wait. , 8 bars. 

1st Movement. 

Head Couples to Right. 

Two head couples to side couples on ) , 

a 11 1 1 • 4 bars, 

the right. All make salutations. ) 

2d Movement. 

The same two couples then pass across, ) 

going round to the left to opposite \ 4 bars. 

side couples. All make salutations. ) 

3d Movement. 

Head Couples to Places. 

Same couples return to their own places and 

make salutations to partners. 

4th Movement. 

Right and Left. 

Same two couples right and left, as de- \ o u 

scribed in quadrille. ) 

Original Lancers — Fourth Figure. 
Precisely as now danced, as described above. 

Double or Saratoga Lancers — Fourth Figure. 
The only changes made are at the second and fourth 



LANCERS. 



107 



movements, where the two gentlemen in passing 
round from one couple to the other (after saluta- 
tions), take each the lady of the other couple with 
him to the opposite side, leaving that lady in the 
other lady's place ; at the repetition of the figure, 
the ladies are returned to their own places. 

At the fourth movement, the right and left is made 
with side couples. 

First and second times, heads to right, sides to left. 
Third and fourth times, sides to right, heads to 
left. 

Fifth Figure. 
No wait. 

At the introductory chord of the music, all turn 
and face partners, giving right hands. (This in- 
dicates in which direction each is going.) 
1st Movement. 

Grand Chain, or right and left all round. 
All pass partners, continuing half 
round the circle of the set, ladies 
one way, gentlemen the other, giv- 
ing alternate hands to those com- 
ing in the opposite direction (thus 
a chain is made, named in French 
chain platte) ; when partners are 
met, on opposite sides, all stop face 
to face, without giving hands, and 
make salutations, after which the 
right hand is given, and the chain 
continued until all meet partners 
again in places, when the saluta- 
tions are repeated. 



16 bars. 



io8 



DANCING. 



y 4 bars. 



2d Movement. 

One Couple Round. 

One couple promenade round inside, 

stopping in place, facing outward. 
Right side couple behind. 2 bars. 

Left side couple behind. 2 bars. 

Opposite couple remaining in place. 
Thus all the couples are in a line, one behind the 
other. 
3d Movement. 
All Chasse Across. 

Four ladies to left, three slides and 

halt. 
Four gentlemen to right, three slides 

and halt. 
All balance once forward and back- ' 

ward. 
All slide back again. 
All balance again. 
4th Movement. 
March Round. 

Head couple separate, lady to right, 
gentleman to left, and march down 
outside to the place of the bottom 
couple, where hands are taken, and 
march up inside to the head again. J* 8 bars. 
The other couples follow, and as 
each arrives at the head they sep- 
arate, still following, until the last 
couple arrives at the bottom again. 
5th Movement. 
All Forward in Lines. 



LANCERS. 



IO9 



► 8 bars. 



Two lines are formed, ladies on one side, 
gentlemen opposite, facing inward and 
joining hands. All forward and back. 
Forward a second time, when all take 
partners, giving both hands, and turn 
to places. 

The figure recommences with grand chain, and 
ends with repeating that movement a fifth time. 

Original Lancers — Fifth Figure. 
Precisely as described above. 

Double or Saratoga Lancers — Fifth Figure. 

1st Movement. 
Grand Chain. 

Same as described above, except that " 
upon meeting partners at the op- 
posite side the right hand is given, 
and both go half round so as to 
change places and face the other 
way ; then the grand chain is re- 
peated half round back to places 
in opposite direction ; arriving in 
places, the right hands are given, 
and the change of places must oc- 
cur in order to bring each person 
to the proper side of partner. 
2d Movement. As described before. 
3d Movement. (In place of Chass6.) 

All Balance Forward and Backward. 
4th Movement. 
March. 



16 bars. 



8 bars. 



IIO DANCING. 

Commence as before described at 4th " 
Movement, but in place of marching 
up inside, the two lines march past 
at the bottom, and continue until the S 8 bars, 
ladies arrive on the gentlemen's side, 
and gentlemen on the ladies' side, 
ladies passing inside. 
5th Movement. 
Same as before. 

Dodworth's New York Lancers. 
First Figure. 
Head Couples Cross Hands Half Round, with ) , 
side couples on the right. ) 

This leaves the heads at the sides, and sides at 
the heads. 
A II Forward and Back. 4 bars. 

Heads (now at the sides) again Cross Hands \ , 
Half Round, with couples on their right, f 
This leaves all the couples opposite to places. 
A II Forward and Back. 4 bars. 

All Balance to Corners. 8 bars. 

These movements are repeated in the \ 

same manner, bringing all the couples > 24 bars, 
back to places. ) 

Second Figure. 

Head Couples Forzvard and Salute. 4 bars. 

First gentleman takes second lady's hand, "* 
both turn to fourth couple and salute, and 
then take places one on each side of fourth > 4 bars, 
couple, lady next to side gentleman, gen- 
tleman next to side lady, forming a line. 



LANCERS. 1 1 1 

Second gentleman and first lady in the same manner 
and at the same time, after saluting side, take places 
in line. 

All Forward and Back in Two Lines. 4 bars. 

All Turn Partners to Places. 4 bars. 

All Hands Half Round to Left. 4 bars. 

Back to Right. 4 bars. 

Third Figure. 

All the Couples Pass Partners and Back ; \ , 

chasse across. S 

All Pass Again, salute at corners, then re- ) , 

turn to places. f 

Form Star, and promenade round. 8 bars. 

Star is formed by the four gentlemen crossing left 
hands in centre, and giving right hands to part- 
ners' left. 

Fourth Figure. 

Head Couples turn to Right Side Couples, and \ , 

Salute. I 

Half Right and Left with same couples, and ) , 

bow to partners. ) 

This brings head couples to sides. 

Head Couples (now at the sides) Half Right \ 

and Left, with next couple on the right, > 4 bars. 

and bow to partners. ) 

This brings all opposite to places. 

All Join Hands, and Forward and Back. 4 bars. 

All Turn Partners. 4 bars. 

The repetition of the movement brings) , 

all back to places. f 

All Join Hands, Forward and Back, and turn ) , 

\ 8 bars, 
partners. \ 



112 



DANCING. 



First and second times, heads turn to right, 
Third and fourth times, to the left. 



Fifth Figure. 

At the usual chord of introduction, all salute 

All Chasse Across. 

Half Turn, giving both hands at corners. 

All Chasse Across Again, ladies going still 
farther to the left, while gentlemen go to 
the right. 

Half Turn at Corners. 

All Chasse Again. 

Half Turn at Corners. 

All Chasse. 

Half Turn at Corners. 

This brings all back to places. 

All Promenade Round — first couple stopping ^ 
in place, with fourth couple directly be- 
hind ; second couple stopping in place, f 
with third couple directly behind. 

All Balance, twice forward and back. 

All March, ladies passing between ; when 
the couples have passed, ladies turn to 
right, gentlemen to left ; counter-march- 
ing in opposite directions, the two ladies 
pass in front of the two gentlemen, and, 
when passed, join hands and form lines, 
all opposite to partners. 

All Forward and Back in Two Lines. 

All Turn Partners to Places. 

Finish at the end of first strain, the same 

lancers. 



2 bars. 
2 bars. 

2 bars. 

2 bars. 
2 bars. 
2 bars. 
2 bars. 
2 bars. 



8 bars. 



8 bars. 



>■ 8 bars. 



4 bars. 
4 bars, 
as the 



CHAPTER XII. 
COURT QUADRILLE (HUNGARIAN "KORTANZ"). 

In the summer of 1857, while in Vienna, I had the 
pleasure of seeing this beautiful dance in its native 
atmosphere, with all the peculiar vigor characteristic 
of the Magyar race shown both in music and mo- 
tion ; the officers of the Hungarian Guard, in their 
gorgeous uniforms, and ladies dressed with equal rich- 
ness, forming a picture not readily forgotten. Ad- 
miring the beauty of the peculiar music and move- 
ments, I modified those parts not suited to our uses, 
and introduced the dance to my pupils during the 
following season, 1857-58, and have never failed since 
that time to teach it ; not only on account of the 
novelty and charm of both dance and music, but also 
for the educational value of the dance. 

This dance is only for the initiated ; let no one im- 
agine it can be walked through as is sometimes done 
with the Lancers. The ludicrous appearance of those 
who make the attempt has been so frequently ob- 
served that it is truly a kindness to ask the egotistic 
to put aside their self-confidence for once and save 
themselves from shame and this one dance from deg- 
radation. The rule should be, " Do not try it, if you 
do not know it." 

The dance cannot be executed before learning the 



U4 



DANCING. 



peculiar motions (or so-called steps), which are six in 
number : 

ist. Greeting. 
2d. Mazurka. 
3d. Double step. 
4th. Single step. 
5th. Dash slide. 
6th. Promenade. 



First Motion — Greeting (" Gruss "). 

1. Step to right. 

2. Bring left to halt. 

3. Rise on the toes, throw the heels out- 

ward, and then strike them together 
quite vigorously — the stroke of the 
heels marking the time. 

Same to the left. 

Accent. 



V 1 bar. 



t 



^ 



£ * 5 

55 ^ 3| 



s 



t=t 



3tt 



3 



zg==?=.. 



pzz=: 



9 

Same to right, left, or forward. 



Second Motion — Mazurka {Always Sideways), 
Stand on left, with right in second position. 
Hop on left, and instantly, 

1. Slide right to side. 

2. Change to left. 

3. Hop and slide again. 

4. Change to left. 
To right or left. 



► 1 bar. 



COURT QUADRILLE. 



115 



This is never used except in connection with other 
motions, most frequently with the Greeting. 



Accent. 



MM.Jzr 7 6. 




To the Right. 



*0 

3 



8 



I 



tJ I ^To Left. 



—p- 



J 



With these two motions, all the " turn partners" 
are made (" Holupzas"), position being taken as for 
waltzing, a little farther apart. Both lady and gen- 
tleman use the left foot in the slides, thus going 
round to the left once in two bars, as shown above. 
There is but one exception to the left turn, which 
occurs in the third figure, where the right turn fol- 
lows the left. 



Third Motion — Double Step. 
This is very like the Schottische, to the side. 

1. Step. 

2. Change. 

3. Step. 

4. Hop. 



► 1 bar. 



Same motions to right or left, 



n6 



DANCING. 



5i 

I I I I 1 

^ O 'o s 



Zff-fzZ^r 






Accent. 



$ &3 $ o 3 fcs $ a- 



>BEE 



Z^ Jg L-^ g- 



| To Right. To Left. 



■*-— ff. 



t=t 



:t= 



To Right. 



t=?Bt=:tt^itzz«! 



Greeting to Left. 



etc. 



Same succession, commencing to the left. 



Fourth Motion — Promenade. 

The motions of this are exactly the same as the 
Double Step, except that they are made in a forward 
direction, not sideways, and never backward. 



Fifth Motion — Single Step 

i. Step. 

2. Hop. 

3. Step. 

4. Hop. 



Right foot 
Left foot 



1 bar. 



Sixth Motion — Dash Slide {Only Forward), 

1. Hop on left, slide on right. 1 

2. Hop on right. ^ ^ ^ 

3. Hop on right, slide on left. 

4. Hop on left. 



This is used only by the gentleman, and is a pe- 
culiar and active motion, always connected with the 
Greeting. 



COURT QUADRILLE. 



117 



Accent. 



* * 



q kq 



Co 



„ft- 



p 



e±qg 7ttp--r 



*F 



:=t 



as 



* 



£==£: 



^?=q?: 



St 



S « 



^ *s 



35 



^ 



lp^=E 



jfc>g=g: 



^t=g: 



3t==g: 



Formation. 
Eight couples, formed as a Double Quadrille. 





2d Couple. 


2d Couple. 




<u 


B 


A 


ft 


ft 

S3 






O 


»» 

U 








5 






9 


-*■ 














(A* 


V 






ft 


ft 

C3 






n 


c3 w 






•2- 


JS 


A 


B 


* 


*<*- 


1st Couple. 


1 1 Couple. 





8 bars. 



/%>■$/ Figure. 

Salutations, as in Lancers or Quadrille. 
1st Movement. 

All the couples take hands, except at corners, 

forming lines. 
All repeat double step to right, 1 bar. 



a 



a 



All the Greeting to 



left, 1 
right, 1 
left, 1 



4 bars. 



H8 DANCING. 

2d Movement. 

All repeat double step to left, I bar. ] 

right, i " u 

All the Greeting, I " 

These movements are made in the form of a 
square, not in that of a circle. 
3d Movement. 

Four head couples forward with single ) « 
step. ) 

(These steps must be made very short, so that 
the 4 bars may be filled out.) 
4th Movement. 

The lines being close together, each gentleman 
takes another lady, when the four newly as- 
sorted couples separate in four directions. 

This brings 

The 1st gentleman A with 2d lady B between the two 3d couples. 
The 2d " A " 1st " B " " " 4th " 

The 1st " B " 1st " A back to 1st couple's place. 
The 2d " B " 2d " A " " 2d " " 

In making this movement, the Mazurka ) ; 
and Greeting are used. ) 

5th Movement. 
All turn. 2 bars. 

At the end of the turn each lady should be upon 
the left of the gentleman. 
6th Movement. 

The same forward, with single step, un- ^ 
til the lines are again formed, each 
facing partner, standing with sides 
towards original places. 



► 4 bars. 



COURT QUADRILLE. 



II 9 



7th Movement. 

All return to places, with Mazurka and \ 2 h r 
Greeting. ) 

8th Movement. 

The same couples turn partners in ) , 

places. f 

The 1st and 2d movements are now repeated by 
all, then the sides forward, repeating the 3d, 
4th, 5th, 6th, 7th, and 8th movements. 
Repetitions of music: 1st strain twice; 2d strain 
twice; 1st strain once ; 2d strain twice. 



Second Figure. 
Wait. 
1st Movement. 

Four head couples simultaneously pass " 
.partners, lady to left, gentleman to 
right, all with Mazurka and Greet- 
ing, turning to face partners at Greet- 
ing. 
2d Movement. 

The same cross over to other side of 
set, with same motions, two ladies 
passing between two gentlemen ; 
at the Greeting turn sides to part- 
ners. 
3d Movement. 

The same pass partners again as 
above. 
4th Movement. 

The same return to places same as at 
2d movement. 



8 bars. 



► 2 bars. 



2 bars, 



2 bars. 



2 bars. 



120 



DANCING. 



► 4 bars. 



5th Movement. 

Two first couples cross with three prom- ^ 
enades, stopping in front of opposite 
couples, with Greeting. 
6th Movement. 

At the same time the two second couples 
each take partners' right hands, nearly 
at arm's length, and make three prom- 
enades entirely round each other to 
the left, stopping in place, with Greet- 
ing. 
7th Movement. 

First couples turn half round, change > 
hands, but not sides, and return to 
places, same as in 5th movement. 
8th Movement. 

At the same time second couples change 
hands, making round to left, as at 
6th movement. 
9th Movement. 

Second couples cross over, same as at 
5th movement, while first couples 
make round to right as at 6th move- 
ment. 
10th Movement. 

Second couples return as at 7th move- " 

ment. 
First couples round as at 8th move- 
ment. 

Sides repeat all, — At 5th movement, third couples 
cross over. At 9th movement, fourth couples cross 
over. 



► 4 bars. 



y 4 bars. 



► 4 bars, 



COURT QUADRILLE. 



121 



Music : 1st strain twice; 2d strain twice ; 1st strain 
once ; 2d strain twice. 



8 bars. 



8 bars. 



Third Figure. 
Wait. 8 bars. 

1st Movement. 

Four gentlemen cross over with three 
dashing slides to opposite ladies, 
stopping in front, with Greeting. 2 
Same four make turn to left with 

same ladies. 2 

The four gentlemen return to partners 

as in crossing. 2 

All then turn with partners. 2 

2d Movement. 

The same four couples promenade en- 
tirely round to the right inside of set. 
During this movement the ladies take the arms 
of the gentlemen as in walking. 
3d Movement. 

The two first couples face, the two sec- 
conds also face each other, and take 
hands in two circles, then execute two 
Mazurkas and Greeting to left, the \ 8 bars, 
same again to left, next four Mazur- 
kas back again to right, thus return- 
ing to places, where all turn partners. 
Sides repeat alL 

Repetition of Music : 1st strain twice; 2d strain 
twice; 1st strain once; 2d strain twice. 

6 



122 



DANCING. 



8 bars. 



4 bars, 



Fourth Figure. 
Wait, 
ist Movement. 

Four opposite ladies cross directly over 
to opposite gentlemen, using three 
promenades in a zigzag line across, 
ending with Greeting in front of those 
gentlemen. 
2d Movement. 

The same ladies, with these four gentle- 1 

men, make a turn (same as turn part- \ 4 bars, 
ners) to left, and then again to right. J 
This is the only instance of turning to right. 
3d Movement. 

The same four ladies return to partners, 
in the same manner as in the crossing. 
4th Movement. 

The four couples turn partners to left 
and right. 
5th Movement. 

Four gentlemen with three dashing 
slides, each to one of the right-hand 
side couples, stopping in front with 
Greeting. J 



This brings the 1st gentleman A to 4th couple B 
ist " B to 4th ■• A 

2d " A to 3d " B 

2d " Bto3d " A 

6th Movement. 

The three then execute hands-round to ) 

left with two Mazurkas and Greeting. ) 



4 bars. 



4 bars, 



2 bars. 



2 bars, 



COURT QUADRILLE. 1 23 

7th Movement. 

Same gentlemen dash directly across \ 

the set, stopping in front of opposite > 2 bars. 
side couple. ) 

8th Movement. 

Three hands round, with that couple. 2 barr 
9th Movement. 

Back again to other side couple. 2 bars. 

10th Movement. 

Three hands round. 2 bars, 

nth Movement. 

The gentlemen return to partners. 2 bars. 

1 2th Movement. 

Same turn partners. 2 bars. 

Same repeated by sides. 

Repetition of music: 1st strain three times; 2d 
strain twice ; 1st strain twice ; 2d strain twice. 

Fifth Figure. 

No Wait. 

1st Movement. 

Grand round. 

All join hands in circle. 

All to left with Mazurka and Greet- ) • 

\ 2 bars, 
ing. J 

Again to left with Mazurka and Greet- ) . 
ing. ) 

All to right with four Mazurkas. 2 bars. 

All turn partners. 2 bars. 

At the end of this turn the eight ladies place 
themselves inside in front of and facing part- 
ners, thus forming a circle of ladies facing 



124 



DANCING. 



► 2 bars, 



outward, and a circle of gentlemen facing 

inward. 
Hands are not taken. 
2d Movement. 

All with two Mazurkas and Greeting > 

to right, ladies one way, gentlemen 

the other. 
After leaving partner, each passes one, 

and stops with Greeting in front of 

the next. 
All make left turn with the persons ") 

in front of whom they stop, bring- I 

ing each back to same place again ; 

lady facing out, gentleman inward. 
All pass again to right. 
Each turns with another person. 
All pass again to right. 
Turn to left. 
Again to right. 
Left turn. 

This is continued until each person goes entire- 
ly round the circle, the last turn being made 

upon meeting partners in places. 
3d Movement. 

Grand round. 8 bars. 

This ends the dance, all making salutations. 
Music: 1st strain once ; 2d strain twice; 1st strain 
twice; 2d* strain once. 



► 2 bars. 

2 bars. 
2 bars. 
2 bars. 
2 bars. 
2 bars. 
2 bars. 



* The coda is played in place of this strain at the last Grand 
Round. 



CHAPTER XIII. 

MINUET. 

Tradition. — Secondary, not Primary, Fact Recognized. — Elimi- 
nation of Slow Movements. — Motions. — Figures. 

This dance has a traditional reputation for grace, 
which it is supposed to possess in an inexplicable de- 
gree. Its beneficial influence upon manner and mo- 
tion is often mentioned, with accompanying lamenta- 
tions for the loss of this to the present generation. 
These lamentations are, however, wasted upon a sec- 
ondary fact, the primary truth not being recognized, 
that this dance in the time of its glory was confined 
exclusively to the cultivated classes, with whom the 
dancing-lesson was an important part of education. 
The dance was only the medium through which their 
culture was made manifest. It may easily be con- 
ceived that our musical taste would be far below its 
present elevation had the slower movements been 
eliminated as has been done in dancing, for assured- 
ly, as the adagio or andante in music is the medium 
through which an artist expresses his highest con- 
ceptions, so is it in motion. 

The practice of the slower movements refines and 
elevates the taste. It may be that the exaggeration 
of motion which was formerly common would be con- 



I2 6 DANCING. 

demned at the present day, and justly so ; yet the 
same movements, when not so exaggerated, are iden- 
tical with those required in all social intercourse. 

If the custom prevailed now as formerly, of se- 
lecting one or more couples to open a ball or par- 
ty with this ceremonious dance, our young people, 
who are usually so ambitious and persevering in 
other ways, would show these traits of character in 
learning this dance, bringing it no doubt to its great- 
est perfection ; but to arrive at this requires an at- 
mosphere of appreciation which at present exists only 
in a limited degree. That it does still exist is shown 
by the applause which follows when attempts of our 
actresses and actors occasionally show a little of the 
grace of this dance ; and again, when a teacher is 
called upon for instruction in families of culture, for 
special occasions, such as minuet parties or perform- 
ances for charitable purposes, the readiness and apti- 
tude shown by our young people in acquiring the 
rudimentary movements of the dance makes it more 
regrettable that they cannot be induced to advance 
to a higher plane in their general motions. 

In the minuet there are a number of simple and 
combined motions (called steps), each having a special 
name. 

i. Pas March6. 5. Pas Bour6. 

2. " Balance. 6. " Sissone. 

3. " Grave. 7. " de Basque Pirou- 

4. " Menuet. ette. 

1. Pas Marche is simply to walk, always three steps 
to a bar. 



MINUET. 



127 



V 1 bar. 



2. Balance is the same as described for quadrille, one 
to a bar. 

3. Pas Grave, 

Stand in fifth position, right in front. 

1. Bend both knees. 

2. Rise on toes. 

3. Descend on left heel, at the same time 

bend right knee by elevating the 
heel, but allowing the toe to remain 
on the floor. 

Same with left in front. 

This is always combined with the balance, which 
follows on the succeeding bar. 

4. Pas Menuet. 

Stand in fifth of right. 
.-I. Bend both knees. 

2. Rise, and at the same time, extend 

right to second position. : bar. 

3. Transfer body from left to right, leav- 

ing left in second. 
This is continued in the same direction, by pass- 
ing left behind right, at the moment of bend- 
ing again for No. 1. Same motions to right 
or left. 

5. Pas BourL 

Stand in second of right, on toes. 

1. Pass right behind left to fifth. 

2. Step to left. 

3. Pass right behind again. 

4. Step to left. 

5. Pass right behind. 

6. Step to left. 



- 1 bar. 



128 



DANCING. 



2. Step to left, with left. 

3. Pass right in front to fifth, immedi- 



j 



The same motions repeated, either to right or left. 
The same motions are repeated slowly, only three 
to a bar, or quickly, twelve to a bar. 
6. Pas Sissone. 

Stand in second of right. 

1. Pass right behind to the fifth. *) 

\ 1 bar. 

ately extending left to second. 
Return to right in the same manner. 
Pas de Basque Pirouette. 
Stand in fifth of right. 

1. Step to right in second. 

2. Place left in front at fourth position. 

3. Rise on the toes, and twist half round, 
without allowing the feet to leave 
their places, except for the neces- 
sary moving of the heels. This will 
bring the right in front in fourth 
position, facing opposite way. 

Same to the left. 



1 bar. 



Minuet de la Cour. 




This square represents the space and lines upon 



MINUET. 



129 



which the couple move ; in learning, it is well to 
copy the diagram upon the floor, making each side 
about twelve feet in length. The place of beginning 
is at the lower side, where the lady, o, and gentle- 
man, x, stand facing the upper end. 

The honors, or salutations, begin all minuets ; first 
to the company ; secondly, to partner. 

The numerals in the left column below are intended 
to indicate each one count in a bar, three to a bar. 

Honors 
Starting from First Position. 



Gentleman. 

\ Extend right foot to sec- 
i.J ond position, at the 

2. same time take part- 
„- ner's hand. 

3. Transfer weight of body to 

right foot, not moving 
the feet. 



.Lady. 



1. 

2. !> Same as gentleman, 

3- J 



1 



4- 

5- 

6.1 



J Slowly bring left to right 



in first position. 



10. 
11. 
12. 

13- 



\ Very low bow. 

Pass left foot behind to 
fourth position and rise 
slowly ; at the termina- 
tion of the bow, stand 
on right with left in 
front in fourth position. 
Step forward six inches 

upon right. 



10. 
11. 
12. 



r Slowly pass left in front 
of right in fourth 
position, transferring 
weight of body to left. 

\ Low courtesy. 



Rise, with left in front in 
fourth position. 



j 



13. Step forward upon left. 



6* 



13° 



DANCING. 



14. 

15. 

16. 

17. 

18. 

19. 
20. 
21. 



22. 



23- 



24. 



Gentleman. 

Pass left beyond twelve 
inches; at the same time 
turn to face partner. 

Slowly bring right to left 
in first position. 

Low bow to partner. 

Place right behind left 
in fourth position, ris- 
ing from bow with left 
in front in fourth posi- 
tion. 

Move left eight inches, 
turning towards origi- 
nal place of standing. 

Pass right beyond twelve 
inches, turning to face 
partner. 

Bring left to right in first 
position, thus return- 
ing to original place of 
standing. 



14. 



15 



Lady. 

f Pass right beyond ; the 
-J same time turn to face 
I partner. 
f Slowly pass left behind 



L to fourth position. 

17. )■ Courtesy to partner. 
18. 



J 



19. "| Rise from courtesy with 

20. V right in front in fourth 

21. J position. 

f Move right eight inches, 

22. <j towards original place 
I of standing. 

r Pass left beyond twelve 

23. \ inches, turning to face 
I partner. 

f Bring right to left in first 
24.^ position, thus returning 
I to original place. 



First Strain Repeated. 
Gentleman. Lady. 



Pas Grave with right in 
front. 



Same. 



"I Pas Marche left. 
L " « right. 
J " " left. 



Same. 





MINUET. 


131 


Gentleman. 

IO.-| 

ii. } Assemble right in front. 


Lady. 


Same. 


12. - 

I 


it this Assemble turn and 
face partner. 


Same. 


14. 
15. 


Pas Menuet to right on 


Same to right, but on line 


16. 
17. 


line towards letter A. 


towards letter D. 


18. , 

19. > 

20. 
2I.> 


Pas Menuet continued 
on same line. 


Same. 




' Balance backward upon 




- 


22. 


left foot, bringing right 


22.' 


Same. 


23^ 


to fifth position, stand- 


23. ■ 


Standing upon letter D, 


24. 


' ing at letter A, facing 


24. 


facing partner at letter 




partner at letter D. 




A. 



I. 

2. 

3- 
4. 
5. 

6. 

7. 
8. 

9- 
10. 

11. 
12. 



Second Strain. 
Starting from letter A. From letter D. 



Pas Grave towards part- 



ner. 



^ Pas Marche left. 
} " " right. 
J " " left. 
"| Assemble with right in 
)■ front, thus facing part- 
J ner in centre of square. 



Same. 



Same. 



Same. 



132 



DANCING. 



13- 

14. 

15. 
16. 

17. 

18. 

19- 
20. 

21. 

22. 

23. 
24. 
25. 
26. 
27. 
28. 
29. 
30. 
3i. 

32. 
33- 

34. 
35. 
36. 



Gentleman. 



> Pas Menuet to right. 



Lady, 



Balance first with right, 
then left, thus passing 
partner. 



Pas Boure to and fro, 
back to back with part- 
ner. 

Pas Boure quick to left 
towards letter C. 

Place right in fourth po- 
sition. 

Pirouette so as to face 
partner at B. 

Balance backward upon 
left foot, finishing in 
fifth position, right in 
front. 



Same. 



Same. 



Same. 



3* 



32. 1 



33- 



Pas Boure quick to left 
towards letter B. 

Place right in fourth po- 
sition. 

Pirouette so as to face 
partner at C. 



Same. 



37 
38 

39 
40 

4i 
42 



Starting from letter C 

'.Balance forward upon Same 



right. 



Balance on left. 



From letter B. 



Same. 



MINUET. 



133 



43 
44 

45 



•1 



46. 

47- 
48. 

49. 
50. 

5i. 

52. 
S3- 
54. 



Gentleman. 

Three Pas Marches, com- 
mencing with right, at 
the same time giving 
right hand to partner, 
walking past and turn- 
ing round so as to face 
in opposite direction. 
"| Place right behind, Pi- 
)■ rouette so as to turn 
J back to partner. 
Three Pas Marches tow- 
ards letter B, at third 
turn so as to face part- 
ner at letter C. 

Balance backward upon 
left foot. 



Lady. 



Same. 



Same. 

Three Pas Marches towards 
letter C, at third turn so as 
to face partner at letter B. 

Same. 



Da Capo to First Strain. 
Starting from letter B. Starting from letter C. 

Pas Grave towards part- ~ 

r Same, 

ner. 



Pas Marche. 



Same. 



Assemble, right in front. Same. 



134 



DANCING. 



13- 
14. 
15. 
16. 

17. 

18. J 



19. 

20. ^ 
21. 



22. 

23. 
24. 



Gentleman. 

Six Pas Marches, at the 
same time giving left 
hand to partner, and 
walking round so as to 
face original place of 
beginning. 

Pas Marche right. 
" " left. 
u " right. 

At the same time turn 
right side to partner, 
and thus face centre 
of the square. 

Balance backward upon 
right foot, terminating 
in first position, thus 
regaining original place 
of beginning. 



Lady. 



Same. 



19 

20. < 

21. 



Pas Marche left foot. 
" « right foot. 
" " left foot. 

Turn left side to part- 
ner, and face centre of 
square. 



Same. 



First strain repeated. 
Honors as at the beginning. 



Minuet as a Quadrille. 

(Form same as for quadrille or lancers.) 
First Strain. 

Head couples, honors. 
Side 
Second Strain. 

(Head couples only.) 

Forward with Pas Grave twice. 
Pas Menuet to right. 
Two Balances forward, going just past 
other couple. 



8 bars. 
8 bars. 



4 bars. 
2 bars. 

2 bars. 



MINUET. 



135 



2 bars. 



> 2 bars. 



Pas Menuet to left, back to back with ) 
other couple. ) 

Gentleman of each couple takes part- 
ner's left hand with his left, and with 
Pas Marche the two pass across each 
other, lady in front (same as in right 
and left of ordinary quadrille) ; this 
brings each in opposite couple's place ; 
there make salutations to opposite. 
Both couples again forward from oppo 

site sides, with Balance. 
Right and left to places with Pas Marche. 
When in places all four make the salute. 
To First Strain Once. 
All Balance at corners. 

All with Pas Marche give right hands at 
* corners, change places (Allemande), 

and salute after the change is made. 
All return to places with the same 

movements, but giving left hand, and \ 4 bars, 
left foot Balance. 
Second Strain once. 

Sides repeat as described for head couples at Second 
Strain. 
First Strain again. 

All repeat Balance at corners as before described. 
First Strain a second time. 
All make the honors. 



4 bars. 

2 bars. 

1 bar. 

2 bars. 
2 bars. 



It must be noticed that both of these minuets are 
adapted to the music of the " Minuet de la Cour," 
which is peculiar in having nineteen bars in the sec- 
ond strain. 



CHAPTER XIV. 
VIRGINIA REEL.— POLONAISE. 

Remarks. — Motions. — Figures. 

Virginia Reel 

(Original name, " Sir Roger de Coverley "). 

It has been said, and is a truth, that at no time is 
the difference between those who are, and those who 
are not accustomed to refining influences so strongly 
marked as when they are in their merriest moods. 
If that should be during the enjoyment of a lively 
dance, the wide separation between the motions and 
manners of the two classes is curiously obvious. 

As an illustration of how forcibly this impresses it- 
self upon children, and how long that impression may 
last, the writer gives his own experience. 

Considerably more than fifty years ago he attend- 
ed the governors inauguration ball at Hartford, Con- 
necticut, at which was assembled nearly all the dig- 
nitaries of the state ; many more of them participat- 
ing in the amusements than would do so at the 
present time. The popular dances were such as 
the Virginia Reel, Money Musk, and other country 
or contra dances, all quick, spirited, and full of ac- 
tion. The impression made was that this was a com- 



VIRGINIA REEL. 



137 



pany of happy humanity, as merry as they could well 
be, yet their merriment was a beautiful expression of 
refined jollity, indicating the presence of cultivated 
people in their merriest moments, when least occu- 
pied with thoughts of motion or manner. 

In seeing our young people run, push, scramble, 
and scream through one of these same dances, allow- 
ing their habits of motion and manner to become 
prominent, can it be surprising that a comparison is 
drawn not favorable to the latter ? 

We may not believe that in the first case those 
engaged were higher in general culture than families 
in the same position of life are to-day. The differ- 
ence must be assigned to two causes. First, the good 
effect of the elder ones mingling with the young giv- 
ing steadiness to such meetings. Secondly, the im- 
portance attached to manner and motion in early 
training, which then, and at all times, asserted it- 
self, as early training never fails to do, be it good 
or bad. 

The Virginia Reel is danced with eight couples, in 
two lines, the ladies on one side and the gentlemen 
on the other, facing inward. 

The lady at the top and the gentleman at the 
bottom execute each figure, and are immediately fol- 
lowed by the lady at the bottom and the gentleman 
at the top, in the following order, each movement 
requiring 4 bars of music : 

Forward and back ; forward and turn with the 
right hand ; turn with the left hand ; turn with both 
hands; forward and dos-a-dos ; forward and bow. 



!38 DANCING. 

First lady then turns with the left hand every gen- 
tleman down the line, while her partner turns every 
lady ; each turn is followed by a turn of partner with 
the right hand ; when arrived at the bottom, the two 
return to the head; they separate, the lady passing 
down the outside of ladies' line, and the gentleman 
passing down the outside of the gentlemen ; all fol- 
low, meeting partners at the bottom, and then chasse 
up the centre. When the first couple arrives at the 
top again, the other seven couples separate with 
raised hands, forming an archway, under which the 
first couple passes down to the bottom and remains 
there, all disengaging hands, and separating into the 
two original lines; the dance then begins again with 
second couple at the head, and first couple at the 
bottom. 

Repeating all these movements eight times will 
bring the first couple to the top again, when the 
dance ends. 

Polonaise. 

This dance is a ceremonious procession most fre- 
quently used in opening the state balls of European 
courts. 

The motions are as follows : 

>s « IS ^ Q IN 

£ r* £ £ F £ 



p 



:ar 



: £=z tm r r- g 



Right foot. 



■W=W- 



Left foot. 



The master of ceremonies takes command and con- 



POLONAISE. jjq 

ducts the dancers through various evolutions. For 
example, after marching round the room, and then 
up the centre, at the head the gentlemen turn to the 
left, ladies to the right, marching round so as to meet 
again at the bottom of the room, when partners are 
resumed ; or while marching round the room, at a sig- 
nal (clapping hands) each gentleman disengages his 
partner's hand, pauses a moment, allowing the next 
lady behind to overtake him, when they proceed to- 
gether. The same is repeated, when ladies pause, al- 
lowing gentlemen to return to partners, with many 
other movements easily suggested by the master of 
ceremonies. 



CHAPTER XV. 

DANCE MUSIC. 
Music and Musicians. 

MODERN dancing is injuriously affected by the in- 
competency of many who make the playing of dance 
music an occupation. Some of these are persons who 
cannot occupy situations where a considerable meas- 
ure of talent is required. Others have recourse to 
this branch of their art, influenced by the same rea- 
sons that govern an artist in painting when he pro- 
duces what are known as " Pot-boilers." Neither of 
these two classes will care to give themselves much 
trouble to learn the necessary details of their work ; 
to them playing the notes begins, and receiving their 
pay ends, all their anxieties. 

Accustomed as many of these persons may be to 
the playing of dance music in public gardens and 
dance-houses, they are unable or unwilling to aban- 
don the habits of playing formed in such places when 
in the better atmosphere of the drawing-room. 

We have those who make dance music a specialty, 
using all their knowledge and technical skill with the 
enthusiastic feeling which ever governs a true vota- 
ry of art ; when at the piano, or with other instru- 
ment in hand, their notes are never tinged with the 



DANCE MUSIC. 



141 



color of a bank-note ; they play to give pleasure, and 
are true artists, not mechanics in music. These are 
engaged and respected ; the others, hired and — 

In good playing of dance music there are six ele- 
ments : 1. Speed (technically, tempo) ; 2. Regularity 
(no ritardandos or accelerandos ; the same rate of 
speed sustained throughout the dance) ; 3. Distinct 
phrasing; 4. Exact accent (appropriate to each 
dance) ; 5. Musical expression ; 6. Vim (enthusiasm, 
energy, excitability, something of the kind, almost 
inexpressible in language, but vividly felt when pres- 
ent in a pianist). 

He only is a thorough dance player who possesses 
all these in full. Such a one deserves to rank as the 
equal of a good soloist, for the one is as scarce in the 
profession as the other, and both require a like de- 
greeof talent. 

To give artistic expression to a waltz, while main- 
taining perfect regularity in time, is what few soloists 
can do. 

The dance player of the present suffers from past 
prejudices. The dance music of to-day is so far in 
advance of the old, that when we look at the com- 
positions of only a hundred years ago they seem 
childish in the extreme, requiring very little execu- 
tive ability. A dance player of those times was what 
is expressed in the word " fiddler." But to-day mu- 
sicians have compositions to deal with of high order, 
containing all that science and genius can produce, 
and requiring for their proper interpretation perform- 
ers of decided ability. 

It is as essential a part of a dance player's educa- 



142 



DANCING. 



tion to know enough of dancing to appreciate all the 
varying shades of accent in motion, as it is indispen- 
sable in a teacher of dancing to be acquainted with 
all there is in music related to those accents. With- 
out this knowledge neither will fully understand the 
intimate relations of the two arts, nor be fully com- 
petent to fulfil the requirements of his occupation. 
Lack of knowledge in accent and phrasing has led 
to serious mistakes by some of our prominent com- 
posers ; but if an executant understands the subject, 
these mistakes are easily corrected, and should be, 
notwithstanding the great respect due to the com- 
poser. Those who play for dancing must not be in- 
fluenced by the mistakes of our concert-rooms. 

Conductors not infrequently treat a waltz as if 
speed were the only excellence. A scherzo, in a sym- 
phony, which may be a movement extremely trivial 
in character, will be given with all the perfection that 
careful training can produce, but a waltz, with its 
beautiful melody, rich harmonies, instrumentation 
full of science and genius, and with unbounded pos- 
sibilities for light and shade, is, as it is said, " left to 
play itself." Is there not a little musical pedantry 
in this? Light and shade seem to be thought of as 
unnecessary in this music, yet nowhere can these ef- 
fects be used to greater advantage. 

Pianists complain of being compelled to repeat 
compositions so many times, feeling themselves musi- 
cal martyrs in so doing, but this is an unfortunate 
admission ; for if interested in their art and occupa- 
tion, true artists find constant sources of amusement 
in the ever-varying expression which may be given 
to the same work. 



DANCE MUSIC. 



143 



Soloists repeat their specialties thousands of times. 
Lecturers repeat their ideas for years, giving new in- 
terest to the same courses of thought by different 
modes of expression. So should it be with one who 
plays dance music — monotony of expression makes a 
parched desert of sound. 

It is said that an artistic dance player is not appre- 
ciated, but this is a mistake. Aside and above all 
craying for appreciation in others, an artist first of 
all endeavors to please himself, a task generally full 
of difficulties. He feels such an infinite demand for 
expression beyond his greatest powers, that the sen- 
sation at times is almost overwhelming. His art, like 
a gentle child, leads him forward to pleasures which 
seem to be of the sweetest ; then imagination sug- 
gests tones of such delicious beauty that he becomes 
almost bewildered in efforts to possess them. At an- 
other time he is driven as if by a whirlwind into pas- 
sages of tremendous force. Imagination again opens 
the dark clouds, showing how great is the beyond. 
Again and again he strives with nervous effort, each 
step upward dispelling clouds and extending his line 
of vision, and in thus reaching out towards the high- 
est he realizes the greatness of his art and how little 
is known to the uninitiated. Such artists never wait 
for appreciation. 

Our great soloists would require very small con- 
cert rooms if only those attended who fully appre- 
ciated their talent. The mass is governed by the 
opinions of the few, but in the assertion of those 
opinions the borrowers are usually much more posi- 
tive than the originators. So is it in dance music. 



I44 DANCING. 

The appreciative few soon recognize an artist, and 
the mass is not slow to follow. May there not be a 
fear that those who complain of this want of appre- 
ciation are lacking in something ? It might be the 
want of effort to deserve the title of artist. 

Artistic players of dance music should remember 
that the art of music affords no exception to the 
prevalence of pedantry and snobbery, most notice- 
able in the great dead level of mediocrity. While 
men of genuine talent gladly welcome the like wher- 
ever found, these others try to measure themselves 
by what they do, not by how they do it, consequently 
they lift up their little borrowed candle-light against 
the electric spark of genius because the latter is not 
shown in their candlestick. This, however, has little 
influence upon those who are truly in earnest. 



CHAPTER XVI. 
COTILLION OR GERMAN. 

Origin of the Name German. — When Introduced. — Is an Epit- 
ome of Modern Dancing. — Its Advantages. — Duties and 
Etiquette. — Arrangements. — Who May Join in the Dance. — 
The Conductor or Leader, and his Duties and Hardships. — 
The Music. — Index of Figures. 

THIS dance was introduced in New York about 
the year 1844. At that time the quadrille was the 
fashionable dance, but was known as the cotillion. 
To make a distinction between that and this dance, 
which was known in Europe by the same name, this 
was called the " German Cotillion ;" gradually the 
word cotillion was dropped, the dance becoming sim- 
ply "The German. " 

This cotillion may be said to be an epitome of all 
there is in private dancing. It is peculiarly social, 
requiring a constant interchange of partners ; all 
must, therefore, be upon terms of familiarity. As 
any of the round dances are available, every variety 
of time and accent may be enjoyed. Innumerable 
figures give all the pleasure derivable from move- 
ments in concert with others. Infinite variety in the 
character of these figures, serious, merry, and comi- 
cal, maintains interest to the last. The necessity of 
being seated in a circle leaves space sufficient for the 
full execution of all the dances and figures. 

7 



I4 6 DANCING. 

The limited periods allowed for dancing, and fre- 
quent moments of rest, prevent exhaustion in those 
who at other times are liable to protract exertion be- 
yond their strength. Full liberty being allowed in 
the choice of partners, without danger of personal of- 
fence, those only are selected who are equal to the 
requirements of the dance. 

Duties and Etiquette. 

The first thought that usually occurs to one tak- 
ing part in a cotillion is, " I am about to enjoy an 
hour or more of unmingled pleasure. " With this 
should come another, which is that " All my pleasure 
depends entirely upon the kindly co-operation of 
others ; I am, therefore, under an obligation to them 
that my part shall be strictly fulfilled ; if I fail in 
this, I have not the right to demand like fulfilment 
of them ; and moreover, in neglecting my part, I 
commit an act of injustice in taking away from these 
others pleasure anticipated by them, as by myself; 
which is equivalent to saying that my own conduct 
makes or mars my own happiness, and has at the 
same time a good or bad effect upon my surround- 
ings. " It will, therefore, be understood that each one 
participating in this mutual -pleasure -giving dance 
should enter upon the duties with honesty of pur- 
pose and kindness of heart. When all unite in such 
a disposition, the pleasure is augmented in propor- 
tion to the number engaged. 

Attention to the following five suggestions will give 
to the cotillion its true character and position, as the 
representative dance of modern civilization, combin- 
ing fine music, fine motions, and fine manners. 



COTILLION OR GERMAN. 147 

1st. Alertness, each dancer being at all times awake 
to the duties required of him or her. 

2d. Promptness in taking places for the execution 
of a figure. 

3d. Silence and attention during the explanation 
of any novelty. 

4th. Obedience at all times to the conductor during 
the management of the dance. 

5th. Willingness to sacrifice momentary personal 
pleasure, so that others may gain. 

Eight or sixteen bars of a waltz are played as a 
signal to take seats. In Paris the excellent plan is 
adopted of playing a simple melody which is uni- 
versally understood as meaning " take seats." Pre- 
vious to this all are supposed to have secured part- 
ners ; -if any should remain unpaired, the lady of the 
house will either remedy the difficulty herself, or 
delegate that duty to the conductor. The conductor 
and his partner taking seats, all the others arrange 
themselves to the left of their position, ladies invaria- 
bly seated upon the right of partners. This formation 
may reach round a room, forming a circle, or in a 
larger room may extend as a line of seated couples. 

In a properly arranged cotillion the ladies and 
gentlemen are equal in number, this being most con- 
ducive to success in every way. Consideration for 
those without partners has allowed, in many cases, 
that they may be seated among the others, each 
being called upon in turn as a couple ; but this is 
liable to cause confusion when a figure requires a 
positive number of couples. 



!48 DANCING. 

Knowing the waltz, galop, and polka, and having 
some familiarity with the figures of the Lancers, no 
one need hesitate to take part in this dance ; but at 
first it is well to take seats towards the left of the 
line, opportunities will then be gained of seeing the 
figures before attempting them. When selecting 
partners, the lady should present the left hand, the 
gentleman always the right, except, of course, in 
cases where two ladies are required. 

When new partners are obtained, places must be 
immediately taken for the figure about to be exe- 
cuted. After the completion of this figure a general 
waltz takes place, in which any of those not engaged 
in the figure may join. The same at every repetition 
of a figure. At this point there will be necessarily 
a number of ladies and gentlemen seated alone ; any 
one of these gentlemen may with propriety offer 
himself as a partner to a lady thus seated alone, but 
never to a lady seated with her partner, unless in the 
regular selection of partners for a figure. 

When the signal is given to cease dancing, it is 
not expected that a couple shall immediately stop, 
perhaps on the opposite side of the room, and walk 
to seats, but they may continue to dance until the 
lady's seat is reached, when after seeing the lady safe- 
ly seated, the gentleman returns to his own place. 
The conductor always allows sufficient time for this 
before calling the next party. 

As nearly all figures depend upon a fixed number 
of couples for their completion, the half of that num- 
ber is called up at first, and by each choosing another 
partner the whole number required is obtained. 



COTILLION OR GERMAN. 149 

The mistake sometimes occurs of one of the first 
half selecting another of the first, thus defeating the 
object of the selection of other partners. It should 
therefore, be understood as a rule, that each one of the 
first half called upon must select from those seated. 

Thoughtless young people will sometimes form a 
clique, making mutual agreements to call each other, 
and in this manner secure to themselves more of the 
dancing than would properly fall to their share, oth- 
ers losing what they gain in this way ; but it is an 
unfortunate arrangement for those concerned, for it 
exposes them to the just charge of selfishness and 
want of consideration for others. 

Among the many figures described will be found 
those suitable for various occasions and circum- 
stances ; figures requiring a large number of dancers, 
appropriate to capacious rooms and a numerous co- 
tillion ; others, for lesser numbers; down to those of 
the smallest, which would be only suitable for small 
parties. When it is desirable to introduce one of 
these small figures in a large party, the expedient is 
adopted of calling up two, three, or more groups to 
execute the figure simultaneously. 

It is advisable in such cases for the conductor to 
appoint as many assistants as there are groups, each 
controlling one division, under the conductor's gen- 
eral superintendence. 

It is generally more satisfactory when the figures 
are in proportion to the number of dancers present. 

Four or five repetitions of the same figure are 
usually as many as should be used, and it is well 
to avoid monotony. 



jjo DANCING. 

The character of the figures should be suitable to 
the time and those forming the cotillion. Many are 
of so merry a nature they cannot be introduced ex- 
cept among intimates, who will make allowance for 
an occasional slight exaggeration of conduct ; but 
such figures are dangerous, if there should be those 
present w T ho cannot be merry without rudeness. 
When indulged in by those who can be decently 
funny, although bordering on the childish, yet in 
their proper place and time they may be sources of 
real, innocent pleasure. 

The conductor and his partner, with the required 
number of couples indicated by him, taken from 
those next in succession to the left, will, after waltz- 
ing a short time, or until the signal is given, all se- 
lect other partners and execute a figure for the first 
time. After all are again seated, but not until then, 
he designates the number of couples required, taking 
them from those seated next in succession to the 
left of the first party. When they are all seated a 
third party is called, and so on in succession until all 
have been called upon. After a short pause in the 
music a second figure is introduced, and in the same 
manner repeated by as many groups of couples as 
the figure requires, and the number engaged in the 
cotillion allows. 

Leader or Conductor. 

The success of a cotillion is largely dependent upon 
the management and tact of the person occupying 
this position. He selects and introduces all the fig- 
ures, and instructs the others in the execution of any 



COTILLION OR GERMAN. 



151 



novelties he may introduce. Upon his judgment, 
therefore, rests that happy succession and contrast 
of figures which maintains the interest of the dance 
to the last moment. A precaution worthy of imita- 
tion, taken by conductors of experience, is to select 
four or five couples, upon whom it is safe to rely for 
attention and readiness to assist in the introduction 
of a new figure, and to seat them next to the con- 
ductor's place. On such occasions it is advisable to 
instruct the music to play " sotto voce ;" more atten- 
tion is gained, and those seated are less inclined to 
talk loudly. 

The cry is universal and constant for something 
new; but those who are most persistent in this fre- 
quently offer the greatest obstacle to the introduc- 
tion of novelties, by their inattention, and readiness 
to sneer at the efforts of their best conductors, who, 
as a rule, are confined to figures of the simplest kind ; 
otherwise the obtuse ones would be exposed, and 
would at once retaliate by complaining of the " stu- 
pid idea." 

The conductor should exercise constant watchful- 
ness, and be ever on the alert to urge the tardy, 
prompt the slow, awake the inattentive, signal those 
occupying the floor too long, superintend the pre- 
paratory formation of the figure, see that each dancer 
is on the proper side of his partner, and, if simulta- 
neous movement is required, give the signal for that 
movement to commence, etc. He is thus compelled 
to fulfil the duties of a " whipper-in," as well as those 
of conductor, instructor, and superintendent. 

To clap hands once should be the signal for all 



152 



DANCING. 



to cease dancing ; twice for the commencement of 
a simultaneous movement; three times to stop the 
music; and this is the last recourse, when a conduc- 
tor has to deal with inconsiderate or obstinate couples, 
who persistently occupy the floor after the signal to 
cease is given, or at a time not permissible by the 
regulations of the dance. 

In addition, there are many other little duties be- 
longing to this position, which require constant at- 
tention, tact, and decision. In order that the in- 
terest may not flag, and to keep up the life of the 
dance, the conductor should throughout maintain a 
sprightly, cheerful manner. Sharp, short directions 
are necessary, which are liable to wound the self- 
esteem of the young people engaged ; but with con- 
tinued equanimity of temper, and marked courtesy, 
a conductor will succeed even with the obtuse, tardy, 
and inattentive ones. 

It will be seen that the conductor's place in a co- 
tillion is one beset with annoyances, requiring great 
forbearance on his part. He must necessarily de- 
vote time to the previous selection, and perhaps 
composition, of novel figures, and while others may 
enjoy the pleasurable chat with their partners dur- 
ing the unoccupied moments of the dance, he must 
be constantly on duty, thus sacrificing much of his 
own pleasure in ministering to the enjoyment of oth- 
ers. Aside from kindly forbearance, patience, and 
thankfulness, which ought to be shown towards those 
willing to assume the position, a selfish policy would 
suggest that when so much depends upon the efforts 
of this one person, each would do most to promote 



COTILLION OR GERMAN. ^ 

his own pleasure by aiding the leader in every way 
possible. 

A cotillion composed of willing and attentive mem- 
bers, under the guidance of an expert conductor, real- 
izes all that is possible from dancing, and its accom- 
panying social pleasures. If the German could be 
enjoyed in well-ventilated rooms, allowing abundance 
of space, without the accessories of costly suppers and 
wines, and not during hours which ought to be de- 
voted to sleep, all the objections ever made against 
dancing would be removed, and this pleasure would 
be counted among those most truly innocent. It 
may be observed here, that the pleasure of motion 
to music is most condemned by those who are led 
to believe that pleasure of any kind is objectionable 
to a kind Father in heaven, a notion which, happily 
for the human race, is disappearing in proportion to 
the growth of modern intelligence ; yet there are 
many kind, moral people, whose objections are di- 
rected against the manner of conducting the dance, 
and the circumstances which so generally surround 
gatherings for the enjoyment of this universal and 
natural pleasure. It should, however, be remembered 
that dancing is most frequently the excuse, not the 
object, of many large meetings, and if evil is present, 
the efforts of all good people should be like those 
of a physician, to cure the disease, not to destroy 
the patient. 

The Music. 

Formerly it was customary for the music to play 
continuously throughout the whole duration of the 
cotillion. In later years, a desire, no doubt, to give 



154 



DANCING. 



rest to the ear for a short time, has established the 
custom of having the music cease at the end of each 
figure ; that is to say, when a figure has completed 
its circle, and before the introduction of a second. 
This is no doubt, to many, a very acceptable change, 
as a short cessation of sound is a great relief at times, 
more especially when the same rhythm is maintained. 
Even the waltz becomes monotonous when too long 
continued, and so presses upon those hearing it as to 
become almost disagreeable. An occasional change 
of time has an excellent effect in promoting cheer- 
fulness. This, however, rests with the conductor. 

One waltz should not be repeated many times in 
succession. Twice without a change is sufficient. 
Playing each number twice is, perhaps, better than 
repeating the entire waltz, and then passing to an- 
other ; and if the first is very popular, a return to 
that will be acceptable. 

A succession of waltzes by the same author is not 
as agreeable as when styles are diversified ; say, after 
a Strauss, a Waldteufel, after that another author, 
selecting those that afford the greatest contrast in 
style and key. 

Waldteufel's compositions, many of them very beau- 
tiful, might well be named hymn waltzes, so solemn 
in character are most of them ; dancers sometimes 
make two or three revolutions to a single note in 
the melody — which is not always unpleasant, though 
it is wearisome when continued too long. Unfortu- 
nately, these waltzes give so much rest to the hands 
of pianists, that it is not surprising that some cling 
to them with loving laziness. 



COTILLION OR GERMAN. 



155 



In orchestral arrangements, the instrumentation of 
one author is so different from that of another as to 
afford a measure of relief ; yet the mannerism in the 
use of the cornets or trumpets is often singularly 
wearisome. An occasional bit of melody from a 
popular song, or out of an opera just then in favor, 
adds much to the " life of the dance/' but such things 
should be used sparingly and with discretion. Other 
little bits of jolly melodies can be introduced with 
good effect. A good plan would be to prepare a 
number of slips having such reliefs ready, in various 
keys, and at hand for immediate use, selecting ac- 
cording to the feeling or temper of the moment. 

A mistake of great frequency is that of playing 
too fast, in a certain out-of-breath way, as if hurry- 
ing the music would shorten the work, giving to the 
Lancers and quadrilles the effect of a succession of 
jigs and reels. 

All this should suggest that variety is the spice of 
the dance, and that monotony acts as a damp atmos- 
phere upon the spirits of those within its influence. 

The conductor being responsible for the success of 
a cotillion, the pianist or leader of the band should 
in all things be ready to aid him, especially in atten- 
tion, and compliance with directions given. Musi- 
cians in such cases should not count success by the 
number of dollars gained, but by the number of 
happy moments given to those who are for a time 
dependent upon them for their pleasure. If a sim- 
ple melody could be adopted and universally known 
as the signal to " Take seats for the cotillion," some 
annoyance would be prevented to those who com- 



i 5 6 



DANCING. 



mence to waltz at such a time, and are brought sud- 
denly to a consciousness of their mistake by the ab- 
rupt ending of the strain. 



This is the signal used in Paris 



Call for the Cotillion. 





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Among the figures herein described are the origi- 
nal eighty-three, as published by Cellarius of Paris, in 
1840, in his book " Fashionable Dancing;" these fig- 
ures may be found in nearly every work upon the 
subject issued since that date. As classification is 
necessary in dealing with so large a number as are 
given in this work, each of the figures referred to will 
be found among those of its own class. 

I am indebted to my son, Mr. Frank Dodworth, for 
the invention of a number of figures, and great as- 
sistance in the compilation of the others. 



COTILLION OR GERMAN. 



157 



List of Figures. 

1. Excursion or Presentation. . . . 1 Couple 

2. Rounds of Three " 

3. Columns " 

4. Basket, No. 1 

5. Wolf 

6. Serpent " 

7. Broken Round 

8. The Trap 

9. The Rejected Couples 

10. False Invitation " 

11. Presentation of Gentlemen ... " 

12. Presentation of Ladies " 

13. Ladies Deceived " 

14. Round of Three " 

15. Bridge 

16. Come and Go " 

17. Forsaken Gentleman " 

18. Presentation of Couples .... " 

19. Serpentine " 

20. Carousal " 

21. Reunion of Couples " 

22. The X 

23. Graces " 

24. Hungarian Chain 2 Couples 

25. The Rhymes " 

26. Double Right and Left " 

27. Change of Ladies " 

28. Quadrille, No. 1 " 

29. " No. 2 

30. " No. 3 

31. The Deceiver 2 or 3 Coupl 

32. Deceitful Round 2 Couples 

33. Changing Moulinet 

34. Gentlemen Together 



es 



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7i. 



DANCING. 

Ladies' Windmill 2 Couples 

Double Windmill 

English Right and Left 

X of Gentlemen " 

Four Hands Round " 

Right and Left Varied 

Triple Pass " 

The Basket, No. 2 . 

Pyramid 3 Couples 

Pursuit 

Windmill 

Changing Windmill 

Contrary Rounds 

Inconstants 

Changing Triangle 

Two Lines 4 Couples 

Double Chain " 

Different Rounds " 

The Graces " 

The Four Corners Turned. ... 

Square of Mahone's 

Rounds of Four 

Round Arch 

Windmill, No. 1 

" No. 2 

" No. 3 

u No. 4 

Augmented Windmill " 

Grand Round " 

Twin Circles. . " 

Country Dance " 

Bower, No. 1 " 

Undulations . " 

Right and Left 

Double Pastourelle 

Uninterrupted Chain " 

Ladies Back to Back 



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COTILLION OR GERMAN. 



*59 



72. 

73. 
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7 S. 

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108. 



Chains in Line 4 Couples. . Page 191 

Double Quadrille " .... 192 

The Flowers 

Star and Circle 

Extended Circle 6 Couples 

Double Grand Chain . . . . . 

The Zigzag • " 

Triple Quadrille 

The Bower, No. 2 

14 No. 3 ..... . 

The Surprise 6 Couples or more 

The Half Turn ..... 
The Rencontres ..... 

The Scissors " 

Presentations in Lines. . . " 

The Continued Bridge . . . Unlimited 

The Gentlemen Back to Back . . 

The Opposite Rounds " 

Changing Places " 

The Round Turns " 

Circle Divided * 4 

Le Bandeau " 

The Eccentric Column .... " 

The Circular Road " 

The Knot 

Little Rounds 

The Final Round 

The Endless Round 

The Two Lines . 

The Crooked Lane 

Reunion of Couples " 

Simple Grand Chain " 

The Merging of Columns. ... " 

The Column Reversed " 

The Archway " 

Double Column, No. 1 " 

44 " No. 2 



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i6o 

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no. 
III. 

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146. 



DANCING, 



Double Column, No. 3. 
A Succession of Moulinets 
Military Figure, No. 1 . 
The Quadruple Quadrille 
The Double Rounds . 
The Alley Way . . . 
The Covered Alley Way 
The Discarded Gentleman 
Military Figure, No. 2. 
The Triple Column . . 
Double Column of Threes 
Double Column, No. 4. 
Partners Regained . . 
The Broken Column . 
The Developed Circle . 
Thread the Needle . . 
Two Circles Linked 
The Grand Basket . . 
The Double Serpent . 
Le Carillon de Dunkirque 
Le Chat et la Souris , 

L'Allee 

Les Dames Ensemble , 
The Four Lines . . . 
Les Passes en Rond . 
Le Rond Serpente . . 
The Triple Round . . 
Choice of Waltzers . . 
Gliding Lines .... 
La Sceur Touriere . . 
The Mysterious Hands 
The Grand Chain Double 
Ladies Returned. . . 
Dos-a-dos Squares . . 
Reversed Rounds . . 
Chain and Line . . . 
The Three Passes. . . 
Little Rounds to the Side 



Unlimited 



8 Couples 
Unlimited 



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COTILLION OR GERMAN. 



161 



Figures with Accessories. 

147. Jeu Geographique 1 Couple 

148. The Oracle 

149. La Corbeille Mobile 

1 50. Les Chasseurs 

15L L' Amorce 

152. The Struggle 

153. The Barber 

1 54. The Scarecrow 1 Couple or more 

155. The Candle 1 Couple 

1 56. The Canopy 

157. The Fan 

158. The Umbrella f " 

1 59. The Passage of the Hoops ... 

160. The Clown 

161. The Bells, No. 2 

162. The Covered Pieces 

163. The Mirror 

164. Glass of Water and Biscuit ... 

165. Rice Powder . 

166. The Call-bell 

167. The Pledges 

168. Knotted Handkerchief .... 

169. The Turning Hat 

170. The Bride 

171. L'Escrime " 

172. The Frogs 

173. The Mottoes " 

174. The Two Magicians " 

175. The Terminations " 

176. The Bat 

177. The Roller " 

178. The Order of the Garter .... 

179. The Needles ....;... " 

180. The Cards 



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1 62 



DANCING. 



181. The Grotesque Masks . . . . , i Couple 

182. The Chairs 

183. The Figure Eight " 

184. The Magic Hat 

18$. The Moving Cushion " 

186. The Glass of Champagne ... " 

187. The Hat 

188. The Scarf 

189. The Ribbons . 

190. The Soloists " 

191. The Frou Frou " 

192. L'Adresse 

193. The Pleasure Box 

194. The Garland 2 Couples 

195. The Bell Figure 

196. The Cups " 

197. The Ball and Baton 

198. The Four Corners " 

199. The Mouse-trap " 

200. The Handkerchief " 

201. La Course Assise ** 

202. The Ladies Seated " 

203. Blindman's-buff 3 Couples 

204. Flowery Hedge 3 Couples or more 

205. The Mute Orchestra 4 Couples 

206. The Gentlemen Kneeling. ... " 

207. Hopping Race 4 Couples or more 

208. Four Balloons 4 Couples 

209. The Scarfs Crossed 

210. The Four-in-Hand " 

211. Good-night, Neighbor " 

212. The Four Chairs " 

213. The Flying Scarfs " 

7214. The Stormy Sea 6 Couples 

215. The Enchanted Circle .... 

216. The Volunteers Unlimited 

217. The Flags, No. 1 



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249. 
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COTILLION OR GERMAN. 

The Flags, No. 2 Unlimited 

0.3 

No. 4 

The Undulations 

The Handkerchief Chase ... 

The Initials 

The May-pole 

Black and White 

The Mysterious Curtain .... 

The Golden Apple 

The Veils 

The Repose " 

The Bibs 

Cup and Ball 

Exchange of Decorations ... " 

The Butterflies 

The False Noses " 

The Umbrellas " 

The Christmas-trees " 

Les Quatre Saisons " 

The Annunciator " 

The Tombola " 

The Teetotums " 

The Inscriptions " 

The Dominoes " 

The Screen " 

The Dice 

The Rounds of Paper " 

The Vacant Chairs " 

The Aprons " 

The Bouquets " 

The Two Chairs " 

The Sphinx 



163 

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1 64 DANCING. 

Figures Beginning with One, Two, Three, or 

Four Couples. 

No. i. 
The Excursion or Presentation. 
One couple. — Lady selects two gentlemen ; gentle- 
man two ladies ; the two threes place themselves 
opposite each other at a certain distance, advance 
and waltz with those opposite. 

No. 2. 
Rounds of Three. 

One couple. — Gentleman selects two ladies ; lady- 
two gentlemen ; form two rounds of threes ; turn 
rapidly ; at signal the gentleman, passing under the 
arms of the two ladies, advances rapidly to his part- 
ner, leaving the other two ladies to advance with the 

two gentlemen. 

No. 3. 

The Columns. 

One couple. — The gentleman places his lady in the 
middle of the room ; he then takes a gentleman and 
places him behind his partner (back to back) ; then a 
lady facing the gentleman ; and so on alternating, 
until four or five couples are formed, the column 
ending with a lady ; at a signal all turn round and 
each dances with the person opposite. 

No. 4. 

The Basket, No. 1. 

One couple. — Lady selects two gentlemen; gentle- 
man two ladies ; the two threes stand facing ; for- 



COTILLION OR GERMAN. 165 

ward four bars, back four bars ; then forward the 
two gentlemen, passing under the arms of the oppo- 
site three, joining hands behind the gentleman ; the 
two ladies joining hands behind the lady; they all 
then form a circle with hands crossed, forming a bas- 
ket, which is accomplished by the one gentleman 
and one lady passing backward under the arms of 
the others. After going round in this form the circle 
is broken, ladies going to one side, gentlemen to the 
other; all advance and dance with those opposite. 

No. 5. 
The Wolf. 
One couple. — The lady selects two or three ladies, 
placing one in front of the other, herself last, all 
holding together by placing hands upon the wrists ; 
the gentleman then places another gentleman facing 
the first lady, informing him that he must catch the 
lady at the end of the line, and dance with her; the 
ladies who are in front must prevent this, if possi- 
ble, by coming between ; and if, after a short trial, 
the gentleman fails, he must yield his place to an- 
other. When successful, he dances with the lady ; 
the partners of the remaining ladies go to them, and 
join in the general dance. 

No. 6. 
The Serpent. 
One couple. — The gentleman leaves his lady in one 
corner of the room, her face turned towards the wall ; 
he then takes three or four ladies, placing them be- 
hind his own lady at equal distances ; he then selects 



l66 DANCING. 

as many gentlemen, himself included, as there are 
ladies; he forms a chain with the gentlemen, prome- 
nading rapidly ; he then leads the gentlemen behind 
the first lady, continuing down the column until he 
reaches his own partner, when he gives the signal, 
each gentleman dancing with the opposite lady. 

No. 7. 

The Broken Round. 

One couple. — The gentleman leaves his partner in 
the middle of the room, and selects two other gentle- 
men, forming a circle round the lady; the gentlemen 
turn quickly to the left ; at a signal the lady chooses 
one of the gentlemen for the waltz, the others re- 
turning to their places ; or the discarded gentlemen 
may dance together. 

No. 8. 
The Trap. 

One couple.-— The lady selects four ladies ; the gen- 
tleman four gentlemen ; they form two lines back to 
back ; at^the signal the gentlemen turn to dance with 
the ladies who are behind them ; but the gentleman 
of the starting couple endeavors to gain one of the 
ladies, thus cheating one of the gentlemen, who re- 
turns to his seat, unless a lady is kind enough to vol- 
unteer to be his partner. 

No. 9. 
The Rejected Couples. 
One couple. — The gentleman kneels in the middle 
of the room ; his partner chooses several couples, pre- 



COTILLION OR GERMAN. 167 

senting them to him, but he refuses them successive- 
ly ; the rejected couples form in a row, behind the 
gentleman on his knee, who ends by choosing a lady, 
with whom he waltzes ; he then brings her back to 
her partner, who remains in front of the row, and he 
conducts her to her place ; the first gentleman dances 
with each lady in turn ; when all the couples have 
disappeared, the gentleman finds his own lady, who 
has sought refuge behind the column, and conducts 
her to her seat. 

No. 10. 

The False Invitation. 

One couple. — After promenading they stop in front 
of one of the seated couples, the lady inviting the 
gentleman to dance with her; she suddenly turns in 
another direction, however, so deceiving him ; this is 
repeated several times, when she finally accepts the 
one invited ; on some occasions all then join in the 
dance ; all the deceived gentlemen follow behind the 
couple until one is accepted. 

No. 1 1. 

Presentation of Gentlemen. 

One couple. — The lady is seated in the middle of 
the room ; her partner presents a number of gentle- 
men whom she refuses in succession ; each gentle- 
man who is refused places himself behind the lady's 
chair (at least six ought to be refused) ; when one is 
accepted, he and the lady waltz, while the rejected 
gentlemen follow them, each placing his left hand on 
the shoulder of the one in front, and all hopping on 
one foot. 



!68 DANCING. 

No. 12. 
Presentation of Ladies. 
One couple. — Gentleman kneels in the middle of 
the room ; his partner presents several ladies to him, 
whom he rejects, the rejected ones placing themselves 
in a row behind his chair until one is chosen, with 
whom he dances. This figure is analogous to No. 9 
(" Rejected Couples"), and is better adapted to 

small rooms. 

No. 13. 

The Ladies Deceived. 

One couple. — Taking his partner's hand, the gentle- 
man promenades about the circle, and approaches 
several ladies in succession, pretending to invite each 
to dance ; the moment a lady rises, he turns quick- 
ly to another ; after deceiving a number, he at last 
makes a choice. The lady of the conductor dances 
with the partner of the lady chosen. 

No. 14. 

The Round of Three. 

One couple. — The lady stands alone ; the gentle- 
man selects two other gentlemen ; the three circle 
round the lady, who selects one of them. The other 
two return to their seats. 

No. 15. 

The Bridge. 

One couple. — The lady selects another lady ; the 
two stand in the middle of the room with hands 
joined and raised as high as possible ; the gentleman 



COTILLION OR GERMAN. jQg 

calls up other gentlemen, who pass under this bridge 
in couples until the two ladies accept two gentlemen 
by lowering their arms. The rejected gentlemen 
take seats, or choose other partners. 

No. 1 6. 

The Come and Go, 

One couple. — Lady selects two gentlemen ; gentle- 
man two ladies ; the two threes place themselves a 
short distance apart, facing, then advance until quite 
close, when all turn round suddenly and separate ; 
but at the signal they turn again, advancing quickly, 
when each takes the one opposite as partner. 

No. 17. 

The Forsaken Gentleman, 

One couple. — The lady stands alone ; her partner- 
selects one lady and two gentlemen, joining hands 
round the lady, who selects one gentleman, the other 
lady another, leaving one forsaken gentleman stand- 
ing. 

No. 18. 

Presentation of Couples, 
One couple. — The gentleman kneels ; his partner 
then presents a number of couples in succession in 
order that he may choose a lady, each rejected couple 
standing behind him ; when he at last takes the lady 
of a couple presented, the others waltz ; the gentle- 
man who is left alone dances with the lady of the gen- 
deman kneeling. 

8 



170 DANCING. 

No. 19. 
The Serpentine. 
One couple. — Lady selects six or more ladies; all 
stand in line one behind the other, about three feet 
apart ; the gentleman selects seven or more gentle- 
men, they forming in a line with hands joined ; the 
one on the right of the line leads the others in a ser- 
pentine course between each lady, and, finally, back 
to the head ; at the signal each gentleman tries to 
secure a partner, those failing returning to their seats. 
There should be an even number of ladies, and an 
odd number of gentlemen. 

No. 20. 

The Carousal. 

One couple. — The lady pinning a bow of ribbons 
on her partner's left shoulder waltzes with him, a 
second couple following ; the gentleman of the sec- 
ond couple endeavors to snatch the bow from the 
shoulder of the first gentleman ; if he succeeds he 
pins the bow on his shoulder, the third couple fol- 
lowing ; if the pursuing couple becomes tired the 
gentleman stamps his foot, when another couple may 

pursue. 

No. 21. 

The Reunion of Couples. 

One couple. — The first couple makes a promenade, 
after which it takes the second couple, forming a 
round of four ; after going round to the left half-way, 
the third couple is called, making a round of six half- 
way to the left ; and so on until all the couples are 



COTILLION OR GERMAN. 171 

called, thus forming a grand round ; after which 
grand chain half-way round, terminating with a gen- 
eral w r altz. 

No. 22. 
The X of the Gentleman and his Lady. 
One couple. — The gentleman chooses two ladies, 
whom he takes with either hand, and his partner 
chooses two gentlemen ; the conductor and his part- 
ner face each other at a certain distance with the 
ladies and gentlemen they have chosen ; they ad- 
vance and retire during four bars; then the conduc- 
tor and his lady advance towards each other, leaving 
the two other ladies and gentlemen in the places 
where they are. In advancing the second time they 
give the right arm to each other, crossed at the elbow; 
they make a complete round, after which the gentle- 
man gives his left arm, crossed in the same way, to 
the lady whom he held with his right ; the first gen- 
tleman and his lady return to the middle to make 
together a tour with left arms crossed, and then a tour 
with the other lady and gentleman, crossing right arms ; 
in finishing they should find themselves in the same 
position they had at the beginning ; all six advance 
and retire during four bars ; they advance for the last 
time, each gentleman taking the lady facing him, for 
a general waltz. 

No. 23. 

The Graces. 

One couple. — Gentleman passes his lady to the left, 
changing hands ; he takes another lady with the right 
hand, and continues promenading between the two; 



172 



DANCING. 



when he finds himself at the place of the lady he has 
chosen he makes the two ladies pirouette opposite 
each other, and takes them by their waists to make 
them execute a tour sur place to the left ; he returns 
the lady he has chosen to her partner, making her 
pass under his arm and that of his lady, and con- 
tinues the promenade to his place ; the gentleman, in 
order to make the tour sur place, should have his own 
lady by the left hand and the other by the right. 
When this figure is made in polka, instead of the 
tour sur place you make the tour du salon a trots; 
abandon the lady chosen when you pass before her 
place, and continue to promenade with your own. 



Figures Beginning with Two Couples. 

No. 24. 
Hungarian Chain, 

Two couples. — Each lady and gentleman selects 
another partner and all form as for the Lancers ; the 
two gentlemen at the head advance rapidly, lock 
right arms, swing once and a half round, when they 
disengage, giving left arm to the opposite lady's left 
arm, and remaining on that side of the set ; the side 
gentlemen do the same ; the two ladies at the head 
cross over in the same manner ; side ladies do the 
same ; all waltz. 

No. 25. 
The Rhymes. 

Two couples. — The gentlemen select two gentle- 
men, presenting them to their partners ; each lady 



COTILLION OR GERMAN, 



173 



addresses the two gentlemen before her ; the one 
first answering so as to make a rhyme dances with 
the lady ; the one failing takes his seat. 

No. 26. 

Double Chain Anglaise — Right and Left. 

Two couples. — Select other partners, as in No. 24 ; 
form as for Lancers ; head couples half right and left, 
with side couples on their right; all turn partners; 
then half right and left with next couple, and turn 
partners ; heads continuing to right, half right and 
left, and turn partners ; repeat until all regain origi- 
nal places, when all waltz. 

No. 27. 

The Change of Ladies. 

Two couples. — After dancing awhile they approach, 
the gentlemen exchanging ladies without losing step 
or time ; after dancing with each other's ladies they 
regain partners in the same manner, conducting them 
to their seats. 

No. 28. 

Quadrille, No. 1. 
Two couples. — Select other partners ; the four la- 
dies cross right hands, promenade half round, giving 
left hand to the opposite gentleman remaining on 
that side ; gentlemen exchange places in the same 
manner ; head couples half right and left ; sides the 
same : all waltz. 



174 



DANCING. 



No. 29. 

Quadrille, No. 2. 

Two couples. — Select other partners ; form as for 
lancers; the four ladies go to the right, each taking 
the next lady's place ; all waltz entirely round the 
set ; then the gentlemen go to the left, each taking 
the next gentleman's place ; all waltz as before ; re- 
peat until partners are regained, when head couples 
right and left to place ; sides the same. 

No. 30. 
Quadrille y No. 3. 
Two couples. — Select other partners ; form as for 
lancers; head couples cross right hands with couple 
on their right, walking round, changing places with 
them ; all forward and back ; head couples again to 
the right, changing places with the next couple ; all 
forward and back. This is repeated until all have re- 
gained their places. 

No. 31. 

The Deceiver. 

Two or three couples. — Lady chooses a lady ; gen- 
tleman a gentleman ; conductor chooses two gentle- 
men ; ladies and gentlemen form lines back to back, 
the conductor remaining outside, in front of the line 
of ladies ; he claps his hands and chooses a lady, at 
which signal all the gentlemen turn, and dance each 
with the lady behind him. The gentleman without a 
partner returns to his seat, unless a lady takes com- 
passion upon him, and consents to waltz with him. 



COTILLION OR GERMAN. 1 75 

No. 32. 
The Deceitful Round. 

Two couples. — Ladies select another lady ; the first 
gentleman chooses two gentlemen, the other, one ; 
they, with the conductor, form a circle in the middle 
of the room. The ladies, in the meantime, having 
placed themselves in the four corners of the room, 
the gentlemen circle round rapidly, and upon signal 
break, and endeavor to secure partners. The one 
failing to do so returns to his seat. 

This figure is sometimes called, " Puss in the Cor- 
ner." 

No. 33. 

Changing Moulinet. 

Two couples. — The lady selects a gentleman; 
the gentleman selects a lady ; form moulinet (cross 
hands) ; the four gentlemen in the middle all joining 
left hands, each giving his right hand to his partner's 
left ; all then promenade round ; after about eight 
steps the four ladies pass forward, and each takes 
the next gentleman's hand, continuing the prome- 
nade with him about eight steps ; they again pass 
forward, and promenade with the next, and so con- 
tinue until partners are again reached ; then general 
waltz. 

No. 34. 

Gentlemen Together. 

Two couples. — Gentlemen choose another gentle- 
man ; ladies another lady ; gentlemen waltz together ; 
ladies together; at a signal the gentlemen form a 



176 DANCING. 

round, while the ladies form another; two ladies in 
advancing to the gentlemen's circle, pass under the 
arms of the other two ladies, and enter it, forming a 
round a Venvers, when each gentleman waltzes with 
the lady before whom he finds himself. 

This figure may be danced by three or more couples. 

No. 35. 
The Ladies Windmill. 

Two couples. — Ladies select gentlemen ; gentle- 
men ladies ; form as for quadrille ; four ladies cross 
right hands in the centre, going round until past part- 
ners ; they then give left hands to the left hands of 
the next gentlemen, each making a turn entirely 
round the gentleman ; they cross hands again, re- 
peating the movement, which brings them succes- 
sively to each gentleman, finally to their partners; 
then a general waltz follows. 

This figure is changed by gentlemen kneeling on 

one knee. 

No. 36. 

The Double Windmill. 

Two couples. — Ladies choose gentlemen ; gentle- 
men ladies ; form as for quadrille ; four ladies cross 
right hands, and go half round ; at the same time 
the gentlemen pass half round outside ; at the half 
round all meet partners, to whom left hands are 
given, the gentlemen turning the ladies to the out- 
side, while they form the moulinet (cross hands) ; the 
ladies then pass half round outside, while the gentle- 
men go half round inside, when the same change is 
repeated as before, when all join in general waltz. 



COTILLION OR GERMAN. 177 

No. 37. 
The English Right and Left, 
Two couples. — They place themselves facing each 
other, and make the right and left very much length- 
ened ; the two gentlemen advancing with their la- 
dies give each other the left arm, crossed at the el- 
bow (lock arm), and make a very rapid demi-tour to 
change the ladies ; they recommence the figure to 
take their partners again. 

No. 38. 
The X of the Gentlemen. 
Two couples. — Each gentleman without quitting 
his lady chooses another, whom he should hold with 
his left hand ; the two gentlemen place themselves 
opposite one another, at a certain distance ; they ad- 
vance with their ladies during two bars, and in like 
manner fall back during two bars ; they advance once 
again, letting go the hands of their ladies, who re- 
main in their places ; the two gentlemen give each 
other their arms crossed at the elbows and make 
together a complete tour; then give their left arms 
to their ladies in the same way, and make a tour with 
them ; they again make a tour together, giving each 
other the right arm, and recommence with the left 
arm with the next lady on the right, and so on for 
the rest ; when they have turned with the four la- 
dies, they each take two ladies (their own and the 
one they have chosen), and make a promenade at 
pleasure ; when they find themselves at the places of 
the ladies they have chosen, they place them under 

8* 



^8 DANCING. 

their right arms, and continue the waltz with their 
partners. 

No. 39. 

Four Hands Round. 

Two couples. — The gentlemen select a lady ; the 
ladies a gentleman ; gentlemen form four hands round 
at one end of the room ; every one makes a tour to 
the left, after which, the conductor and the lady he 
has chosen pass under their arms the two other gen- 
tlemen, to recover the two ladies, who do the same, 
and form a round with them ; they make a complete 
tour to the left, after which, the two gentlemen ele- 
vate their arms to make a passage for the two ladies ; 
with them they make another tour, while the two first 
execute the same round with the two other gentle- 
men, which forms two four-hands round ; the gentle- 
men raise their arms to let the ladies pass under; the 
two first, while advancing, turn round and form a line, 
w r hich is soon joined by the two others ; the ladies 
should form a similar line on their side; when the 
four gentlemen and the four ladies have met, they 
form the same round as at the commencement — that 
is to say, gentlemen with gentlemen, ladies with la- 
dies ; after a tour they extend themselves in two oppo- 
site lines that advance towards each other, and each 
gentleman resumes his lady; the whole terminates 
with a general waltz. 

No. 40. 
Right and Left Varied. 
Two couples. — Ladies select gentlemen; gentle- 
men select ladies ; form as for quadrille ; head couples 



COTILLION OR GERMAN. jjg 

right and left, across and back, with the couples on 
their right ; half ladies' chain with same couples, thus 
changing partners ; all waltz entirely round the set ; 
head couples right and left with couples on their left ; 
half ladies' chain with same couples ; all waltz round 
again ; head couples right and left with couples on 
their right ; half ladies' chain with same ; all waltz 
round ; head couples right and left with couples on 
their left ; half ladies' chain, which brings all the la- 
dies to partners ; then a general waltz. 

No. 41. 

Triple Pass. 

Two couples. — Who, after their promenade, take 
hands four round to the left ; at a given signal the 
conductor and his lady, letting go each other's hands, 
pass under the arms of the two others, and join hands 
again as soon as the tour is finished ; the other gen- 
tleman and his lady, in their turn, pass behind under 
the arms of the first couple, who once more repass 
under the arms of the two others, and without let- 
ting go each other's hands, extend themselves to be 
again in circle ; they make a round to the left ; then 
general waltz. 

No. 42. 

The Basket, No. 2. 

Two couples. — The gentleman chooses two ladies, 
and places himself between them ; the lady chooses 
two gentlemen, placing herself between them ; they 
advance four bars, retire four bars, and advance again 
four bars ; the gentleman retaining the ladies' hands, 



180 DANCING. 

raises his arms, and makes two gentlemen pass under 
without letting go the hands of the lady who is be- 
tween them, joining their disengaged hands behind 
the gentlemen who is between the two ladies; the 
two ladies joining hands behind the lady who is be- 
tween the two gentlemen form the basket ; in this 
position all circle round, and at a given signal, with- 
out letting go hands, the gentleman in the middle 
passes out, the middle lady doing the same ; the six 
have then their arms entwined ; at another signal 
they disengage their arms, and form an ordinary cir- 
cle ; they then circle round, and at another signal 
each gentleman takes the lady opposite to him. 



Figures Beginning with Three Couples. 

No. 43. 
The Pyramid. 

Three couples. — Gentlemen select other gentle- 
men ; ladies other ladies ; the six ladies form three 
unequal ranks, beginning with one lady at the head, 
then two ladies behind the one, then three behind 
the two ; the gentlemen join hands, forming a chain ; 
the first gentleman then leads the others round the 
line of three, then the two, stopping in front of the 
single lady ; next two gentlemen in front of the two ; 
the next three gentlemen in front of three ladies ; 
when all waltz, each with the lady in front of him. 

No. 44. 
The Pursuit. 
Three couples. — Every gentleman of the cotillion 



COTILLION OR GERMAN. l8l 

has the right to go behind each couple, and possess 
himself of the lady, to dance with her; he should clap 
his hands, to announce his intention of substituting 
himself for her partner ; this figure continues till each 
gentleman has again got possession of his partner, 
to conduct her to her place. To execute this figure 
with all the animation required, it is necessary that 
as fast as each gentleman possesses himself of a lady, 
another should replace him by the side of his partner. 

No. 45. 

The Windmill. 

Three couples. — Gentlemen select ladies ; ladies se- 
lect gentlemen ; all the gentlemen place themselves 
en moulinet, giving left hands to each other, and right 
hands to the ladies, who, themselves, should hold 
them by the left ; the first, third, and fourth gentle- 
men waltz in the intermediate space, while the other 
couples walk slowly ; at a given signal those waltz- 
ing form the moulinet y while the others waltz be- 
tween. After two or three changes of this kind, all 
join in a general waltz. 

No. 46. 
Changing Windmill. 
Three couples. — Choice of ladies and gentlemen ; 
position of the moulinet as in the preceding figure ; 
at a given signal each lady advances to a gentleman, 
and they waltz without quitting their order in the 
moulinet ; at another signal they stop, but always en 
moulinet, to recommence with the next ladies until 
each gentleman has recovered his own partner ; gen- 
eral waltz for conclusion. 



182 DANCING. 

No. 47. 

The Contrary Rounds. 

Three couples. — The gentlemen place their partners 
in a line, and take each other by the hand to form a 
chain ; the conductor passes to the left, with the two 
others, in front of the three ladies ; the gentlemen, 
when they come to the last, form a circle about her, 
and turn to the left, after having made a tour ; the 
conductor relinquishes the hand of the gentleman 
on the left, and passes to the middle lady, to form 
about her a round h V envers with the other gentle- 
men ; after a tour in this way, the conductor again 
lets go the hand of the gentleman on the left, and 
makes a tour in the natural way about the third lady; 
he then draws after him the two gentlemen, who have 
not ceased to keep up the chain, passes in front of 
the ladies, as at the commencement of the figure, and 
continues the promenade, passing behind the ladies ; 
when each gentleman finds himself in front of his 
own partner, the general waltz follows, ..__ 

No. 48. 

The Incoitstants. 

Three couples. — They arrange themselves m pha- 
lanx behind the conducting couple ; the first gentle- 
man turns round, giving his left arm, crossed at the 
elbow, to the left arm of the gentleman behind him, 
with whom he changes places and partners ; he goes 
on without interruption to the last lady ; when he 
reaches the last, the second gentleman, who is then 
at the head of the phalanx, executes the same figure, 



COTILLION OR GERMAN. 183 

and so on for the rest, until every one has regained 
his place ; general waltz follows. 

No. 49. 
The Changing Triangle. 

Three couples. — The gentlemen, without quitting 
their partners, place themselves en moulinet, giving 
each other the left hands, and going round in this 
position; at a given signal the first gentleman turns 
about quickly, giving the left arm, crossed at the 
elbow, to the gentleman behind him, with whom he 
changes his place and partner ; he does the same 
with the next gentleman ; when he has arrived at 
the third, the second executes the same figure, and 
then the third ; a general waltz follows. 



Figures Beginning with Four Couples. 

No. 50. 

The Two Lines. 

Four couples. — Gentlemen select ladies; ladies 
select gentlemen ; two lines are formed, gentlemen 
facing ladies ; all forward and back ; all turn with 
right hand, but finish on opposite side, back to back ; 
the lines then forward and back, all turn round and 

take partners. 

No. 51. 

The Double Chain. 

Four couples. — Select other partners; one couple 
faces another; the two gentlemen perform the " La- 
dies Chain " movement ; ladies the same, when all 
waltz. 



184 DANCING. 

No. 52. 
The Different Rounds. 

Four couples. — Form as for the lancers ; all hands 
round to the left ; then head couple join hands with 
the couple on their right and circle round ; then each 
gentleman turns his partner with both hands ; final- 
ly, all join hands, forward and back, when all waltz. 

No. 53. 

The Graces, 

Four couples. — Each lady selects two gentlemen, 
who place themselves on either side, clasping hands 
behind the lady, and each holding one of the lady's 
hands ; the gentlemen of the four couples having ar- 
ranged themselves each between two ladies in the 
same manner, the dancers then form in threes, one 
triplet behind another, being particular to have the 
first three consist of a lady and two gentlemen, then 
a gentleman and two ladies ; so alternating ; all 
promenade round the room, when, upon signal, the 
first and alternate threes turn round, each dancing 
with the one opposite. 

No. 54. 
The Four Corners Turned. 
Four couples. — Ladies place themselves in the four 
corners of the room ; gentlemen, selecting four others, 
execute eight hands round one of the ladies, who 
selects one of the gentlemen to dance with ; the seven 
gentlemen circle round a second lady, who also chooses 
a partner; the six circle round the third lady, and 



COTILLION OR GERMAN. 



I8 5 



upon her selection of a partner the remaining five 
circle round the last lady, and when she has taken 
a partner the four continue hands round until the 
four couples are seated. 

No. 55. 
The Square of Mallow's. 
Four couples. — Form as for the lancers ; the two 
head couples forward, and each gentleman turns with 
both hands the opposite lady, finishing the turn in 
the place of the gentleman's left-hand-side couple ; 
the side couples at the same time separate from part- 
ners, and each gentleman meets the opposite lady in 
the place previously occupied by the head couple, 
and turns that lady with both hands, stopping with 
lady on his right ; thus the sides become head couples, 
and the heads, side couples ; the four couples must 
be careful to move together, and finish each turn with 
the lady on the right ; repeat the figure four times, 
when all regain their original places ; ail waltz. 

No. 56. 

The Rounds of Four. 

Four couples. — After waltzing, the ladies form a cir- 
cle at one end of the room, the gentlemen at the other, 
having in the meantime called up another gentle- 
man ; at a signal each circle forms a line facing the 
other; both lines advance, the ladies passing under 
the arms of the gentlemen, going to the opposite end 
of the room ; circles are again formed, and advance 
as before ; then each gentleman takes the lady who 
may be opposite him. 



1 86 DANCING. 

No. 57. 
The Round Arch, 

Four couples. — Gentlemen select gentlemen; la- 
dies select ladies ; gentlemen form a circle, four fac- 
ing out, four in; ladies join hands, forming a line; 
gentlemen raise their hands as high as possible, when 
the ladies pass under, and go round until signal, when 
the gentlemen lower their arms, each one securing a 
partner. 

No. 58. 
Windmill, No. 1. 

Four couples. — Form a windmill or star, the gen- 
tlemen crossing left hands, giving right to partners; 
after going round, each lady advances to the gentle- 
man in front, and continues the round with that gen- 
tleman ; so on until partners are regained ; all dance. 

No. 59. 

Windmill, No. 2. 

Four couples. — Form windmill ; ladies in the cen- 
tre, right hands crossed, left to partners ; after a 
round, ladies disengage hands, going to the outside, 
while the gentlemen go backward, and join left hands 
in the centre ; after a round in this form, signal is 
given, when all dance. 

No. 60. 
Windmill, No. 3. 
Four couples. — Gentlemen stand in the four cor- 
ners of the room ; the ladies form a windmill, giving 



COTILLION OR GERMAN. 187 

left hands in the centre ; after two rounds each gives 

the right hand to her partner and changes place, 

when the gentlemen go round rapidly; upon signal 

each gentleman endeavors to gain the lady of his 

choice ; all dance. 

No. 61. 

Windmill, No. 4. 

Four couples. — Form windmill ; ladies in the cen- 
tre, crossing right hands ; gentlemen kneel ; ladies 
go round, passing their partners, each giving left hand 
to the next gentleman, going round him ; recrossing 
right hands in the centre, they circle round, each giv- 
ing left hand to next gentleman ; repeat this until 
partners are regained ; all dance. 

No. 62. 

The Augmented Windmill. 

Four couples. — Retaining their partners' hands, the 
ladies cross right hands ; all move round very slowly ; 
the gentlemen in turn call up another lady, these la- 
dies call up other gentlemen ; then the four ladies in 
the centre disengage hands, each arm of the star (four 
persons) moving out, forming a large circle, going 
round to the left once, after which each gentleman 
dances with the lady on his right. 

No. 63. 
The Grand Round. 
Four couples. — Gentlemen select gentlemen; la- 
dies select ladies ; a grand round is formed, the gen- 
tlemen joining hands on one side of the circle, the 
ladies on the other ; the figure is begun by turn- 



1 88 DANCING. 

ing to the left ; then the conductor, who holds his 
lady by the right hand, advances, leading the other la- 
dies and gentlemen, and cuts through the middle of 
the round — that is to say, between the last lady and 
last gentleman ; he turns to the left with all the gen- 
tlemen, while his partner turns to the right with all the 
ladies, continuing down the sides of the room, thus 
forming two lines facing ; when the last two have 
passed out the two lines advance, each gentleman 
dancing with opposite lady. 

No. 64, 

The Twin Circles. 

Four couples. — Each gentleman selects another 
gentleman, and each lady a lady ; the first gentleman 
places himself in the ladies' circle, while his partner 
places herself in the gentlemen's circle ; the two cir- 
cles turn rapidly to the left ; at a given signal the 
gentleman in the ladies' circle chooses a lady to dance 
with; at the same time his partner chooses one of 
the gentlemen from the circle of gentlemen to dance 
with; during this time the gentlemen arrange them- 
selves in one line, and the ladies in another ; the lines 
advance, every one dancing with the person opposite. 

No. 65. 

The Country Dance. 

Four couples. — Form as for lancers; the first 
couple waltz round the one on the right, then round 
the next one to the right ; so on in the same direc- 
tion, until they reach their place again ; the three 
other couples repeat the same figure; when all four 
have finished they join in a general waltz. 



COTILLION OR GERMAN. 



189 



No. 66. 

The Bower, No. 1 . 

Four couples. — Form circle in the middle of the 
room ; when the circle is formed, the ladies and gen- 
tlemen turn round, and find themselves back to back 
without letting go each other's hands ; four other 
couples then start and make a circle about the first, 
but without turning round ; in that position, and 
when they face each other, the gentlemen join hands 
above, the ladies underneath ; the former then raise 
their arms high enough to form a circular passage, 
that the ladies rapidly run through to the left with- 
out quitting each other's hands ; at a given signal 
the gentlemen lower their arms to stop the ladies, 
who dance with the gentlemen before whom they 
find themselves. 

No. 67. 

The Undulations. 

Four couples. — Form a circle with first couple in 
the centre ; the couple in the centre waltz at pleasure, 
endeavoring to deceive the other couples, who follow 
all their movements without letting go hands ; at sig- 
nal the next couple enter the circle, the first taking 
their place as members of the circle ; the other coup- 
les successively execute the same figure ; then a gen- 
eral waltz. 

No. 68. 
The Right and Left. 
Four couples place themselves in two lines, two 
couples in each line, facing; in this position, each 



igO DANCING. 

couple half right and left with the one opposite, then 
with the one which was originally on its right ; they 
repeat the half right and left with the others, when 
all find themselves again in their original places ; all 
dance. 

No. 69. 

The Double Pastourelle. 

Four couples. — Form as for quadrille ; the two gen- 
tlemen at the head retaining their partners' hands, 
take with their left hands the side ladies on their left, 
who leave their partners, thus forming two threes at 
the head ; they forward and back four bars ; the gen- 
tlemen pass the ladies to the side gentlemen, the 
lady on the left passing under their right arms ; the 
threes forward and back four bars, the ladies going 
to the gentlemen at the head. This figure is re- 
peated four times, when all dance. 

No. 70. 

The Uninterrupted Chain. 

Four couples. — Select other partners; form two 
lines facing ; the first gentleman on the left gives his 
right hand to the right hand of his lady, and makes 
a complete tour with her ; afterwards gives his left 
hand to the left hand of the next lady ; the conduc- 
tor and his partner give each other the right hand in 
the middle of the double figure, and separate to find 
the next lady and gentleman ; and so on for the rest, 
up to the last couple ; they then make a complete 
tour, so that the lady finds herself on the side of the 
gentlemen, and her partner on that of the ladies ; 
when the conductor and his lady have reached the 



COTILLION OR GERMAN. Ip X 

fourth couple, the second gentleman should also set 
out, so that there should be an uninterrupted right 
and left between the gentlemen and ladies ; on the 
departure of the first couple, the second should take 
their place, and so on for the rest ; when all have 
executed the figure, each gentleman offers his hand 
to his partner for a promenade. This figure may be 
executed by as many couples as please, similar to 
the Virginia Reel. 

No. 71. 
The Ladies Back to Back. 

Four couples. — Form a general round ; the ladies 
place themselves back to back in the centre, close to 
each other ; the gentlemen outside ; at signal, and 
during- four bars, the round is enlarged, the gentle- 
men retiring, ladies advancing ; four more bars the 
round is narrowed, ladies retiring, gentlemen advanc- 
ing; the round is developed for the last time, when 
the grand chain follows; after regaining partners all 
dance. 

No. 72. 

The Chains in Line. 

Four couples. — Gentlemen select gentlemen, and 
ladies select ladies ; gentlemen place themselves in 
couples, one behind the other, facing the ladies, who 
arrange themselves in the same way; at signal the 
two first gentlemen begin with the right hand d^grand 
chain with the two first ladies, and so on for the rest ; 
The two last gentlemen find themselves with the 
two first ladies. Conclude with the waltz. 



192 



DANCING. 



No. 73. 

Double Quadrille, 

Four couples. — Gentlemen select ladies ; ladies se- 
lect gentlemen; form as for quadrille, but double, in 

this manner: _ m 

OX 

ox 

XX 00 
OO XX 

xo 
xo 

(O, lady; X, gentleman. J 

Inside head couples half right and left ; then inside 
side couples the same; outside head couples pass un- 
der the arms of the couple in front, and half right 
and left ; outside sides the same ; the two ladies in 
each group take hands, and the two gentlemen do the 
same, turning so that the ladies and gentlemen stand 
face to face; gentlemen raise their hands, while the 
ladies pass round in couples under them ; when they 
regain places, all take ladies and dance. 

No. 74. 

The Flowers, 

Four couples, more or less, according to size of the 
German ; gentlemen choose two ladies, each of whom 
takes the name of some flower; the gentleman pre- 
sents to the ladies another gentleman, and names to 
him the flowers, that he may choose one ; he then 
dances with the lady represented by the flower named ; 
the other lady dances with the other gentleman ; the 
ladies of the first four gentlemen execute the same 
figure with the two gentlemen. An amusing variety 



COTILLION OR GERMAN.- I93 

is given to this figure by each gentleman taking the 
name of some animal. 

No. 75. 
Star and Circle, 

Four couples. — Select other partners; form two 
lines facing, four couples in a line ; the four middle 
ladies cross right hands and go round once, then 
change hands and go round the other way, stopping 
in front of partners ; each lady will then give right 
hand to one of the four other ladies, thus forming a 
star; all the ladies should face the same way; the 
eight gentlemen will all join hands and form a circle, 
so that two gentlemen stand between the points of the 
star ; in this form the gentlemen will pass round un- 
der the ladies' arms while the ladies move round, retain- 
ing the form of the star, in the opposite direction ; they 
go entirely round, when all take partners and waltz. 



Figures Beginning with Six Couples. 

No. 76. 
Extended Circle. 
Six couples. — Select other partners; two circles 
are formed, ladies facing outward, gentlemen facing 
inward, each opposite to selected partner; all hands 
round, all going to left, which makes the two circles 
move in opposite directions ; when entirely round all 
stop, each gentleman facing the lady he faced at first; 
then the first gentleman gives his right hand to his 
lady's left, breaking the two circles ; the gentleman 
next to the first gentleman continues sliding to the 
left, extending the circle (all retaining hands, and fol- 

9 



194 



DANCING. 



lowing him) until the two circles become one, when all 

advance and take selected partners for general dance. 

This figure may be danced by more than six couples. 

No. yy. 
Double Grand Chain. 

Six couples. — Select other partners ; form two 
couples in a line, one line behind the other ; all 
march forward ; when at the end of room, one couple 
turns to the right, the other to the left, the couples 
behind following the leading couples ; all march down 
the side of the room to the other end ; the two col- 
umns, upon approaching each other, form a grand 
chain until the double lines have passed entirely 
through, when all take selected partners and waltz. 

This figure may be danced by more than six couples. 

No. 78. 
The Zigzag. 

Six couples. — Form in line, one behind the other, 
one yard apart ; the first couple then waltz, passing in 
front and across each couple until they arrive at the 
bottom, stopping behind the last couple, retaining the 
same distance ; after the first couple have passed two 
couples, the second couple begin, and all the couples 
follow in turn until all have passed down, bringing 
the first couple to the head again, when all dance. 

No. 79. 

Triple Quadrille. 

Six couples. — Select other partners ; form as for 
lancers ; three couples deep ; the line of ladies in 



COTILLION OR GERMAN. 195 

first couple's place and line of gentlemen in third 
couple's place join hands in turn, moving out to side 
of room, upon reaching which they face each other; 
while this is being done the ladies in second couple's 
place and gentlemen in fourth couple's place join 
hands and move out in turn, ladies in third couple's 
place with gentlemen in second couple's place, la- 
dies in fourth couple's place with gentlemen in first 
couple's place, all moving at the same time ; gentle- 
men now form a star, stand still while the ladies prom- 
enade round, passing under gentlemen's arms, until 
partners are regained ; all dance. 

No. 80. 

The Bower, No. 2. 

Six couples. — Select other partners ; form six lines 
deep ; two couples in each line ; gentlemen inside ; all 
facing end of room ; gentlemen hold up their hands, 
forming an arch, through which the ladies pass in 
couples to the head of the room, where the first two 
ladies change hands, and face the other way, the suc- 
ceeding ladies separating, and taking place on either 
side of the first two ; when the last two ladies have 
passed through, the gentlemen advance in couples to 
the end of the room, forming in the same manner as 
the ladies, and facing them. If the figure is properly 
executed partners will be found opposite each other ; 
all forward and take partners for general waltz. 

No. 81. 

The Bower, No. 3. 

Six couples. — Select other partners ; form two col- 
umns facing each other, the one all ladies, the other all 



ig6 DANCING. 

gentlemen ; there should be four lines of threes in 
each column, gentlemen occupying places correspond- 
ing with those of the selected partners; ladies join 
hands and stand far apart ; gentlemen now advance, 
passing through the lines of ladies, two lines passing 
under the arms of ladies whose hands are joined, and 
one line outside ; after passing through, the gentleman 
at the head of each line of gentlemen, with the others 
following, turns and passes back on the other side of 
the line of ladies he has just passed, each gentleman 
finding his selected partner on his right ; all waltz. 



Figures Beginning with Six Couples or More. 

No. 82. 
The Surprise. 
Six couples place themselves one behind the other, 
ladies on right side of gentlemen ; the gentleman 
at the head is in honor bound not to look in any 
direction but straight in front ; the last couple sepa- 
rate, and the gentleman and lady pass up on either side 
of the column, endeavoring to meet again just beyond 
the first gentleman, who is on the alert to seize the 
lady in passing, and, if successful, dances with her, 
while the surprised gentleman takes the head ; each 
couple in succession repeat until but one couple re- 
main, when all dance. 

No. 83. 
The Half Turn. 

Six couples. — Select other partners; form in line 
down middle of the room, facing partners chosen ; 
the lady at the head of the line, at a signal, turns and 
dances with the person behind. 



COTILLION OR GERMAN. 



I 9 7 



No. 84. 

The Rencontres. 

Six couples. — All waltz ; at a signal they stop, when 
each gentleman takes his lady's left hand with his 
right, and presents her to one of the other couples, 
making the salute when the exchange of ladies is 
made ; at another signal the ladies are returned to 
their partners, when all waltz to seats. 

No. 85. 
The Scissors. 

Six couples. — After dancing a while they form a 
star in such a way that three ladies will face three 
gentlemen, the two ladies in the centre giving right 
hands, the two gentlemen forming the centre giving 
left hands ; the two lines of gentlemen advance tow- 
ards the two lines of ladies, salute, and back to places 
without releasing hands ; then the ladies advance to 
the gentlemen, salute, and return to places; at a sig- 
nal all turn half round, and each dances with the part- 
ner found opposite ; when the lines go forward and 
back, all should be careful to keep straight lines, so 
that the movement may resemble the opening and 
closing of a pair of scissors, which produces a pretty 

effect. 

No. 86. 

Presentations in Line. 

Six couples. — Select other partners ; two lines of 
couples are formed of six each, when all advance, and 
each gentleman presents his lady to the gentleman 
advancing from the opposite line, when all dance. 



I9 8 DANCING. 

An Unlimited Number of Couples. 

No. 87. 
The Continued Bridge. 

Any number of couples promenade round the 
room, the conductor and his partner at the head ; 
after a short promenade, the first couple stop and 
raise their arms, allowing the next couple to pass 
under, and each couple in turn take place in the 
line ; when the last couple pass under, all dance to 
places. 

No. 88. 
The Gentlemen Back to Back. 

Any number of couples form a grand round ; after 
going round once to the left, the gentlemen go to- 
gether inside, facing outward, all taking hands, while 
the ladies all join hands, facing the gentlemen ; the 
two circles then enlarge ; gentlemen going forward, 
ladies backward ; then diminish and again enlarge, 
when the two circles go round, each to the left ; then, 
at signal, all the gentlemen take ladies and dance. 

No. 89. 
The Opposite Rounds. 

All the ladies form a grand round facing inward, 
going to the left ; the gentlemen forming a circle 
round that of the ladies, also going to the left, but 
facing outward, the two circles thus being back to 
back, and going round in opposite directions ; at sig- 
nal gentlemen turn and dance with opposite ladies. 
This is one of the concluding figures of the German. 



COTILLION OR GERMAN. igg 

No. 90. 

Changing Places. 

All the couples form for promenade, the conduc- 
tor and his lady last ; while marching the conductor 
touches the shoulder of the gentleman in front, who 
at once yields his place, the conductor stepping to 
the side of the lady ; the gentleman thus displaced 
touches the one in front, and he yields by stepping 
forward, and so on till the end of the line, when the 
signal is given for all to waltz. 

No. 91. 

The Round Turns. 

A grand round is formed by all the couples ; at a 
signal the gentlemen place themselves inside, facing 
partners ; every gentleman then turns his partner 
with both hands ; passing to the next lady on the 
right, he turns again with both hands, and so goes on 
to the right, turning each lady in succession until 
partners are again reached, when all again form a 
grand round ; forward and back twice, when all take 
partners and dance. This is one of the concluding 
figures. 

No. 92. 

Circle Divided. 

A number of couples form hands round, all the 
ladies on one side, all the gentlemen on the other; 
after going once round, the first couple cross the cir- 
cle, the others following, still holding hands, all pass- 
ing successively under the arms of the couple at the 



200 DANCING. 

opposite end of the circle; after passing under, the 
ladies, still retaining hands, pass outside up to the 
head of the room, the gentlemen going up on the 
other side ; then all forward and take partners. 

No. 93. 

Le Bandeau. 

All the ladies form a line ; all the gentlemen ex- 
cept one form a line opposite ; the ends of the lines 
join hands, forming a grand round going to the left ; 
the single gentleman, whose eyes are blindfolded, 
stands in the middle of the circle ; while the circle is 
in motion he touches one of the persons in the circle, 
and whether it is a gentleman or lady, he dances with 
that person ; while the circle continues in motion, an- 
other gentleman is blindfolded, and the figure is re- 
peated ; after repeating the figure a number of times, 
the ladies and gentlemen separate, forming two lines, 
when all advance, and each dances with the one op- 
posite. 

No. 94. 

The Eccentric Column. 
Eight or more couples. — Form one couple behind 
the other, facing the head of the room ; the couples 
separate, the first going to the right, the second to the 
left, and so on, passing down the sides of the room, 
and stopping half-way ; they then advance to the cen- 
tre, each gentleman taking the opposite lady with 
both hands, and going alternately to one and the oth- 
er end of the room ; the leading couples face the cen- 
tre, and each succeeding couple coming towards them 
separates, its members taking their places on either 
side of the leading couples, facing the same way; 



COTILLION OR GERMAN. 2 OI 

there now being two lines, with partners facing, all 
advance to the centre, take partners and dance. 

No. 95. 

The Circular Road. 

All form a general round ; advance and retire once ; 
ladies place themselves inside, facing partners, but 
leaving a wide space between ; the first couple then 
waltz round in this space, and upon reaching their 
place the lady joins the circle of gentlemen, while her 
partner joins the circle of ladies ; this is repeated by 
each couple in turn until all the ladies are on the out- 
side, and all the gentlemen inside ; all take partners 

for a general waltz. 

No. 96. 

The Knot. 

After a general dance all form grand round, going 
to left once round ; ladies advance, form a round 
inside to the right ; gentlemen outside to the left, 
going once round ; each gentleman gives his right 
hand to his partner's right hand, commencing a move- 
ment as for the " Grand Chain ;" but upon meeting 
the next lady the left hand is given, and the gentle- 
man swings round that lady, giving right hand to the 
next, swinging round her, and so turning each lady in 
succession until partners are regained, when all make 
a profound salute ; then a general waltz. 

No. 97. 
Little Rounds. 
Four, six, eight, or ten couples. — Select other part- 
ners ; the ladies are placed in couples, one behind the 

9* 



202 DANCING. 

other ; gentlemen the same, facing the ladies ; care 
should be taken so that the gentlemen occupy places 
corresponding to those occupied by their selected 
partners — that is to say, the first two gentlemen must 
stand facing ladies selected ; next two gentlemen fac- 
ing next two ladies, and in same manner all through ; 
the first two gentlemen and first two ladies, four 
hands round to the left once ; gentlemen raise their 
arms, ladies pass under to the next two gentlemen ; 
gentlemen pass to the next two ladies ; they repeat 
this with each pair in succession. After the round 
with the last couple, the first two gentlemen at one 
end of the room, and first two ladies at the other, 
stand side to side, facing in a direction opposite to 
that in which they were going, and as each pair finish 
the round they separate, one going to the right, the 
other to the left side of the first two, so that when 
the last two finish the round and take their places 
each gentleman shall face the lady selected ; the 
two lines then advance ; all take partners for general 

waltzing. 

No. 98. 

The Final Round, 

All form a general round ; the conductor and his 
lady enter the circle, the members of which should join 
hands again, and waltz round inside of the circle ; at a 
given signal the lady quits the circle, and the con- 
ductor chooses another lady, with whom he waltzes; 
he then leaves the circle, the lady choosing another 
gentleman ; so on for the rest until only two or three 
couples remain, when all waltz. This is one of the 
concluding figures. 



COTILLION OR GERMAN. 



203 



No. 99. 
The Endless Rounds. 

All form a general round, going to the left ; the 
conductor, at a signal, quits the hand of his lady, who 
should be on his left, and, continuing to turn in the 
same direction, enters the round in forming a coli- 
tnaqon, while the lady whose hand he has last quitted 
turns to the right to form the other circles that 
go on diminishing ; when they are quite close to- 
gether the conductor passes under the arms of the 
waltzers to get out of the circle, every one follow- 
ing him without letting go hands ; the conductor 
promenades at pleasure, and extends the line to 
form the general round ; all the other couples per- 
form a general waltz. This is one of the concluding 
figures. 

No. 100. 

The Two Lines. 

First couple promenades round the room, the oth- 
ers following ; two lines are formed, facing partners ; 
every gentleman gives his right hand to his lady's 
right, exchanging places with her; the first couple 
then waltz up between the lines, going back behind 
the line of ladies, then up between the lines, stopping 
at the end ; gentlemen on ladies' side ; ladies on gen- 
tlemen's side ; each couple execute the same move- 
ment, and the figure ends with a general waltz. This 
is one of the concluding figures. 



204 DANCING. 

No. IOI. 
The Crooked Lane. 

First couple promenade round the room, the other 
couples following ; a general round is formed, the 
couples keeping a certain distance apart ; the gentle- 
men place themselves in front of their ladies, so as 
to form a double round, ladies inside, gentlemen out- 
side ; the first couple then waltz round the crooked 
lane formed by the two circles until they reach their 
place, when the gentleman takes his place in the cir- 
cle of ladies, the lady in that of the gentlemen ; this 
is repeated by each couple in turn, ending with a 
general waltz. This is one of the concluding figures. 

No. 102. 
Reunion of Couples. 

First couple promenade for a short time, then take 
the second couple to form four hands round ; after 
going to the left, half-way, the third couple join 
them, forming six hands round ; this is repeated 
until all the couples are up, when a general round is 
formed ; then grand chain half round, ending with a 
general waltz. 

This is one of the concluding figures. 

No. 103. 
Simple Grand Chain. 

Any number of couples. — Select other partners ; 
form grand round ; give right hand to partners, and 
execute the grand chain movement entirely round ; 
on meeting partners, all waltz. 



COTILLION OR GERMAN. 2 0$ 

This may be varied in this way : — before giving 
hands to partners, as directed above, all forward and 
back four steps twice. 

No. 104. 
The Merging of Columns. 

Eight or ten couples. — Select other partners ; form 
two columns, with an equal number of couples in 
each, all facing the head of the room, and with about 
ten or twelve feet of space between the columns; 
all face partners; first couple of each column join 
hands, and pass down between the lines, each couple 
following in turn, to the end of the room, continuing 
up the middle in this order: first couple of right 
column leading ; then the first couple of left column ; 
then the second couple of right column ; then sec- 
ond couple of left column, and so alternating until 
all the couples are in one column. When the lead- 
ing couple reach the head of the room, a general 
waltz follows. 

This is one of the concluding figures. 

No. 105. 
The Column Reversed. 

Twelve couples. — Select other partners ; form 
lines of threes, one behind the other, facing the end 
of the room ; the first line should be composed of 
ladies, the second of gentlemen, so alternating, until 
all are placed ; then the ladies slide with the right 
foot, the gentlemen with the left, to the side of 
room, thence down to the end and up the centre, 
the first three ladies leading, the first three gentle- 



206 DANCING. 

men following ; so on in turn, until the column is re- 
formed, facing the head of the room, when a general 
waltz follows. 

No. 106. 
The Archway. 
Form two lines down the middle of the room, with 
gentlemen on one side, ladies on the other, facing 
partners ; a gentleman with his right hand raises a 
lady's left ; first couple pass under the arms to the 
end of the room, the others following in turn ; sepa- 
arating, the ladies pass up on one side, the gentlemen 
on the other ; all advance, and take partners for gen- 
eral waltz. 

No. 107. 

Double Column, No. 1. 

Any even number of couples. — Form lines, one 
behind the other, two couples abreast ; the ladies 
pass to the right four steps, the gentlemen to the 
left, forming two single columns, one all ladies, the 
other all gentlemen ; all advance towards the end of 
the room, when the outside line of ladies turns out 
and passes down the side of the room, and the out- 
side line of gentlemen turns out and passes down the 
other side. While this is done, the first lady and 
gentleman of the middle lines join hands, and pass 
down between the middle lines, each couple follow- 
ing in turn. On reaching the middle of the room all 
face the centre ; all advance, the inside lines passing 
through, which brings each gentleman in front of his 
partner, when a general waltz follows. 



COTILLION OR GERMAN. 2 OJ 

No. 108. 
Double Column, No. 2. 
Any even number of couples. — Select other part- 
ners ; form two double columns, one facing the oth- 
er, thus: 

4\ 40 «0 8 X 

sx so 7 7 X 



2X 2 g O 6X 

iX *0 5 5 X 

90 ^X 13 X 13 

10O 10 X "X 14 

«0»X "X^O 

i20i 2 X 16 X 16 



Fig. i. 



Then form as follows 



X 9 13 X 

X 10 14 X 

X 11 15 X 

i * 3 4X12 iex 8 7 6 5 

XX XX XXX X _. 

Fig. 2. 

OOOO OOOO 

9 10 11 12 O 4 8Q 16 15 14 13 

3 7 o 

O 2 e O 

O 1 5Q 



While the outside lines are passing to the side, the 
inside line of gentlemen passes across the set in cou- 
ples, the opposite lines of ladies also crossing, and 
passing under the gentlemen's arms; after the forma- 
tion of figure 2, the lines of gentlemen, 9, 10, 11, 12, 
4, 3, 2, 1, and 13, 14, 15, 16, 8, 7, 6, 5, turn out, pass- 
ing down opposite sides of the room ; at the same 
time the lines of ladies turn out, 1, 2, 3,4, 12, 10, 11, 
9 one way, 5, 6, 7, 8, 16, 15, 14, 13 the other, forming 
thus : 



208 DANCING. 

*X O l s O X 5 
2 X O 2 6 Q X 6 
3 X O 3 <o X 7 

*X O 4 8Q X* 

12 x O 12 lfi O X 16 

"X O 11 ls O x^ 

10 x O 10 14 X 14 

9X O 9 13 X 13 

That is, the lines pass so that partners are reached, 
when a general waltz follows. 

No. 109. 

Double Column, No. 3. 

Any even number of couples. — Select other part- 
ners ; form as for " Little Rounds." But there should 
be lines of four instead of two, thus : 

X X X X 

0000 

All turn, and face the other way. Gentlemen then 
diverge in couples, ladies the same, thus : 

x~x x"x~ 
99 9_9. 

all following the leading couple ; when the columns 
meet, gentlemen raise their arms, the ladies passing 
under, thereby reaching partners ; the figure con- 
cludes with a general waltz. 



No. no. 

A Succession of Moulinets. 

Eight couples. — Select other partners; form a 
square, four couples on each side, thus: 



COTILLION OR GERMAN. 



209 



OX 

1 


ox 

2 


ox 

3 


ox 

4 


X 

0~ 








X 


x^ 

o w 






.0 

X 


x^ 






,0 


O" 






X 


X 

o w 

12 

xo 


11 

xo 


10 

xo 




00 

X 

9 

xo 



Couples 1 and 2, 3 and 4, and so on round the square, 
cross right hands, going half round ; then cross left 
hands with the next couples, going half round ; then 
right hands with next, and so alternating until they 
regain places, when a general waltz follows. 

No. in. 

Military Figure, No. 1. 

Any even number of couples. — Form as for " Little 
Rounds ;" first two gentlemen and first two ladies 
move to the side of the room, four abreast ; the next 
four pass to the other side ; so each group of four 
pass to one side and the other, alternately ; upon 
reaching the side of the room the gentlemen, in cou- 
ples, continue towards one end of the room, the 
ladies, also in couples, going to the other, and all 
pass to the centre four abreast ; that is to say, the 
two columns of ladies, upon meeting at the end of 
the room, form lines of fours, each couple joining the 
next to form such a line ; gentlemen, at the same 
time, form in the same manner ; the two columns 
advance, and pass through, until partners are re- 
gained, and the figure ends with a general waltz. 



2io DANCING. 

The figure may be thus illustrated : 

i st Form. 
^"^ 2d Form. 3d Form. 4th Form 

oo l oo oo j o do o oooo 
cTo" l oo oo ; oooo oooc 



5th Form. 



-^ 



xo xo xo xo 
"V^ /X X X Xx xoxoxoxo 

*/%- XX XX X X X X x X X X 

*f ( * xxjx xxxx 

XX x ' 

XX 

No. 112. 

The Quadruple Quadrille. 

Sixteen couples. — Select other partners ; form a 
square, four couples deep on each side ; ladies ad- 
vance to the head of the room in couples, gentlemen 

i st Form. 2d Form. 

00 
00 

00 °° 

00 °° 

00 °° 

00 °° 

0000^ xxxx 00 

OOOO ^X XXX XX 

xx xx 

xx xx 

xx XX 

xx xx 

XX 
XX 

_xx_ 

to the other end of the room, as is shown in form 2 ; 
the ladies then separate, and pass half-way down on 
either side of the room ; gentlemen, separating in the 
same manner, meet the lines of ladies, and continue 



COTILLION OR GERMAN. 211 

in couples to the centre, as in form 3. The two 

3d Form. 
OOOOOOOOOOOOOOOO 

xxxxxxxxxxxxxxxx 

lines face, when partners will be found facing each 
other ; the figure ends with a general waltz. 

No. 113. 
The Double Rounds, 
All waltz. Form two circles, one of gentlemen 
(outside), the other of ladies (inside), with partners 
facing; both circles move to the right four steps; 
each gentleman turns the lady opposite with both 
hands ; continue in this manner until partners are re- 
gained ; end in a general waltz. 

No. 114. 
The Alley Way. 

All waltz. Form as above, with gentlemen inside 
instead of ladies ; the first couple waltz in the space 
formed by the two circles, going entirely round the 
circle ; upon reaching their original place they stop ; 
each couple in turn follows the first, until all the cou- 
ples have made the circle ; a general waltz follows. 

This is one of the concluding figures. 

No. 115. 

The Covered Alley Way. 

Any number of couples. — Form two lines down 
the middle of the room — gentlemen and ladies alter- 
nating — facing partners ; gentlemen take hands down 
the line ; ladies do the same with their hands, under 



212 DANCING. 

those of the gentlemen ; gentlemen raise their hands; 
the first lady, leading the others, passes out of the 

xb 

x 

O X 

X 

xo 
o x x 

X 

xo 
o x x 

zig-zag line of gentlemen, and goes down outside, the 
rest following ; at the lower end the line of ladies 
enters the archway formed by the gentlemen, and 
passes through until all reach their partners. 

No. 116. 

The Discarded Gentleman. 

All waltz. At a signal, each lady leaves her part- 
ner and waltzes with another ; this is repeated for a 
length of time, when each gentleman seeks his own 
partner ; the figure ends with a general waltz. 

No. 117. 
Military Figure, No. 2. 

Eight couples. — Select other partners ; form two 
lines down the middle of the room, all facing the 
head ; gentlemen and ladies divide into sections of 
fours, lock arms, then swing out, the first gentleman 
and lady of each section locking arms, which makes 
lines of eight, each line composed of four gentlemen 
and four ladies ; all advance to the head of the room, 
when the lines divide, gentlemen going one way, 
ladies the other ; they pass down the sides of the 
room, when, at a signal, all face the centre of the 



COTILLION OR GERMAN. 



213 



room, and the two lines advance, when all take part- 
ners for a general waltz. 

No. 118. 
The Triple Column. 

Any even number of couples. — Form lines of three 
couples each, facing the head of the room ; gentle- 
men turn, and face the end of the room ; right line 
of ladies leads to right, the other lines following in 
succession down the side of the room ; at the same 
time the left line of gentlemen moves down the other 
side of the room, the other lines following ; the line of 
ladies and that of gentlemen meet at the end of the 
room, when the Grand Chain movement is executed, 
the dancers thus regaining partners. The figure 
ends with a general waltz. 

No. 119. 

Double Column of Threes. 

Any even number of couples. — Each gentleman se- 
lects two ladies, each lady two gentlemen ; form two 
columns, with an equal number of threes in each, one 
on each side of the room, gentlemen between ladies 
on one side, ladies between gentlemen on the other; 
advance to the head of the room, and thence down 
the centre, in alternate threes, a gentleman between 
two ladies, leading; on reaching the end of the room 
separate, first three to the right, next three to the left, 
and so on, passing up the sides until two lines are 
formed, facing each other ; advance ; gentlemen take 
opposite ladies. 



214 DANCING, 

No. 120. 

Double Column, No, 4. 

Any even number of couples. — Form in this way, 

iX 2 X '0 2 
3X 4 X 3 4 

facing the end of the room ; then separate in two 
columns, gentlemen to the left, ladies to the right ; 
the columns meet, and the gentlemen raise their 
arms, allowing the ladies to pass under, thus regain- 
ing partners. All waltz. 

No. 121. 
Partners Regained. 
Any even number of couples. — Form in column, 
facing the end of the room, but in alternate position, 
thus: 

'ox 

/XO 

'ox 

The two lines turn, standing back to back, and move 
out to the side of the room ; dividing into couples, 
they pass to the end of the room, when they meet, and 
advance up the centre of the room, having regained 
their partners ; the figure ends in a general waltz. 

No. 122. 
The Broken Column. 
Any number of couples. — Select other partners ; 
form one couple behind another, facing the end of the 
room ; advance, couples separating, first to right, sec- 
ond to left, and so on alternately, forming two columns, 



COTILLION OR GERMAN. 



215 



which continue up the sides of the room, meeting at 
the head. The column on the left will raise hands, 
allowing the other to pass under, both columns pass- 
ing on down the opposite side of the room, until the 
last couple has passed out. General waltz follows. 

No. 123. 

The Developed Circle. 

Any number of couples. — Form two circles, one 
within the other, ladies inside and facing partners ; 
circle round to the right, once ; break the circles so 
that the left-hand gentleman will give his right hand 
to his partner's left ; the gentleman on the right will 
now lead the two circles, with hands joined, and go- 
ing to the left, until the gentlemen are formed in 
line, on one side of the room, facing the centre, and 
the ladies on the other, facing the centre also. Part- 
ners should now be opposite each other, when all ad- 
vance, and take partners for general waltz. 

No. 124. 

Thread the Needle. 

Any number of couples. — All rise and form a half- 
circle • the gentleman on the left end of the half-circle 
leads the others (ladies and gentlemen), who retain 
hands, contracting the circle, and passing under the 
arms of the last couple on the right ; the right end 
of the half-circle must stand still; the movement 
causes the gentleman of each couple, after passing 
through, without releasing hands, to turn and face 
outwardly ; the first gentleman continues leading 
under the arms of each couple in succession ; after 



2i6 DANCING. 

which, all raise hands, forming an archway; the first 
gentleman now leads through this archway, and 
upon coming out at the other end waltzes with his 
partner, the other couples following. 

No. 125. 

Tzvo Circles Linked, 

The lady conducting selects eight gentlemen, and 
then forms a line, herself in the middle, with four gen- 
tlemen on her right, and four on her left, all tak- 
ing hands and facing the same way ; her partner, at 
the same time, selects eight ladies, placing himself 
opposite his partner, with four ladies on one side 
and four on the other, facing the opposite line ; all 
forward and back again ; the two end gentlemen 
then advance, all the line still retaining hands, follow 
and pass on each side of the gentleman in the line of 
ladies, under his arms, and those of the ladies on each 
side, continuing until the lady is brought near to her 
partner; the gentlemen then form a circle round; at 
the same time the two ends of the line of ladies ad- 
vance and form a second circle ; thus the two circles 
will be linked together with first lady and gentleman 
brought face to face ; they waltz together, the others 
joining hands again, and form one grand circle, all go- 
ing round to the left, while the first couple waltzes 
inside ; at a signal, all disengage hands, each gentle- 
man taking the opposite lady for a general waltz. 

No. 126. 
The Grand Basket. 
Any number of couples. — All waltz ; at the first 



COTILLION OR GERMAN. 



217 



signal the ladies form a round in the middle of the 
room, joining hands, facing inwardly, and going round 
to the left ; at the same time the gentlemen form a 
round, enveloping that of the ladies, and go round to 
the right at the second signal ; all the gentlemen, still 
holding hands, pass under the arms of the ladies, who 
raise their arms for that purpose ; when the gentlemen 
have passed through the ladies lower their hands be- 
hind the gentlemen, thus forming a basket, with all 
the hands behind ; all then pass slowly round to the 
right, and at the third signal hands are disengaged 
and each gentleman dances with the lady upon his 
right. This is one of the concluding figures. 

No. 127. 

The Double Serpent, 

All form a promenade in open order, with about 
three feet space between the couples ; after marching 
a few steps the last couple, which should be that of 
the conductor, separate, lady to right, gentleman to 
left ; they pass round and across in front of the couple 
next in front, the lady going to the left, the gentle- 
man to the right, passing each other in going between ; 
they then go round and pass each other in front of the 
second couple, this time the lady passing to right, the 
gentleman to left ; in the same manner they pass round 
and in front of every couple in line, finally stopping 
in front of the first couple, and taking position in the 
promenade; when the couple beginning the figure 
have passed in front of two couples, the rear couple 
take up the figure and follow in the same way, and so 
with all the couples in succession, until finally the orig* 

10 



2i 8 DANCING. 

inal rear couple is again at the rear of the line, when all 
take partners and waltz. 

No. 128. 
Le Carillon de Dunkirqiie. 

All form a grand round ; at a signal all turn part- 
ners, leaving ladies inside, facing partners ; all then 
clap hands three times and stamp the foot three times ; 
all turn partners again, ending with ladies stopping 
each in front of the next gentleman to the left, the 
gentlemen all passing to the right ; the clapping of 
hands and stamping of feet, with the turn and pass- 
ing round in same direction, are repeated, until each 
gentleman meets his partner again, when all waltz. 

This is one of the concluding figures, and is best 

adapted to the polka. 

No. 129. 

Le Chat et la Souris. 
After waltzing, the conductor calls all the gentle- 
men, designating one to stand outside, while the 
others form a round enveloping a lady ; the out- 
side gentleman then endeavors to catch the lady, 
passing under the arms of the gentlemen for the 
purpose; the gentlemen allow the lady to escape at 
will, but throw every obstacle in the way of the gen- 
tleman ; if he is successful, he and the lady waltz to- 
gether, and all join in a general waltz. 

No. 130. 
LAllee. 

Three or more couples begin ; after selection of oth- 
er partners, a promenade round the room is formed, 



COTILLION OR GERMAN. 219 

terminating in the middle of the room, where the 
dancers separate into two lines, the ladies facing the 
gentlemen ; all forward and back, when all change 
sides, by giving right hands to those opposite, bring- 
ing the two lines to opposite sides ; the gentleman 
now on the right of the line of gentlemen, with his 
lady, waltzes down between the two lines, continuing 
up again on the outside of the line of gentlemen, and 
a second time down between the lines, stopping at the 
lower end, the lady on the gentlemen's side, the gen- 
tleman on the ladies'. Each couple follows in succes- 
sion until the first is again at the head, when all take 
partners and waltz. 

No. 131. 
Les Dames Ensemble, 
The ladies take partners together and waltz round ; 
three gentlemen then endeavor to form a hands 
round, around any one of these couples; if successful, 
the ladies choose two of the gentlemen for a waltz ; 
the remaining gentleman joins with two others, and 
again makes an attempt to encircle two ladies ; when 
successful, these two ladies also select, and the remain- 
ing gentleman joins two others, forming another circle, 
and so on, until all the ladies have partners ; the last 
gentleman retires to his seat alone. This is one of the 
concluding figures. 

No. 132. 

The Four Lines. 

Five, six, or more couples start, according to size 
of room ; each lady selects a gentleman, and all form 
two lines at one end of the room, each lady with the 



220 DANCING. 

selected gentleman behind her; at the same time the 
gentlemen select ladies in the same way, and form two 
lines at the opposite end of the room, ladies in front ; 
the four lines then advance eight bars, and back 
again the same number ; the ladies raise their hands, 
(all having taken hands), when the two lines of gen- 
tlemen pass under and forward, each line passing the 
other ; when the opposite line of ladies is reached, 
each gentleman dances with the lady he finds oppo- 
site him. 

No. 133. 
Les Passes en Rond. 

After waltzing the conductor and his partner sepa- 
rate, the gentleman selects any number of ladies, the 
lady selecting an equal number of gentlemen ; two 
separate rounds are then made, and after going once 
round to the left, they stop, when the conductor and 
his partner are near together, back to back ; the con^ 
ductor then raises his right hand, his left still holding 
the hand of the lady on his left ; he then passes the 
lady on his right, under, and out of the circle ; the 
conductor's partner having done precisely the same 
in the circle of gentlemen, the lady finds a partner, 
the two dance away, and are followed by all in suc- 
cession, in the same manner, until, finally, there are left 
but the conductor and one lady, and the conductor's 
partner and one gentleman, who join the others in the 
general waltz. 

No. 134. 
Le Rond Serpente. 

All the gentlemen except the conductor form 



COTILLION OR GERMAN. 221 

hands round, raising the arms ; the conductor then 
forms all the ladies in line, holding hands, and leads 
them under the arms of the gentlemen in any direc- 
tion he may choose, but finishing with all the ladies 
inside, when the two circles move round in opposite 
directions ; at the signal, all take partners and waltz. 
This is one of the concluding figures of the Cotillion. 

No. 135. 

The Triple Round. 

The conductor and his partner form a round in 
the middle of the room ; three couples form a sec- 
ond round outside, which must move round in a di- 
rection opposite to that in which the first moves , a 
third round is formed outside of the other two by 
eight couples, which moves round in a direction op- 
posite to that of the second ; at a signal all take 
partners and waltz. 

No. 136. 
Choice of Waltzers. 
After waltzing, the conductor places his partner, 
seated, in the middle of the room, and returns to his 
own seat ; the second gentleman then selects any 
lady in the circle, and, after waltzing, places her in 
the chair, waltzing with the lady who previously oc- 
cupied the chair back to her own seat ; the third gen- 
tleman then follows, and so in succession, until the 
last lady is seated ; any gentleman of the circle may 
come to her relief. 



222 DANCING. 

No. 137. 
Gliding Lines {best suited to the Galop). 
Four couples start ; each lady selects a gentleman ; 
each gentleman selects a lady ; four gentlemen then 
place themselves in a line, with their partners in a 
line facing them ; the other four couples form in lines 
in the same manner, so that there shall be four lines, 
ladies and gentlemen alternating, the ladies all facing 
one way, the gentlemen all facing ladies ; each line 
joins hands ; the four lines then all slide with right 
foot to right, the ladies thus sliding to one side of 
the room, while the gentlemen slide to the opposite 
side ; all then curve to the right, one four following 
the other down to and across the two ends of the 
room , there will then be a single line of eight ladies 
at one end, and a similar line of gentlemen at the 
other ; all then advance and meet selected partners 
for a general waltz. 

No. 138. 
La Sceur Touriere. 
All the gentlemen retire to an adjoining room, the 
door being left partly open ; a lady then mentions 
the name of a gentleman to the lady conducting the 
figure so that no one else can hear it, and returns to 
her seat ; the conductor then goes to the door and 
calls the gentleman, who enters, and endeavors to 
discover the lady who called for him ; if successful, 
they dance together ; if not, he retires, and another 
is called. 



COTILLION OR GERMAN. 223 

No. 139. 
The Mysterious Hands. 

The conductor places a number of ladies in an ad- 
joining room as in the preceding figure ; each lady 
passes a hand through the half-open door ; the con- 
ductor leads to the door as many gentlemen as there 
are ladies, and each takes one of the hands and waltzes 
with the lady thus selected. 

No. 140. 

The Grand Chain Double. 

Three, four, or more couples. — Gentlemen select 
ladies ; ladies select gentlemen ; form a grand round 
at a signal from the leader, all begin a grand chain ; 
at the next signal, each swings round with the one 
to whom the right hand is given at that moment, 
and all begin a grand chain in the opposite direc- 
tion, giving left hands first ; at another signal, swing 
round with left hands, and begin a grand chain again 
in the direction taken at first, and thus changing as 
many times as the signal may be given, until the sig- 
nal is given to take partners, when each gentleman 
selects the nearest lady. 

No. 141. 

Ladies Returned. 

Four or more couples start. — Gentlemen select la- 
dies ; ladies select gentlemen ; form in two lines, one 
couple facing another down the middle of the room ; 
lines twelve feet apart ; all perform the half ladies' 
chain, thus changing ladies ; all then face the head 



224 DANCING. 

of the room and march in two columns, one turning 
to the left, the other to the right, countermarching 
down towards the opposite end of the room ; when 
the last two couples have turned, the two columns 
turn and face each other in two lines ; all advance 
and find partners opposite ; general waltz. 

No. 142. 

Dos-a-dos Squares. 

Two couples start ; ladies select gentlemen ; gen- 
tlemen select ladies ; form two lines, four ladies in 
one, four gentlemen in the other, facing, but not op- 
posite, thus : 

OOOO 
xxxx 

The two lines walk forward, then slide to right, pass- 
ing back to back ; then walk backward, and slide to 
left, bringing gentlemen face to face with partners ; 
then each gentleman executes a dos-a-dos with his 
partner, after which all turn partners, finishing with 
all hands round and a general waltz. 

No. 143. 
Reversed Rounds. 
Three or more couples start ; the leader places the 
ladies in line about six feet apart ; during the same 
time each gentleman selects another, and they take 
hands in line, the leader at one end ; he then con- 
ducts the line round the first lady, all facing inward ; 
next round the second lady, all facing outward ; 
then round the third lady, facing inward ; finally, 
behind the line of ladies, and again in front, when 



COTILLION OR GERMAN. 225 

each gentleman secures a partner, if possible, for a 
general waltz. 

No. 144. 

Chain and Line. 
Six couples start ; ladies select gentlemen ; gentle- 
men select ladies ; form in two columns ; ladies two 
and two, one behind the other; gentlemen the same, 
facing the ladies ; the first two gentlemen then give 
right hands to the first two ladies, beginning a grand 
chain in two lines ; after passing entirely through, 
the first two ladies simply turn round so as to face 
the gentlemen, and as each pair reach the same place 
one goes to the right, the other to the left, until all 
are in line ; the gentlemen execute the same move- 
ment, which brings the two lines face to face, when 
all advance and take partners for a general waltz. 

No. 145. 
The Three Passes. 
Five or six couples start ; ladies select gentlemen ; 
gentlemen select ladies ; form two lines, ladies in 
one, gentlemen in the other, all facing ; grand round 
once ; the leader and his partner then separate, he 
going round outside of the gentlemen, who follow, 
still holding hands ; the lady in same manner out- 
side of the ladies, ladies also retaining hands and fol- 
lowing round ; when the leader and his partner meet 
where the other gentleman and lady stand together, 
they pass under their arms (they having retained 
hands, and held them up for the purpose), and cross 
the circle to their own side again, the others follow- 
ing until the circle is again formed ; then the lady 

10* 



226 DANCING. 

and gentleman at the other side of the circle pass 
round outside, followed by the others, thus repeating 
what was executed before, but in a different direc- 
tion ; when the circle is again formed, the leading 
couple pass directly across, and under the arms of 
the opposite lady and gentleman, followed by the 
others, the leaders separating after passing through, 
each leading his or her line down the side of the 
room, when all are formed in two lines facing, and 
each takes partner for general waltz. 

No. 146. 

Little Rounds to the Side. 
Six or more couples start ; ladies select gentlemen ; 
gentlemen select ladies; form in two columns; ladies 
two and two, facing gentlemen, also two and two; 
the first two gentlemen with the first two ladies 
hands round, going once and a quarter round ; the 
two ladies then pass under the arms of the two gen- 
tlemen, and go to the side of the room ; when there, 
they turn round to face the two gentlemen, who have 
passed to the other side of the room ; the next two 
ladies and two gentlemen repeat the hands round, 
ladies passing under arms, but go to the side oppo- 
site the first two ladies, and take places on each side 
of the two gentlemen who are standing there; the 
other two gentlemen, after passing the ladies under 
their arms, take places on each side of the first two 
ladies, and as each couple repeats the hands round 
and passes under arms, both ladies and gentlemen 
pass alternately to one side, then to the other, until 
all are in two lines, facing ; all then advance and take 
partners for general waltz. 



cotillion or german. 227 

Figures with Accessories. 
No. 147. 

Jeu Geographique. 

Cards are prepared upon which are the names of 
various countries ; these are cut in two, and one set 
of halves is distributed to the ladies, the other set 
to the gentlemen. The pairing of these halves is the 
signal to dance together. 

No. 148. 
The Oracle. 

A book is provided in which are written such 
answers as, " I Cannot Dance," " No, Thank You," 
" With Pleasure," " Later," " I Accept," and any other 
phrases that may answer. Gentlemen are successive- 
ly presented, each of whom asks the lady to dance ; 
she answers by presenting a long needle, which he 
inserts between the leaves of the book and there 
reads his answer. When a gentleman is accepted, 
another lady takes the oracle's place. 

No. 149. 

La Corbeille Mobile. 

A basket is prepared with an arrangement by 
which the cover can be closed instantly when any 
one attempts to take an article out of it. It is usu- 
ally decorated with flowers. In this basket several ar- 
ticles are placed — bonbons or other objects. A lady 
takes the basket and presents it to a gentleman, re- 
questing him to take one of these articles ; if she de- 



228 DANCING. 

sires to dance with that gentleman she allows him to 
take one of the things ; if not, the cover is quickly 
closed and the lady immediately passes to another 
gentleman. When a partner is accepted the basket 
is given to another lady, who repeats the process. 

No. 150. 
Les Chasseurs. 

The conductor and his partner waltz ; the lady is 
then seated at one end of the room ; the conductor 
selects two gentlemen, and blindfolds them ; to one 
he gives a stick or club made of straw covered with 
cloth, to the other a rattle ; they are then separated ; 
the object is, for the one to strike the other with his 
club, the other making signals with his rattle, but im- 
mediately changing place so as to deceive his antago- 
nist ; if not successful in three or four attempts, the 
one with the club waltzes with the lady, whose place 
upon the chair is taken by another lady, and her part- 
ner assumes the role of chasseur. 

No. 151. 

L Amorce. 

After waltzing once round the room, the gentle- 
man leaves his partner in the middle of the room, 
giving her a string, to the end of which is attached 
a sugar-plum ; five or six gentlemen are then placed 
in a line in front of the lady, on their knees, with 
hands behind them ; the lady throws the sugar-plum 
towards the gentlemen, who endeavor to catch it in 
their mouths ; the successful one dances with the 
lady. When the lady is expert in throwing the line 



COTILLION OR GERMAN. 229 

this is a very amusing figure. If the floor is waxed, 
it is well to provide a rug for the gentlemen to kneel 
upon. 

No. 152. 

The Struggle. 

After waltzing the gentleman places his partner, 
seated, in the middle of the room ; two cushions are 
then placed in front of her ; two gentlemen are next 
selected, and each stands on one of the cushions upon 
one foot; they join right hands and a little struggle 
ensues between them, each endeavoring to make the 
other lose his equilibrium and drop the other foot ; 
the one first doing so retires to his seat ; the other 
dances, with the lady. 

No. 153. 

The Barber. 

One couple, — A chair is placed in the middle of 
the room ; on the back place a towel, on the seat a 
large razor (tin or wood) ; the lady seats herself in 
the chair, her partner choosing three other gentle- 
men and presenting them to the lady ; she gives the 
towel to one, the razor to another, taking for her 
partner the third ; while they are dancing, the one 
with the towel takes the chair, while the one with 
the razor goes through the motions of shaving him. 

No. 154. 

The Scarecrow. 

One or more couples. — Palm-leaf fans are provided, 
having faces (male and female) painted on their sides ; 



230 



DANCING. 



gentlemen take fans with female faces, ladies, those 
with male faces ; on one side there should be a hand- 
some face, on the other an ugly face ; a lady advances 
towards a gentleman seated, who immediately rises 
and follows her, she dancing backward, with the fan 
before her face, the handsome face outward ; she sud- 
denly reverses the fan, advancing towards the gentle- 
man, who in turn dances backward, followed by the 
lady, which is understood to be a refusal ; the gen- 
tleman returns to his seat ; this is repeated until the 
lady makes known her choice by presenting the hand- 
some face. The gentlemen with fans execute the 
same figure with ladies. 

No. 155. 

The Candle. . 

A lady is seated and provided with a long can- 
dle in a high candlestick ; a number of gentlemen 
attempt to blow the candle out ; the successful one 
dances w T ith the lady ; the lady should keep the can- 
dle out of the reach of all except the one chosen. 

No. 156. 

The Canopy. 

Four gentlemen each take a corner of a table-cloth, 
holding it over the heads of a waltzing couple, whose 
movements they follow. 

No. 157. 

The Fan. 

A lady is seated ; two gentlemen are presented to 
her; she rises to dance with one, and presents her 



COTILLION OR GERMAN. 23 I 

fan to the other, who follows and fans the waltzing 
couple. 

No. 158. 

The Umbrella, 

A lady, seated, is provided with an umbrella ; two 
gentlemen are presented ; she rises to dance with one, 
and presents the umbrella to the other, who opens 
it, following the dancing couple, and holding it over 
their heads. 

No. 159. 

The Passage of the Hoops. 

A lady is seated, having two hoops ; two gentle- 
men are presented to her ; to each she gives a hoop, 
indicating how he must begin, whether with head 
or feet ; the one first passing through the hoop, and 
placing it on the other's shoulders, dances with the 
lady. 

No. 160. 

The Clown. 

After the usual tour, the gentleman seats his part- 
ner on a chair in the middle of the room ; in front 
of her, on the floor, is placed a wooden figure of a 
clown, with a hook projecting from its head ; a gen- 
tleman is then selected, who is provided with stick 
and string resembling a fishing rod and line ; at the 
end of the line is attached a ring, with which he en- 
deavors to catch the clown; if successful, he dances 
with the lady ; if he fails after three trials, he yields 
to another gentleman. 



232 DANCING. 

No. 161. 
The Bells, No. 2. 
A table is provided upon which a large bell and 
several small ones are placed ; the conductor invites 
a gentleman to sound the large bell as a call for a 
lady to rise and dance with him ; if no lady responds 
he returns to his seat ; if one does answer the call 
he presents her with one of the small bells before 
dancing. 

No. 162. 

The Covered Pieces. 

After waltzing the gentleman seats his partner at 
one side of the room, and then throws two pieces of 
money upon the floor; two gentlemen are selected, 
and each places the right foot upon one of the pieces ; 
at the same time each takes the others hands ; the 
one who is successful in pushing the other from his 
piece, and stands on both, takes the lady as his part- 
ner. 

No. 163. 

The Mirror. 

A lady is seated, provided with a hand-mirror; the 
conductor presents successively a number of gentle- 
men, each one in turn looking over the lady's shoul- 
der from behind, so that she may see the face re- 
flected in the mirror; in rejecting the gentlemen she 
rubs the surface of the mirror; the rejected gentle- 
men place themselves one behind the other at the 
back of the lady's chair ; when the lady makes a 
choice she rises, and places the mirror upon the 



COTILLION OR GERMAN. 233 

chair ; the rejected gentlemen then search for part- 
ners. Sometimes the gentlemen stand in front of 
the lady, and sometimes a gentleman takes the chair 
and the ladies perform the figure. 

No. 164. 

Glass of Water and Biscuit. 

Three chairs are placed in line, the middle one 
facing in a direction opposite to that in which the 
other two face ; the lady is seated in the middle 
chair, two gentlemen take seats in the other two ; 
the lady presents to one a glass of water, to the 
other a small biscuit ; at a signal the one begins to 
eat, the other to drink ; the one first completing his 
task takes the lady for the waltz. 

No. 165. 

Rice Powder. 

A gentleman seats his partner, placing two cushions 
in front, and gives the lady a box of rice powder ; 
two gentlemen are then presented to the lady, each 
kneeling upon a cushion ; to the one she selects as 
partner she presents the box, after using some of the 
powder upon the face or head of the one rejected, 
who returns to his seat. 

No. 166. 

The Call-bell. 

Place a call-bell upon a table ; a number is given 
to each gentleman ; the lady strikes the bell as many 
times as there are units in the number assigned to 
the gentleman with whom she wishes to dance. 



234 



DANCING. 



No. 167. 
The Pledges. 
A lady is provided with a basket or hat, in which 
each of the other ladies places some article, such as 
a ring, fan, handkerchief, or glove; these articles are 
then distributed to the gentlemen, each of whom, 
upon receiving one, immediately searches for the 
lady to whom it belongs ; they then waltz. 

No. 168. 
The Knot in the Handkerchief. 

A lady makes a knot in one corner of a handker- 
chief; she then arranges the four corners in her hand, 
so that the ends only are exposed ; four gentlemen 
are presented, each of whom takes one of the ends ; 
the one getting the knot dances with the lady. 

No. 169. 
The Turning Hat. 
A couple start ; the gentleman carrying a hat in 
his left hand, with the opening upwards, and held 
behind him ; the next couple follow, the gentleman 
having a handkerchief rolled up in the form of a ball, 
which he endeavors to throw into the hat while both 
couples are waltzing ; if successful, the second gentle- 
man takes the hat and is pursued by a third ; in no 
case should the pursuit be kept up too long ; if not 
successful, the pursuing couple should give place to 
another. With good waltzers the many incidents 
connected with the pursuit and escape make this fig- 
ure very entertaining. 



COTILLION OR GERMAN. 



235 



No. 170. 
The Bride. 

The conducting couple promenade ; the lady stops 
before a gentleman whom she wishes to dance with, 
and places over his head a large white veil, the con- 
ductor placing a crown of orange blossoms upon his 
head ; the gentleman so decorated waltzes with the 
lady, the conductor with the chosen gentleman's 
partner. 

No. 171. 

L Escrime. 

A lady is provided with a stick three feet long, to 
one end of which is attached a ring two or three 
inches in diameter; two gentlemen have each a foil, 
and place themselves en garde, as for fencing; the 
lady then throws the ring between the points of the 
foils, when each gentleman endeavors to thrust his 
foil through the ring, the successful one dancing with 
the lady. 

The interest of this figure depends upon the play 
with the foils ; each gentleman should endeavor to 
prevent his opponent from being successful. 

No. 172. 
The Frogs. 
A lady, seated on a chair, is provided with two 
artificial frogs ; two gentlemen are presented to the 
lady, who gives to each one of these frogs ; the gen- 
tlemen place the frogs upon the floor exactly at the 
same time ; the one whose frog makes the first jump 
claims the lady for the waltz. 



236 



DANCING. 



No. 173. 
The Mottoes. 
A basket of mottoes, each accompanied by an ar- 
ticle of clothing, made of paper, is placed upon a 
table ; a lady presents one to the gentleman selected, 
who, upon opening it, places the article of paper 
clothing upon himself and dances with the lady ; the 
lady's partner at the same time presents a motto to 
a selected lady, who assumes the costume, and dances 
with him. This is repeated by each couple in suc- 
cession. 

No. 174. 

The Two Magicians. 
Two dolls dressed as magicians, with long pointed 
caps, are placed upon the floor, a lady seated be- 
hind them ; the conductor designates two gentle- 
men, who, while standing each on one foot, in front 
of a doll, bend over and endeavor to seize the dolls 
with their teeth ; if either should put the other foot 
down, or support himself with his hands, he must 
retire, giving place to another ; the successful one 
dances with the lady. 

No. 175. 
The Terminations. 
A lady stands in the middle of a circle formed 
by a number of gentlemen ; the lady throws her 
handkerchief to one of the gentlemen, at the same 
time pronouncing the first syllable of a word of two 
syllables, which he is required to complete ; if suc- 
cessful, he dances with the lady ; if not so, another 



COTILLION OR GERMAN. 237 

gentleman takes his place, and the game goes on 
until some gentleman is successful in the attempt. 
Proper names are prohibited. 

No. 176. 

The Bat. 
A gentleman takes a small cushion, a lady a har- 
lequin's bat, or ordinary folding fan ; the two pre- 
sent themselves to a gentleman, who places his hand 
upon the cushion ; the lady attempts to strike his 
hand with the bat ; if the gentleman succeeds in es- 
caping the blow, by withdrawing his hand, he dances 
with the lady; if not, another gentleman is tried. 

No. 177. 

The Roller. 

A small log of wood, about the size of a quart bot- 
tle, may be used; upon this a gentleman is seated, 
legs extended in front, with feet crossed, so that but 
one heel touches the floor; two candlesticks, each 
holding a candle, only one of which is lighted, are 
given him ; he takes one in each hand and endeavors 
to light the unlighted candle from the other, without 
losing his balance ; if successful, he has the right to 
dance with any lady in the circle ; if unsuccessful, 
another gentleman takes his place. The gentleman 
making this attempt has the right to steady himself by 
occasionally resting the candlesticks upon the floor. 

No. 178. 
The Order of the Garter. 
A lady is seated upon a chair, provided with two 



238 DANCING. 

pieces of ribbon ; two gentlemen are presented to her, 
and she gives one of the ribbons to each of them ; 
the one who can first tie the ribbon on as a garter 
takes the lady for his partner. 

No. 179. 

The Needles. 

A gentleman seats his partner upon a chair, and 
presents her with a cushion, upon which are several 
large carpet-needles, and a number of lengths of 
worsted ; two gentlemen are presented ; to each she 
gives a needle and length of worsted ; the one who 
first threads his needle takes the lady for his part- 
ner, the lady giving the cushion to the other. 

No. 180. 

The Cards. 

The conductor presents the four queens from a 
pack of cards to four ladies, and the four kings to 
four gentlemen ; each gentleman then searches for 
the lady who holds the queen corresponding to his 
king ; after dancing, each lady presents her queen to 
another lady, and the gentlemen present the kings 
to other gentlemen. The process is repeated until 
all have participated. 

No. 181. 
The Grotesque Mask. 

A lady is provided with a grotesque mask or head, 
which is covered ; the gentlemen form a circle round 
the lady, facing outward ; she uncovers the mask and 
places it upon the head of one of the gentlemen, who 
wears it during the waltz with her. 



COTILLION OR GERMAN. 



239 



No. 182. 
The Chairs, 
A lady is seated upon a chair in the middle of 
the room ; two gentlemen are presented, one of 
whom she must choose; the rejected one takes the 
chair, and two ladies are presented to him, one of 
whom he chooses, the first gentleman dancing with 
the one rejected. 

No. 183. 
The Figure Eight, 
Two chairs are placed in the middle of the room 
at a convenient distance from each other; the first 
couple, waltzing, pass behind one chair, and then 
around the other, so as to describe a figure eight ; 
all the couples in succession repeat the figure, which 
is very difficult to execute ; a gentleman who acquits 
himself perfectly in it may be reckoned a consum- 
mate waltzer. 

No. 184. 
The Magic Hat, 
A gentleman gives to his partner a hat, which she 
presents to several ladies, requesting each to place 
something in it ; she then presents the hat to several 
gentlemen, each of whom takes out one of the de- 
posits, and seeks the lady to whom it belongs, to 
urge her to make a tour de valse or a promenade. 
This figure may be performed by several couples at 
the same time. 



240 



DANCING. 



No. 185. 
The Moving Cushion. 
The first gentleman seats his partner, and places at 
her feet a small cushion, before which he successive- 
ly leads several gentlemen, whom he has taken from 
the circle, inviting every one to kneel upon the cush- 
ion, which the lady, in the cases of those whom she 
refuses, quickly draws back ; the rejected gentlemen 
place themselves in a line behind the chair of the 
lady, who indicates her choice by leaving the cush- 
ion undisturbed when the gentleman with whom she 
chooses to waltz is presented. 

No. 186. 

The Glass of Champagne. 

Three chairs are placed in a line, the two outer 
chairs being turned another way from that in the 
middle; the first couple set off; the gentleman seats 
his partner in the middle chair, gives her a glass of 
champagne, and goes for two other gentlemen, whom 
he places on the other chairs ; the lady gives the 
champagne to one of the gentlemen to drink, and 
regains her place waltzing with the other. 

No. 187. 
The Hat. 
A gentleman leaves his partner in the middle of 
the room, and gives her a hat ; all the gentlemen 
come and form a circle about the lady, with their 
backs turned to her, and going very quickly to the 
left ; the lady places the hat on the head of one 



COTILLION OR GERMAN 



241 



of the gentlemen, with whom she makes a tour de 
valse ; the other gentlemen return to their places. 

No. 188. 
The Scarf. 

This figure is the fellow to that of " The Hat." A 
gentleman, with a scarf in his hand, stands in the mid- 
dle of a circle formed by the ladies about him, and 
must fling the scarf on the shoulders of the one with 
whom he chooses to waltz. Every gentleman should 
rejoin his partner and conduct her to her place. 

No. 189. 
The Ribbons. 
Eight .or ten couples, each with a ribbon or scarf 
five or six feet in length, the gentleman holding one 
end with the right hand, the lady holding the other 
with the left ; the couples promenade in various di- 
rections about the room, following the leader, who 
forms arcades by stopping and allowing the others 
to pass under, etc. ; an ingenious leader can suggest 
many movements, ending in a general waltz. 

No. 190. 
The Soloists. 

One couple start ; the lady is seated on a chair ; in 
front are two cushions ; two gentlemen are brought 
by the leader, who kneel upon the cushions ; the lady 
presents to each a jews-harp upon which he plays; 
the lady selects the one whose solo is most agree- 
able, and waltzes with him ; the other gentleman re- 
turns to his seat. 

11 



242 DANCING. 

No. 191. 
La Frou Frou. 
Several gentlemen place themselves in line at one 
side of the room ; a lady is provided with a toy bird 
called a frou frou ; she is then placed at the opposite 
side of the room, and throws the bird towards the 
line of gentlemen ; the one who succeeds in catch- 
ing it dances with the lady. 

No. 192. 

L Adresse. 

A lady presents to five or six ladies rosettes of 
different colors ; a gentleman places an equal num- 
ber of dolls in a line, not too close together, at the 
other end of the room ; a ball is given to a gentle- 
man, who rolls it the length of the room, and, if he 
succeeds in knocking one of the dolls down, he dances 
with the lady having a rosette of the same color as 
the doll. Upon ceasing to dance, the lady presents 
her rosette to another lady. 

No. 193. 

The Pleasure Box. 

The leader presents eight decorations of different 
colors to eight ladies ; his partner has a box contain- 
ing an equal number ; on the cover of the box is a 
circle divided by radiating colors corresponding with 
the decorations ; in the centre a revolving needle is 
arranged which must turn very easily ; the lady is 
also provided with a little bell, which she rings to 
call up a gentleman, who turns the needle rapidly, 



COTILLION OR GERMAN. 243 

and when it stops at a color he at once dances with 
the lady having the decoration of the same color. 

No. 194. 
The Garland. 
Two gentlemen each take the end of a garland in 
the left hand, holding it as high as possible ; with 
their partners, the two couples while waltzing, alter- 
nately pass under the garland ; the gentlemen being 
careful to hold it always high enough so as not to 
disturb the head-dresses of the ladies. 

No. 195. 

The Bell Figure. 

Two couples. — Select other partners; two tables 
are provided ; on each table are placed four covers, 
somewhat like dice-boxes; under three covers on 
each table are placed small bells, one under each 
cover, having colored ribbons attached ; each bell 
should have a ribbon corresponding in color to that 
on the other ; ladies go to one table, gentlemen to 
the other ; each selects one of the covers, and those 
securing corresponding colors dance together, keep- 
ing the bells ; those choosing the empty covers also 
dance together. 

No. 196. 

The Cups. 

The conductor places on his head a fancy hat, to 
which are attached seven or eight long ribbons of 
various colors ; he then calls as many gentlemen as 
there are ribbons, each of whom takes the end of a 



244 



DANCING. 



ribbon ; the conductor's partner, in the meantime, 
distributes an equal number of little cups, of the 
same colors as the ribbons, among the ladies, each 
of whom searches for the gentleman having a ribbon 
corresponding in color to her cup ; all dance. 

No. 197. 
The Ball and Baton. 

A large ball is placed upon the floor ; two gentle- 
men, blindfolded, each armed with a baton of straw, 
endeavor to strike the ball from above and below, 
blows from the side not being allowed ; the success- 
ful one dances with any lady he may choose. 

No. 198. 

The Four Corners. - 

Four chairs are placed in a square, facing inward, 
about four feet apart ; a gentleman seats his part- 
ner on one, and three other ladies upon the others ; 
he stands in the centre of the square ; the ladies 
then endeavor to change seats with each other, the 
gentleman trying to secure one of the chairs; if suc- 
cessful, he dances with the lady deprived of her seat ; 
then another lady and gentleman fill up the places, 
when the play is repeated ; at the last, three ladies 
will be left seated, and their partners will relieve 
them, dancing to places. 

No. 199. 
The Mouse-trap. 
Four scarfs, say three yards in length, are provided ; 
two couples start ; each lady selects a gentlemen, 



COTILLION OR GERMAN. 245 

each gentleman selects a lady ; each lady takes the 
ends of two scarfs, the four ladies standing in a 
square so that the scarfs shall be crossed ; in the 
centre there will be a space between the four scarfs, 
and that is the trap ; the four gentlemen take hands 
in line and endeavor to pass under the scarfs from 
one side to the other, the ladies endeavoring to 
catch them in the trap as they pass ; when one of 
the gentlemen is caught the figure ends, and all join 
in a general waltz. 

No. 200. 
The Handkerchief. 
Two couples start, the gentlemen each holding 
with his left hand the end of a handkerchief which 
must be held high enough to permit the dancers to 
pass under it at every circle that it describes ; they 
waltz until the handkerchief is rolled up like a cord. 

No. 201. 

La Course Assise, 

Two chairs are placed back to back in the middle 
of the room ; a gentleman and his partner then 
take, the one a lady and the other a gentleman, 
whom they place in the chairs ; a gentleman then 
seeks two other ladies, whom he takes by either hand, 
placing himself opposite the lady he has seated; his 
partner does the same with two gentlemen; at a 
signal given each takes the person opposite — that 
is to say, the conductor takes the lady whom he 
seated, and his partner takes the corresponding gen- 
tleman ; the two other ladies, chosen in the second 



246 



DANCING. 



placed take in like manner, for the waltz, the gentle- 
men placed before them. 

No. 202. 
The Ladies Seated. 
Two chairs are placed back to back in the middle 
of the room ; the first two couples begin with the 
waltz; the two gentlemen seat the ladies, and then 
choose two others, with whom they make the tour 
of the circle, after which they again take their part- 
ners, to conduct them to their places, waltzing or 
dancing; while the two ladies they have just quitted 
sit down in their turn, the two gentlemen execute 
the same figure, and so on for the rest ; when all 
the gentlemen have gone through the figure there 
remain upon the seats two ladies, whom their part- 
ners come to liberate; this figure may be executed 
by three or four couples, by placing as many chairs 
in the middle of the circle. 

No. 203. 

Blindman s-buff. 

Three chairs are placed in the center of the room, 
the middle one facing one way, the two others facing 
in the opposite direction ; on the middle one a gen- 
tleman is seated, blindfolded ; a lady then takes one 
of the other seats, and another gentleman the third ; 
the blindfolded gentleman is then called upon to 
make his choice, the one on his left, or right, and 
must dance with the one he chooses ; if the one 
chosen should be the gentleman, the conductor 
dances with the lady. 



COTILLION OR GERMAN. 247 

No. 204. 
The Flowery Hedge. 
Three or four ladies are placed in line at one end 
of the room, and five or six gentlemen in line at the 
opposite end ; half-way between the two lines the 
conductor and his partner stand, each holding the end 
of a long garland, raised from the floor about eigh- 
teen inches; at a signal all the gentlemen run tow- 
ards the line of ladies, leaping over the garland on 
their way ; those gentlemen who first secure partners 
waltz round the conductor and his partner, the gar- 
land being now held up so that the others may waltz 

under it. 

No. 205. 

The Mute Orchestra. 
Four couples. — Place four chairs in a row, in the 
middle of the room, and place some musical instru- 
ment in each; gentlemen seat their partners in the 
chairs, and select four other gentlemen, who form a 
circle round the ladies ; at a signal, each lady presents 
one of the instruments to a gentleman, who takes the 
chair vacated by the lady, and plays while the others 
are dancing. 

No. 206. 

The Gentlemen Kneeling. 
Four chairs are placed back to back, forming a 
square, with backs of the chairs inside ; four couples 
start ; ladies seat themselves ; the first gentleman 
selects three other gentlemen, the seven forming a 
circle round the ladies ; at a signal, each gentleman 
kneels before the lady with whom he wishes to dance; 
the three unsuccessful gentlemen return to seats. 



248 PANCING. 

No. 207. 

Hopping Race. 

Four or five gentlemen are placed in line at one 
end of the room, and three ladies at the opposite end ; 
the conductor and his partner each take one end of 
a scarf, holding it in front of the gentlemen, keeping 
them in line ; the gentlemen should now stand on one 
foot, and upon a signal the scarf is withdrawn, allowing 
the gentlemen to start in a hopping race towards the 
ladies ; those arriving first take the ladies as partners. 

No. 208. 
Four Balloons. 

Eight or ten gentlemen are placed in a circle ; four 
or five ladies being provided with balloons or light 
balls, each of a different color, place themselves out- 
side, and throw the balloons or balls into the circle ; 
each gentleman who secures one dances with the lady 

who threw it. 

No. 209. 

The Scarfs Crossed. 

Two long scarfs are provided ; four couples waltz; 
the four gentlemen take each one end of a scarf, and 
form a cross ; the four ladies select four gentlemen, 
and waltz between the arms of the cross, while the 
gentlemen forming the cross walk round ; after go- 
ing round once, each of the four selected gentlemen 
takes the end of the scarf held by the gentleman be- 
hind him, and the first four gentlemen waltz with the 
ladies to their places ; the partners of the gentlemen 
now holding the scarfs select other gentlemen, and 
repeat the figure with them. 



COTILLION OR GERMAN. 



249 



No. 210. 
The Four-in-Hand. 

Two sets of ribbons, four in each, joined at one 
end, are provided ; a gentleman takes one, his partner 
the other; the lady, holding the joined ends, presents 
the other end of each ribbon to a gentleman, thus 
bringing up four gentlemen ; the gentleman brings 
up four ladies in the same manner; the gentleman 
and lady now drive their respective teams about the 
room, at the same time snapping a whip ; when the 
teams reach opposite ends of the room, they break 
away, and rush towards each other ; all dance. 

No. 211. 

Good-night, Neighbor. 

One couple waltz ; the gentleman takes a seat in 
the middle of the room, placing upon his head a cap 
in which is arranged a tin candle-holder with candle 
lighted ; he holds an extinguisher fastened at the 
end of a cane ; the lady selects a number of couples, 
who successively pass in front of the gentleman ; he 
endeavors to induce one of the passing ladies to take 
the extinguisher, and if one accepts she immediately 
extinguishes the light and dances with the gentle- 
man, the lady's partner taking the seat, cap, and ex- 
tinguisher. 

No. 212. 
The Four Chairs. 
In the middle of the room are placed four chairs, 
arranged in the same way as for " Puss in a Corner ;" 

11* 



250 



DANCING. 



four couples set off waltzing, and place themselves, 
each couple behind one of the four chairs ; at a given 
signal each couple waltz about the chair, and then 
pass to the next, and so on for the rest, always go- 
ing to the right. 

No. 213. 

The Flying Scarfs. 
Two scarfs are crossed, and tied in the middle ; 
four couples place themselves so that each gentle- 
man takes with the left hand one of the ends of a 
scarf, being careful to hold it above his head ; all 
four couples waltz under these scarfs. 

No. 214. 
The Stormy Sea. 

Two rows of chairs are placed with their backs to 
each other ; the conductor, if he has placed twelve 
chairs in the middle of the room, selects six ladies, 
including his own partner, and seats them in alternate 
chairs ; he then selects six gentlemen, with whom he 
forms a chain which he conducts; after having de- 
scribed a rapid course about the various parts of the 
room, he finishes by closing around the chairs in which 
the ladies are ; when he seats himself, the other gentle- 
men should do the same, and each waltzes with the 
lady who is at his right. In this figure, as in that of 
the " Deceitful Round," one gentleman becomes a 
victim, and must be content to return alone to his 
place. 



COTILLION OR GERMAN. 



251 



No. 215. 

The Enchanted Circle. 
Six frames, covered with thin paper, large enough 
for a person to pass through, are provided ; these are 
placed in the middle of the room, tied together, form- 
ing a hexagon ; inside of this five ladies are placed, 
the screens entirely concealing them ; six gentlemen 
join hands round the screens, and, after going round 
once, each kneels upon one knee in front of one of 
the screens ; at signal the ladies step through the 
screens to the kneeling gentlemen, each dancing with 
the one whom she finds in front of her ; but as there 
are but five ladies, one gentleman is left without a 
partner; he therefore steps through the remaining 
screen, and stands inside of the enclosure while the 

others are dancing. 

No. 216. 

The Volunteers. 
The leader distributes six or eight kepis, and as 
many drums with belts to gentlemen ; his partner dis- 
tributes the same number of toy trumpets to as many 
ladies, who place themselves in line at one side of the 
room, the gentlemen being in line opposite ; at a sig- 
nal the trumpets sound and the drums beat ; at a sig- 
nal all cease, when each gentleman selects the lady who 
has a number upon her trumpet -flag corresponding 
with that upon his kepi. 

No. 217. 
The Flags, No. 1 . 
Flags are provided in pairs ; one of each pair is se- 
lected, and these are distributed among the ladies ; the 



252 



DANCING. 



corresponding flags are given to the gentlemen ; those 
receiving flags immediately rise, and each searches for 
the one having the corresponding flag ; after waltzing 
a short time, the ladies give their flags to other ladies, 
gentlemen to other gentlemen ; the same movement 
is then repeated. It is but right that those having 
flags should give to those not having any, instead 
of exchanging with others who have already partici- 
pated in the figure. 

No. 218. 

The Flags, No. 2. 
Same distribution as in the previous figure ; form 
two lines, facing, with top ends of corresponding flags 
joined, forming an archway ; the first couple will pass 
down between the lines, taking their place at the oth- 
er end, placing flags in former position immediately ; 
each couple in turn doing the same until all have 
passed down ; a general waltz follows. Distribute 
flags to another party for repetition of the figure. 

No. 219. 

The Flags {Military), No. 3. 

Same distribution ; form one couple behind the 
other, facing the head of the room ; corresponding 
flags together ; each couple will now in turn separate, 
the ladies going to the right, gentlemen to the left, 
moving down sides of the room, and passing so as to 
form two lines across the end, facing the head of the 
room, ladies in front of their partners ; in this form 
advance to middle of the room, ladies right face, con- 
tinuing up the right side, and gentlemen left face, con- 
tinuing up the left side ; when the leading lady and 



COTILLION OR GERMAN. 253 

gentleman of the respective lines reach head of room, 
the two lines halt, face each other, advance, and take 
partners for general waltz. 

No. 220. 

The Flags {Military), No. 4. 

Same distribution ; form in four lines, an officer in 

front of each, thus : 

O 

xxxx 

X 

0000 

o 
xxxx 

X 

0000 

In this form march or dance round the room twice; 
at the second round the lines turn in opposite direc- 
tions, first to right, second to left, third to right, fourth 
to left ; when at the sides of the room, form the two 
lines on each side into one line, each line facing the 
other ; all advance and select corresponding flags for 

partners. 

No. 221. 

The Undulations. 
Ten or twelve scarfs are required ; five or six cou- 
ples start, each couple having two scarfs ; ladies se- 
lect gentlemen ; gentlemen select ladies ; after the 
choosing of new partners, there will be one scarf to 
a couple ; ladies form in a line on one side ; gentle- 
men in line opposite, each lady and gentleman hold- 
ing an end of a scarf ; first couple commence by pass- 
ing under the scarf and between the second couple, 



254 DANCING. 

then outside, and scarf over the third, and so under 
and over until the last couple are passed, when they 
take places in line to allow the next to pass ; after the 
first couple have passed the third, the second com- 
mence in the same way, and so all the couples follow 
until the first couple arrive at the head again ; each 
couple so arriving at the head commence the general 
waltz. 

No. 222. 

The Handkerchief Chase. 

Several couples start ; the ladies form in a circle, 
facing outward ; the gentlemen, with the addition of 
others, join a circle round the ladies, also facing out- 
ward ; the gentlemen circle round to the left rapid- 
ly, when, upon signal, the ladies throw their handker- 
chiefs, and each gentleman who succeeds in securing 
one dances with lady to whom it belongs. 

No. 223. 
The Initials. 

Several blank cards and pencils are distributed to 
ladies ; they write their first names or initials on the 
cards ; these are collected by the conductor and 
presented to gentlemen, each of whom immediately 
searches for the lady whose initials are upon his card. 

No. 224. 
The May-pole. 

The conductor holds a May-pole with eight long 
ribbons attached ; eight ladies take the ends of these 
ribbons and walk round in circle ; nine gentlemen 
hands round, facing the pole going to the right, while 



COTILLION OR GERMAN. 255 

the ladies go to the left; at a signal the gentle- 
men turn, and each takes the lady opposite at that 
moment ; the ninth or unsuccessful gentleman takes 
the conductor's place in holding the pole for the next 

party. 

No. 225. 

Black and White. 
A small bag is provided containing eleven white 
balls and one black one ; twelve gentlemen are called 
upon to draw ; the one drawing the black ball dances 
with a lady in a circle formed by the unlucky gentle- 
men. 

No. 226. 

The Mysterious Curtain. 
Two gentlemen hold a large table-cloth or cur- 
tain ; all the gentlemen place themselves behind the 
curtain, each holding a finger over the top ; a lady 
touching one of the fingers dances with the gentle- 
man to whom it belongs. 

No. 227. 

The Golden Apple. 

Six or eight gentlemen are placed in line at one 
side of the room, facing the wall ; a lady on the 
opposite side is provided with a golden apple ; at a 
signal the gentlemen turn suddenly and advance 
towards the lady, who either throws the apple at 
one, or reserves it so as to present it to the gentle- 
man chosen, when they waltz, while the other gen- 
tlemen follow in couples, marching behind. 



256 



DANCING. 



No. 228. 
The Veils. 
This figure corresponds with the " Grotesques ;" 
gentlemen, being provided with veils, form a circle, 
facing outward ; ladies form a larger circle round the 
gentlemen, and facing them ; ladies go round quickly 
to the right, each gentleman endeavors to catch one 
of them with his veil, without leaving his place. If 
successful he dances with the lady caught. 

No. 229. 

The Repose. 

Two chairs are placed ; two couples start ; after 
waltzing, the two ladies seat themselves in the chairs ; 
the two gentlemen select other partners, with whom 
they waltz, seating them in place of their partners, 
with whom they waltz to seats ; the two gentlemen, 
partners of two ladies now seated, select other ladies, 
and after a short waltz seat them in the place of their 
partners ; when all the gentlemen have executed the 
figure, there remain two ladies seated in the chairs ; 
their partners take them and waltz to seat. 

No. 230. 

The Bibs. 

A lady is seated, who is provided with a number 
of children's bibs and sticks of candy; the conduc- 
tor presents a number of gentlemen ; to each one not 
accepted she gives a bib and a stick of candy; the 
gentlemen refused place the bibs round their necks, 
kneel in various parts of the room, and eat the candy; 



COTILLION OR GERMAN. 257 

when one is accepted he and the lady waltz among 
those kneeling until the signal is given for rising. 

No. 231. 
Cup and Ball. 
A lady is provided with a cup and a gentleman with 
a ball ; after waltzing they present themselves to a 
gentleman who takes the ball ; if at the first trial he 
succeeds in throwing the ball into the cup, he takes 
the lady for his partner, the other gentleman taking 
the partner of the successful one in exchange. 

No. 232. 
Exchange of Decorations. 
The conductor's partner gives to each gentleman a 
small bow of ribbon ; the conductor distributes an equal 
number of bows of corresponding colors among the 
ladies ; each gentleman then searches for the lady 
having the corresponding bow, and, after making an 
exchange, he and she dance together. 

No. 233. 
The Butterflies. 
Each lady is provided with a butterfly attached to 
a piece of wire, about three feet long ; three gentle- 
men are furnished with short hand nets such as are 
used to catch insects with ; each endeavors to catch 
one of the butterflies ; if successful, he waltzes with 
the lady, yielding his net to another gentleman. 

No. 234. 
The False Noses. 
Ten or twelve false noses, with a number on each, 



258 DANCING. 

are distributed to gentlemen, who wear them ; a bag 
is provided in which are an equal number of cards with 
corresponding numbers ; the first lady then draws 
one of the cards, and upon showing it the gentleman 
with the corresponding number on his nose rises to 
dance with the lady ; the card is returned to the bag, 
when another lady draws, and so on in succession for 
all the ladies. 

No. 235. 

The Umbrellas. 

Eight little umbrellas of different colors are dis- 
tributed to eight ladies ; the conductor is provided 
with a very large umbrella, to which are attached eight 
bows with long ends corresponding with the colors 
of the umbrellas ; he turns this rapidly over his head 
so that the ends float out ; gentlemen are then called, 
each of whom endeavors to catch one of the ends ; if 
successful, he dances with the lady holding an umbrella 
of the corresponding color. 

No. 236. 
The Christmas-trees. 

Two small Christmas-trees are prepared, upon each 
of which are hung various little objects in pairs, one 
object of each pair on each tree ; a tree is placed at 
each end of the room, the conductors partner taking 
charge of one, the conductor of the other ; upon being 
called, the ladies each take one of the objects suspend- 
ed upon the tree, which is guarded by the conductor, 
while the gentlemen take objects from the other tree, 
and immediately each gentleman searches for the lady 
having the corresponding object, and they waltz to- 
gether. 



COTILLION OR GERMAN. 259 

No. 237. 

Les Quatre Saisons. 

A basket containing fruit is placed in the middle 
of the room; the conductor's partner distributes the 
fruit to the gentlemen ; at the same time the con- 
ductor distributes to the ladies corresponding fruit ; 
each gentleman searches for the lady having fruit like 
his own, and they waltz together. 

No. 238. 
The Annunciator. 

A stand is prepared having twelve numbers con- 
cealed about it, and so arranged that by pulling any 
one of twelve ribbons one of the numbers will be 
exposed to view ; twelve tambourines, each having a 
number to correspond with one of the stand num- 
bers, are distributed to twelve gentlemen ; twelve la- 
dies pull the ribbons and expose the numbers ; the 
gentlemen having the tambourines present themselves 
to dance with the ladies, each dancing with the one 
who has exposed a number corresponding with that 
on his tambourine. 

No. 239. 

La Tombola. 

A number of little objects are placed upon a table 
each with a number upon it ; a basket is provided 
in which are corresponding numbers ; each couple in 
waltzing stop at the basket ; the gentleman takes 
one of the numbers and presents it to the lady; when 
the ladies are thus provided all proceed to the tom- 
bola ; the conductor's partner presents a bag, in which 



2 6o DANCING. 

are a second set of numbers corresponding with the 
others, to one of the gentlemen, who draws a number, 
selects the article having the same number, presents 
that to the lady having the same, and immediately 
waltzes with that lady. This is repeated by all in 
succession. 

No. 240. 

The Teetotums. 

The conductor places a lady, seated, in the middle 
of the room; his partner selects two gentlemen, pre- 
senting each with a large teetotum ; the gentlemen 
turn these in front of the seated lady, and the one 
whose teetotum stops at the highest number dances 
with that lady, the other with the lady who conducts 
the figure. 

No. 241. 
The Inscriptions. 

A number of large cards are prepared; upon one 
side of each is a number, and upon the other side a 
ludicrous inscription ; a gentleman and lady waltz ; 
the lady then takes her place by the table upon which 
are the cards ; the gentleman presents a basket con- 
taining corresponding numbers with those on the 
cards to another gentleman, who after drawing one 
presents it to the lady ; she then selects the card hav- 
ing that number, and attaches it to the gentleman's 
back with the inscription exposed to view ; they then 
waltz together. 

No. 242. 

The Dominoes. 

A box of dominoes is distributed to the dancers: 



COTILLION OR GERMAN. 2 6l 

each lady then selects the gentleman the pips on 
whose domino added to those on her own make 
twelve ; thus, the double six with double blank, 
double five with double ace, etc. 

No. 243. 
The Screen. 
The ladies are placed behind a folding screen or 
door; each of the gentlemen in turn knocks at the 
screen ; if one of the ladies should look from behind 
the screen or door, she waltzes with the gentleman 
who knocked. 

No. 244. 

The Dice. 

A lady is seated ; two gentlemen are each provided 
with a very large dice (card-board), which they throw, 
the one who throws the highest number taking the 
lady. 

No. 245. 

The Rounds of Paper. 

A number of hoops are provided, with light paper 
covering them ; ladies stand back to back, each hav- 
ing one of these hoops ; gentlemen hands round out- 
side to the left, with their backs to the ladies ; a lady, 
selecting one of the gentlemen, passes the hoop over 
his head, and he wears it during the waltz with that 
lady. 

No. 246. 

Vacant Chairs. 
Six chairs are placed in a circle, facing outward ; 
three couples start ; the gentlemen seat their part- 



2 62 DANCING. 

ners, each lady having a vacant chair on her left ; the 
gentlemen then select three other gentlemen, with 
whom they make a round of six outside the seated 
ladies ; upon a signal each gentleman endeavors to 
secure one of the vacant chairs, and, if successful, 
takes the lady on his right for the waltz ; the un- 
successful ones return to their seats. 

No. 247. 
The Aprons. 
Two gentlemen seat their partners face to face, and 
give each two aprons, rolled separately ; the gentle- 
men then present two other gentlemen to each lady; 
to each of these she gives one of the aprons ; the one 
who is first to tie the apron on takes the lady as part- 
ner ; the two unsuccessful gentlemen waltz together. 

No. 248. 

The Bouquets. 

Upon a table are placed a number of small bou- 
quets and boutonnieres ; a lady presents one of the 
boutonnieres to a gentleman, with whom she wishes 
to dance ; a gentleman gives one of the bouquets 
to a lady, and so with each couple in turn. In place 
of flowers, various articles are used in this way as 
favors, such as mottoes, decorations, ribbons, etc. 

No. 249. 

The Two Chairs. 

Two chairs back to back ; one couple start ; the 
gentleman places a lady in one of the chairs, the lady 
places a gentleman in the other ; the lady then se- 



COTILLION OR GERMAN. 



263 



lects two gentlemen, the gentleman two ladies ; the 
six hands round those who are seated ; upon a signal 
the first gentleman takes the sitting lady, while his 
partner takes the sitting gentleman ; the other gen- 
tlemen take the ladies who are opposite. 

No. 250. 

The Sphinx. 

A draped figure is provided, with the head so ar- 
ranged with attachments behind that it can express 
the affirmative by the usual nod, or the negative 
by the side movement ; a lady places herself be- 
hind this figure ; the gentlemen then present them- 
selves, one by one, and as each salutes the figure 
the lady denotes rejection or acceptance by means of 
the movements of the head ; when accepted the gen- 
tleman dances with the lady; those rejected retire to 
seats or join in the waltz. 



CONCLUSION. 

TO TEACHERS OF DANCING. 

Personal. — Dancing no Evidence of Ability to Teach. — A 
Great Trust. — Public Opinion must be Improved. — A Con- 
spicuous Example of this Necessity. — Fashion. — Dancing- 
master's Mistake. — A Trade or a Profession. — A Frequent 
Remark. — Confusion of Terms. — Examples in Society. — 
Natural Dancers. — A Curious Case of Moral Obliquity. — 
Obstacles to Good Teaching. — The Failure of Private 
Classes. — A Teacher's Qualifications. — Failure of Modern 
Education. — Practice More than Rules. — A Last Word. 

Knowing the disadvantages under which many 
conscientious persons have labored while preparing 
themselves for the occupation of teachers of dancing, 
I offer my opinions with some hesitation, and yet I 
deem it a duty to do so with frankness. 

If these opinions are correct and of value, they 
will have weight I hope with those who read. If, 
on the contrary, they are unsound, they will be sim- 
ply lost in the great waste-basket of thought. 

To teach dancing is generally supposed to be so 
simple a matter that any one who can dance the 
waltz, lancers, and a few other dances may adopt 
teaching as an occupation. Girls just out of school, 
unsuccessful men from various trades and occupa- 
tions assume the function of teaching without infor- 



TO TEACHERS OF DANCING. 265 

mation or preparation beyond these simple accom- 
plishments ; and such is the unfortunate state of pub- 
lic opinion, that many children are placed under the 
tuition of such persons with the expectation that 
they will receive benefit therefrom. It should be 
known that even for this easy part some preparation 
is necessary ; ability to dance is but little evidence 
of ability to teach. 

So fully is this understood in other parts of edu- 
cation that, in order to secure fit teachers of the al- 
phabet and multiplication table, normal schools are 
established where instruction is given in the best 
methods, and, after all their training, the most suc- 
cessful teachers are usually those who have had the 
greatest practical experience. 

It is no less so in the teaching of dancing. 

How large a field of usefulness opens in this di- 
rection few persons understand. 

The greatest trust that can be given to a human 
being is that of influencing the character of a grow- 
ing generation. Teachers of dancing must recognize 
this grand truth, and in every way endeavor to make 
themselves capable and worthy of their grave respon- 
sibilities, preparing themselves to take advantage of 
the opportunities placed before them, of raising chil- 
dren to a higher conception of morality of conduct 
through their pleasure in motion and association. 

With adults for pupils we can hope for but little 
in this direction ; their habits of motion and manner 
have in many cases been formed in an atmosphere 
little calculated to produce refinement, yet what can 
be should be done ; and if the effort to effect improve- 

12 



' 



2 66 DANCING. 

ment was universal among teachers, they would not 
fail to create a better tone of manners in the asso- 
ciations of our young people. 

Great effort should be made towards improving the 
taste and opinions of our people upon this subject. 
The necessity of this is conspicuously evident among 
those who have been educated and trained with great 
care, and at no small expense to the country, at our 
military and naval academies. 

There the attitude and carriage of a soldier is dwelt 
upon ceaselessly, yet these same young people, after 
all their training, may be seen when waltzing in so- 
ciety to assume attitudes worthy only of an Indian. 

So remarkable a perversion of mind can only be 
explained by saying that the knowledge of young 
military men upon this subject is far below their 
general standard of culture ; they have consequently 
nothing within them to resist the influence of vicious 
fashions ; for it cannot be doubted that had they 
been taught that the attitude of a gentleman, when 
moving among cultivated people, was of equal im- 
portance with that of a soldier, they would not fail 
to maintain that attitude. 

To resist the influence of fashion except when it 
conforms to good taste is a teacher's duty ; and if he 
has studied his vocation, making himself equal to its 
requirements, he has a right to assert his knowledge, 
and should be the authority in such matters, not 
leaving it to the young people in society to establish 
fashions originating in their own ignorance. 

The laws of gracefulness and propriety are as fixed 
as the laws of right and wrong, and it is as impera- 



TO TEACHERS OF DANCING. 267 

tive for a teacher to be fully acquainted with these 
as it is to be imbued with honesty of purpose. 

Failure to appreciate the usefulness of the work 
in creating good motions and manners limits the ef- 
forts of many teachers to the introduction of novel- 
ties ; they rely for a reputation more upon the pro- 
duction of these than upon the thoroughness of their 
work, thus sacrificing the true for the false. 

In this they are naturally influenced by the state 
of opinion about them ; but we should all endeavor 
to rise above mistaken opinions. Teachers should 
be in advance, not like a sign-post pointing the way, 
but as a friend upon a higher place, showing the paths 
and giving encouragement to those trying to ascend. 

Two courses are open to those w T ho are desirous 
of following this occupation: one makes it a trade, 
the other a profession. The first deals simply with 
dancing, the other with all that relates to graceful 
motion, or, rather, let us say educated motion, not 
only while dancing, but at all times, with due regard 
to the higher duty of teaching the morality of mo- 
tion in its connection with good manners and social 
intercourse, forming a system of physical and moral 
instruction which has influences far beyond the walls 
of a dancing-school. 

Upon entering a room filled with children w r ho are 
moving about with educated gracefulness, and with 
that gentle and polite manner towards each other 
which is indicative of proper instruction, strangers 
usually exclaim, " How extraordinary it is to see 
so many naturally graceful children together!" when 
the fact would be much more extraordinary if these 



2 68 DANCING. 

children were other than they are after the training 
they have received. 

It is a confusion of terms which leads many astray. 

The younger children are, the more pleasing are 
their natural motions; but as each year hardens the 
bones and muscles, this pleasure- giving quality de- 
creases. 

We must seek for true natural dancing in the low- 
est tribes ; but in following the growth of humanity 
from the lowest to the highest, we may observe a 
measure of education at each step, until the highest 
civilization is reached ; there we find — or shall we say 
did find — the greatest pleasure enjoyed in gentle and 
graceful motions. 

Certain persons in society are frequently mentioned 
as being extraordinary in natural gracefulness, " un- 
taught, uneducated, never received a lesson in their 
whole lifetime," etc., ad nauseam. 

Poets have told us that it is charming to hear a 
pretty milkmaid, tripping down the hill with pail 
head-poised, carolling a rustic ballad ; but the pict- 
ure is not generally true to nature. How different 
would be the effect of the same simple ballad given 
with the refined passion of an artist can only be im- 
agined, but the rustic singing would always please 
the rustics. 

Is it true that these persons are untaught ? Have 
not many of them attended the dancing-school with 
sister or brother, and there heard and seen all the 
instruction given? Is it not an education to have 
such lessons repeated to them by friends or rela- 
tions? 



TO TEACHERS OF DANCING. 269 

It is an education to see well-taught people move; 
and there are thousands of circumstances occurring 
among cultivated people which ought to refine the 
taste, but which unhappily fail to do so in many 
cases, leaving those conspicuous who have benefited 
by the unconscious tuition. 

Here it may be properly said that all who are en- 
gaged in this occupation share in a sense of wonder 
at the moral obliquity of many good people who send 
part of a family to take lessons, with the remainder 
as spectators, congratulating themselves upon the 
ability of their children to gain the knowledge the 
teacher is selling without payment ; thus impressing 
ideas upon their sons and daughters little calculated 
to improve their moral characters. 

No teacher has so many obstacles to encounter as 
the " dancing-master " of the present day who knows 
and feels the higher value of his occupation. 

The great lack of knowledge upon the subject 
and its bearings, the just prejudice existing against 
the abuses of the art, the ever-recurring impression 
forced upon the dancing -master that his establish- 
ment is viewed more in the light of a place of amuse- 
ment than as an important adjunct to education, and 
the unenviable reputation of many places assuming 
the name of dancing-schools, leave a comparatively 
small circle who truly sympathize with his purposes. 
He, more than any other, is subject to the " assur- 
ance of ignorance/' crude opinions, and advice meet- 
ing him in all directions. 

Under no other circumstances has a teacher to do 
his work so constantly in the presence of parents, 



270 DANCING. 

taking anxious note of every word and movement, 
criticising from a point of view widely apart from 
that which he believes to be right. This watchful- 
ness, however, should be an additional stimulus to his 
own sense of duty, rewarding him with the knowl- 
edge that,, through his efforts with the children, the 
parents may gain a higher appreciation of the utility 
of this branch of education. 

All teachers of experience agree in the opinion 
that for beginners and younger children what are 
called " private classes " are generally failures in re- 
gard to the higher objects that are to be gained. The 
pupils may be taught to dance, but the influences 
which usually surround them obstruct the reception 
of the idea that the study of graceful motion is of 
importance; they are therefore more ready to imi- 
tate the mistakes of their friends than to profit by 
the instruction of the teacher ; their familiarity also 
prevents the enforcement of that formality which is 
the beginning of courteous manners. 

It has been many times proved that, in the case of 
those unfortunate young people who have been neg- 
lected until growth is nearly or quite completed, the 
embarrassment felt in the presence of strangers is 
much less than that experienced when friends only 
are present ; one of the reasons is, that in public 
classes all engaged at the time are at the same stage 
of progress. Private classes, on the contrary, are usu- 
ally composed of persons in various stages of ad- 
vancement. 

After having been thoroughly trained, these classes 
may be useful in continuing the exercise, and in learn- 



TO TEACHERS OF DANCING. 271 

ing figures of the cotillion, but never as a means of 
education. 

Having, more by implication than in a direct man- 
ner, pointed out the duties of a teacher and his 
proper sphere of work, let us now consider what are 
the requirements necessary for the due fulfilment of 
those duties : 

1st. A good moral character. 

2d. A liberal education. 

3d. A love for the occupation. 

4th. Natural fitness for the art. 

5th. The same for teaching it. 

6th. Ability to present good examples. 

7th. Knowledge of all music relating to dancing. 

8th. Inexhaustible patience. 

This is truly a list of no contemptible character, 
and one that should make the occupation worthy of 
any who have the ambition to lead an honorable and 
useful life. 

Let us hope that in the near future we shall be 
emancipated from traditional prejudice, and that the 
truth will be acknowledged that this occupation may 
be made a power in working the moral elevation of 
our children. 

Many examples in high places show that our sys- 
tem of education is weak in the formation of moral 
character. There is a vacant place in the system 
which sooner or later must be filled. We have 
schools, academies, colleges, and universities, where 
morality is incidental to brain stimulation ; institu- 
tions where morality is secondary to theology. We 



272 



DANCING. 



want schools or places where the practice of moral 
conduct, especially in all the little incidents of young 
life, is made the primary and dominant duty of the 
time and place. 

Our ordinary education rests too much upon the 
theory that the multiplication table teaches the 
Golden Rule. Children are talked at about right 
doing, but have we not too much telling and not 
enough practising? We are all naturally selfish, in- 
heritance and environment increasing this in many, 
yet we stimulate all brains in like manner, the vicious 
and virtuous, with but occasional talks about moral- 
ity. Rules are given ; so they are in arithmetic ; but 
what use are rules without practice ? And here is the 
vacant place which should be occupied by the danc- 
ing-school for children ; the rules talked about at 
other times should here be fully put into practice, 
until morality in little things becomes habitual. 

When this habit is established in connection with 
the lesser duties of life, we need have but little fear 
for the greater. 

A Last Word. 

In the midst of the great oceans there are exten- 
sive islands, built up from the almost unfathomable 
depths of the dark waters by tiny creatures, each liv- 
ing its allotted life and doing its work of building, 
unconscious that its myriad neighbors are doing the 
same, all alike unconscious of the great work going 
on about them. Thus each little creature, faithfully 
doing its own little work, helps to build a structure 
marvellous in strength, symmetry, and beauty. Al- 



TO TEACHERS OF DANCING. 



273 



ways upward, until the dark waters are passed, and 
it enters the region of air, light, and heat ; these then 
crown it with the glory of vegetable and animal life, 
adorning that crown with the exquisite jewels of a 
floral kingdom, the delicious odors of which float 
still higher into that ethereal substance which fills il- 
limitable space. As these little creatures build, may 
we not, each in his allotted sphere, add one tiny 
cell of progress to the great structure of morality, 
encouraged by the assurance that out of the dark 
depths of the past this has ever been rising, and that 
in its progress through our generation we may place 
our little work upon it, each added mite serving as a 
basis of hope upon which others may build ? Thus 
rising, step by step, in stupendous rhythm with the 
procession of the universe, through generations in 
number beyond human imagination, taking to itself 
the purest aspirations of each, this wondrous growth 
will emerge into the atmosphere of peace, justice, 
and love, these crowning it with the glory of uni- 
versal brotherhood, the souls of all mankind, like the 
odors of the flowers, floating upward to mingle in 
sweet harmony evermore. 

12* 




The proper way. 




The extended arms, and the lady's hand grasping the gentleman's 
arm, are not in good taste. 




The lady's head too close, the extended arms and bad attitude of hand 

very objectionable. 




Extremely vulgar. 



APPENDIX. 



ADDITIONAL DANCES. 

The York. — Military Schottisch. — Highland Schottisch. — Ca- 
price Waltz.— Christmas Polka. — La Pavane. — Cally Polka 
Quadrille. 

The York. 

This is simply a variation of the Polka Mazurka, 
having the same music, same time, and, with one ex- 
ception, the same succession of motions. 

It is described as for the lady, that is, as commenc- 
ing with the right foot. The description is made cor- 
rect for the gentleman by simply reading left foot 
where right foot is mentioned, and right where left is 
directed. When commencing, the lady should stand 
as if facing the top of the page, the gentleman as if 
facing the bottom. 

Four bars of music are required for each revolution. 

Slide upon Change Slide Change Hop. 

right foot, to left, right. to left, on left. 




These motions perfectly sideways. 



280 DANCING. 

Slide Change Leap 

right foot. to left, to right. 




These three motions form the polka step, with 
which a half-turn is made. 

Slide Change Slide Change Hop 

left foot, to right. left. to right, on right. 



mmm==£2=: 



These motions sideways. 




Change Leap to 
to right, left foot. 



With these three motions turn half round, thus 
completing the full turn. 



Military Schottisch. 

Also known as the Kentucky Jubilee and Dancing 
in the Barn. 

See Schottisch for description of that dance. 

The Military differs from the ordinary Schottisch in 
the first phrase, where, instead of dancing face to face 
sideways, the lady drops the right hand to the side, 
while the gentleman drops the left ; the two then 
dance straight forward side to side, using the same 
motions as sideways; that is, slide, change, leap, hop 
— lady beginning with right foot, gentleman with left 
foot ; then second phrase turning twice, as in the or- 
dinary Schottisch. There are some who only use the 
motions of the second phrase throughout the entire 
dance. 



highland schottisch. 28 1 

Highland Schottisch. 

Usually danced to a strathspey. 

This dance differs from the original Schottisch in 
the introduction of motions (steps) taken from the 
Highland Fling ; also in the length of the two phrases, 
which are extended to four bars each, instead of two. 
During the first phrase of four bars, while dancing the 
Highland Fling steps, the dancers do not take hands, 
but remain face to face. Those who are familiar with 
all the movements of the Fling raise one hand above 
the head, while resting the other upon the hip, as it 
is done when dancing that active dance. 

Great latitude is taken at this part of the dance, as 
any steps (motions) belonging to the Fling may be in- 
troduced. One of the most familiar of these steps 
may be described as follows : 

i. Hop on left foot; at same time extend right to 
second position. 

2. Hop again on left foot; at same time bend right 

knee, and raise right foot behind left leg. 

3. Hop a third time on left foot, extending right to 

second position. 

4. Hop a fourth time on left, and pass right foot in 

front of left leg by bending the right knee. 
These motions the same for opposite feet. The 
above would be a fling step with the right foot. Mak^ 
ing the hops upon the right foot and swinging the 
left would be left-foot step. 

The Dance. 

^ u T?i- S Lady right foot. 

1 st bar. Fling step. < _ ' & 

( Gentleman left. 



282 DANCING. 

2d bar. First phrase of Schottisch. 
3d bar. Fling step. 

4th bar. First phrase of Schottisch. 

5 th 1 

6th L S Four revolutions with the second phrase of the 

7th j ' I Schottisch. 

8th J 



{ Lady to the right. 
( Gentleman left. 

Lady left. 

Gentleman right. 
S Lady left. 
( Gentleman right. 



This succession of motions is continued throughout 
the dance. 



Caprice Waltz, 



Danced to any waltz. 



Motions and Accent. 















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For gentleman, face bottom of the page. 

For lady, face top of the page, and make precisely 
the same motions, but wherever right foot occurs 
read left foot, for left foot read right foot. 



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CHRISTMAS POLKA. 



283 



No turn is made upon the first four bars. At the 
5th bar make half-turn ; also at the 6th bar a half- 
turn, and again upon the first two notes of the 7th 
bar turn half round, making the two slides which fol- 
low directly sideways. 



Christmas Polka. 

The peculiarity of this dance is in the fact that each 
strain requires a different step or dance, the music be- 
ing accented in accordance with the motions used. A 
couple may begin at any part of the music, but should 
be careful to commence with the motions assigned to 
that part as follows : 

First Strain. 

Three-slide polka — formerly known as the Esme- 
ralda. 
Second Strain. 

Bohemian or heel-and-toe polka. 4 bars, alterna- 
ting with three-slide polka. 4 bars also. 
Third Strain. 

Racket. 
Fourth Strain. 

The " Merry-thought " (a novelty). 
The motions are placed under the notes upon which 
they are to be made. 




Step close, step close. 



Sideways. Lady with 
right foot, gentle- 
man with left. 



Step, change, Step close, step close. Step, change, 
leap. leap. 



Half - turn, 
same as 
polka. 



Sideways. Lady 
with left foot, 
gentleman 
with right. 



2d half -turn, 
same as 
polka. 



284 DANCING. 

At each step a slight stamp is made with the foot. 
To the following four bars the three-slide polka is 
used ; then the " Merry-thought " is introduced in the 
succeeding four bars and strain, finished with the three- 
slide polka. 

The same succession of movements at the repeti- 
tion of the strain. 



La Pavane. 

This beautiful dance, brought down to us from the 
sixteenth century, was never in general use except 
among the courtly circles of Italy and France. In 
the gorgeous saloons of the great palaces, immersed 
in an atmosphere surcharged with ceremonies and 
courteous manner, clad in the picturesque costumes 
of the times, those who danced could not but feel 
that the graceful movements of the dance were in ac- 
cordance with their surroundings. It is as true to- 
day as at any time that such movements give pleasure 
only to those who are by culture made susceptible to 
the gentler pleasures of rhythmical motion, as in mu- 
sic and literature only those of high culture enjoy 
the exquisite adagios of a Beethoven or the thought- 
ful essays of an Emerson. The dance may be out of 
date, but certainly not out of the realm of good taste. 

The present edition is a composition in imitation 
of the older dance by a very talented artist of the 
Grand Opera of Paris. I have taken the liberty, how- 
ever, which may be accorded to an old teacher of so- 
ciety dancing, to modify some of the movements, as 
it is quite natural that two persons, subject to such 



LA PAVANE. 285 

entirely different influences, should have different 
views. I have also endeavored to avoid technicalities 
as much as the subject would allow, describing the 
dance in my own way, believing that by doing so the 
greater number would be reached. 

Salutations 
are not in any way peculiar, but such as are appropri- 
ate to all ceremonious occasions. 

NOTE. — The French masters instruct their pupils, 
when making a bow, to step backward one step when 
rising from that movement. This step backward is 
quite necessary if salutations are made by lady and 
gentleman together, as the courtesy necessarily takes 
the lady backward, which would leave the gentleman 
in advance without this backward movement on his 
part. There seems to be no reason for its use at other 
times. That is, however, a matter of taste. 

Steps or Motions. 
1st. Pas Marche. — Step to walk. In this dance 
a sliding walk. 

2d. Pas Promenade. — Four motions to a bar, as 
follows, beginning with right foot : 
1st Motion. Raise right foot in front, say ) 
about twelve inches; at same time bend 
opposite knee, and step down upon right 
foot. 
2d Motion. Pas March<§ with left foot. 
3d Motion. Pas Marche with right foot. 
4th Motion. Swing left foot to the front, 
raised about twelve inches. J 

It is then prepared to begin the succeeding bar, 



>- 1 bar- 



286 DANCING. 

with high step, as described for right foot. The other 
motions following in the same succession, but for op- 
posite feet. Thus the first bar begins with right foot, 
second bar with left, third bar with right, and so on. 

Pas Coupe. — Four motions to a bar. 

Stand upon right foot, with left raised close behind 

(fifth position). 

1st Motion. Place left foot down behind, ^ 
and immediately raise right foot in front 
about twelve inches (4th position), leg 
perfectly straight. 

2d Motion. Step forward upon right foot, say 

sixteen inches. Y 1 bar. 

3d Motion. Swing left foot to front (4th po- 
sition), held about twelve inches from the 
floor, leg straight. 

4th Motion. Step forward upon left, raising 
right foot behind. 
Being thus prepared to begin the succeeding bar, 

with left foot with same motions as described above, 

but for opposite feet — each bar thus commencing 

with alternate right and left foot. 

Turning. Pas Coupe. — When placing left foot 

down behind and raising right in front, turn to the 

right side, so that the step No. 1 may be made directly 

to that side. The succeeding motions are in the same 

direction. 

At the second bar, when the right foot is placed 

down behind and left raised in front, turn suddenly 

round to left, so that the step No. 1 will be made on 

the same line directly to the left side. 



2 



LA PA VANE. 287 

Unfinished Courtesy. 

1st Motion. Slide left foot to side (2d posi- ) - - 

tion). 
2d Motion. Pass right behind to 4th posi- 
tion, and stand upon it, leaving left point- \ \ bar. 
ed in front in 4th position. 
When passing the foot behind, bend the knee, as in 
making a courtesy. May be repeated indefinitely in 
same direction. 

The same to right, passing left foot behind. 
BALANCE, in this dance, is only used in one form, 
turning to right and left. 

Stand in First Position. 

1st Motion. Turn to the right, and step for- 
ward in that direction with right foot 
about sixteen inches. 

2d Motion. Place left in 2d position, well ex- 
tended, facing to right. 

3 and 4. Wait. 

Second Bar. 

1st Motion. Turn completely round to left ^ 

and step forward w T ith left foot. 
2d Motion. Place right foot in 2d position r 1 bar. 

well extended. 
3 and 4. Wait. 

Arms and Mariners. 

In the manner of using the arms we have the most 
important element of the dance, which must not for a 
moment be neglected. The greatest formality must 



► 1 ban 



288 DANCING. 

be observed in presenting hands — the arm raised from 
the shoulder, with but very slight bend of the elbow, 
the gentleman, of course, presenting his hand with 
palm upward, in order to support the lady's hand, the 
lady placing her hand in a manner suggesting an ac- 
knowledgment of his courtesy, the hands always raised 
as high as the lady's shoulder. A slight complimen- 
tary inclination of one towards the other should al- 
ways accompany the presentation of hands. The cult- 
ure and good taste of the dancers will be shown more 
in these movements than in the use of the lower limbs, 
consequently the greatest attention should be given 
to this part of the dance. 

The Dance, 

For two couple, but as many couple may join in 
the dance as the length of the room will allow. Pre- 
vious to the beginning of the music, the couples 
should stand about twelve feet apart, facing partners, 
thus with sides to opposite couples. 

As both couples always move at the same time, the 
description must be understood as referring to both, 
except when otherwise expressed. 

Introductory Salutations, 

Present hands — lady's left, gent's right — and turn 
slowly to face opposite couples. 4 bars. 

Pas Marche forward three steps and halt. 2 bars. 

Salutations all to right. 2 bars. 

Same to left. 2 bars. 

The first salutation should be prolonged. See 
pause in music. 



LA PA VANE. 289 

Turn to face partners, lady sliding left, gentleman 
sliding right, making salutation to partners. 2 bars. 

A second salutation to partner, lady sliding right, 
gentleman left foot. 2 bars. 

Present hands as before, turning slowly to face op- 
posite couple. 2 bars. 

First Figure. 

The two couple are now facing each other. 

Promenade across. 4 bars. 

All using promenade step. Lady beginning with 

right, gentleman with left foot. Each couple crosses 

over to the other couple's place, going round to the 

left. As the 4th bar is finished, the two couple should 

be in a line in this form : 

Gent. ) . 

1st couple. 



Lady. 

Gent } 2d COUpIe - 
Ladies back to back, gentlemen facing partners. All 
holding left hands high enough to look under at each 
other, with left foot pointed in front. (4th position.) 
While standing in this manner, all make four taps 
upon the floor with left foot, raising the leg without 
bending the knee. One bar. Change place with part- 
ners, at same time change hands. 

This change of place is made by 
1st Motion. Stepping forward with left foot. 
2d Motion. Slide right foot to side, turning 

with face to partner. 
3d Motion. Pass left behind right, stand on \ 1 bar. 
left, leaving right foot pointed in 4th po- 
sition. 

4. Wait. 

13 



290 DANCING. 

All then tap the right foot four times, 1 bar, look- 
ing under right arms. 

Change places again with partners, 1 bar, same as 
above, but with opposite feet ; as the change termi- 
nates, the gentleman takes the lady's left hand with his 
right, and both face the same way, prepared to prom- 
enade across again. 

The two couple return to places with promenade 
step, going round to left ; gentleman commencing 
with left, lady with right foot. 4 bars. 

Stopping as before in a line across, the two ladies 
back to back, the gentlemen facing partners, hands 
disengaged, all make two unfinished courtesies to the 
left. 2 bars. 

This brings both couples back to original places, 
facing partners, but sides to opposite couple. All 
then slide to left one slide, -J bar. Slide to right, jf 
bar. Make salutations, 1 bar. 

Second Figure. 

At the termination of the previous figure all are 
facing partners, sides to opposite couple. 

Pas Coupi and Change Places. — All at the same time 
make one pas coupe to right, giving left hands. Part- 
ners thus turning opposite ways. 1 bar. 

Pas coupe to left side, giving right hands. 1 bar. 

Two pas coupes round to each other's place, still 
holding right hands. 2 bars. 

These movements are repeated, by which all return 

to places. 

Third Figure. 

Balance and change places with lady pirouette. 



LA PAVANE. 29I 

Lady gives left to gentleman's right hand. Turn- 
ing balance. Lady to left, gentleman to right, at the 
same time raising hands. 1 bar. 

Turning balance in opposite directions, ladies right, 
gentlemen left ; same time swing hands down and up 
again, so they may be in front after the turn of the bal- 
ance is made. 1 bar. 

While holding same hands up, the lady passes back- 
ward under the gentleman's arm, making a pirouette, 
simply walking upon the toes ; at the same time the 
gentleman walks forward, and both stop in the other's 
place face to face. 2 bars. 

Salutations to right. 2 bars. 

Salutations to left. 2 bars. 

Same movements repeated bring all back to place. 

Fourth Figure. 
Ladies forward. 

L. G. 2d couple. 

B D 



. \ 

G. L. 1st couple. 

1st Movement. 
The two ladies advance towards each other on line 
from A to B of above diagram, with following motions : 
1st Motion. Pas march6 right foot. -J bar. 

2d Motion. Pas marche left foot. \ bar. 

3d Motion. Pas marche right foot. \ bar. 

4th Motion. Extend left to 2d position. \ bar. 



2g2 DANCING. 

2d Movement, 4th figure. 
Unfinished courtesy to left, when both will stand 
on right foot, with left pointed in front upon line 
from C to D. 2 bars. 

3d Movement. 
Two ladies advance again towards each other upon 
line C to D, with three pas marches, and extend right 
foot to side. 2 bars. 

4th Movement. 
Unfinished courtesy to right, at the termination of 
which both parties will be standing upon line A B, 
with right foot pointed towards each other. 2 bars. 

5th Movement. 

Ladies Chain, Promenade Step. 

The two ladies present right hands, walk past each 
other, then give left hands to opposite gentlemen's left 
hands, continuing round until the place of the oppo- 
site lady is reached, when all stop face to face (sides 
to opposite). 4 bars. 

At the moment the ladies advance for the above 
movement, the two gentlemen should also advance 
to the right, receive opposite ladies with left hands, 
going round in a circle until the original place is re- 
gained, stopping face to face as mentioned above. 

Salutations to right and left. 4 bars. 

All these movements of the 4th figure are repeated, 
by which the two ladies return to their own places. 

Fifth Figure. 

Present hands and turn to face opposite couple. 2 
bars. 



CALLY POLKA QUADRILLE. 293 

Advance with three pas marches, and turn to face 
partners. 2 bars. 

Salutations to partners to right and left. 4 bars. 

Take hands and turn to face opposite. Salutations 
to opposite couple, to right and left. 4 bars. 

Cross right hands with opposite couple, and pass 
half round with promenade step. 2 bars. 

Salutations to opposite (to right only). 2 bars. 

Cross left hands, half round, back to places. 2 bars. 

Salutations to opposite (to right only). 2 bars. 

Turning balance, with swinging of arms, as in 3d 
figure, repeated twice. 4 bars. 

Prolonged salutations to opposite. 2 bars. 

During the remaining bars the dancers disperse in a 
stately manner. 

Cally Polka Quadrille.* 

A knowledge of the Polka, Three-slide Polka, Polka 
Redowa, Bohemienne or Heel-and-Toe Polka, and the 
York are necessary for this dance. Without that 
knowledge it should not be attempted. 

Notice that the motions or steps are the principal 
novelties of the dance. 

Form same as for the Lancers or quadrille. 

First Figure. 
First Strain. 

Salutations first to partners, then to sides. 8 bars. 
Second Strain. 

Head couples half right and left. 4 bars. 

Side couples same. 4 bars. 

* The music of this dance, as of all others, may be had at S. 
T. Gordon & Son's, No. 13 East Fourteenth Street, New York. 



294 DANCING. 

Explanation of steps, etc., for the above. 

The lady always begins with the right foot. The 
gentleman always begins with the left foot. 

Holding partner's hand, walk two steps forward. 

Continue forward with polka, releasing hands. At 
the end of these two bars the couples will have passed 
(ladies going between), and are back to back. 

Walk past partners two steps, > Lady giving left hand, 
ladies passing in front. ) Gentleman also left hand. 

Turn to face partners, and continue across with 

polka step. 
The head couples remain on opposite side, while 

the sides cross over with the same motions. 
Third Strain. 
Balance with partners. 8 bars. 

Explanation of steps, etc., for the above. 

All face partners, take both hands, well extended 
to the side. 

All Bohemienne towards the centre and return. 4 
bars. 

Still holding hands, dance plain polka in small cir- 
cle, without leaving place. 4 bars. 
Fourth Strain. 

Ladies' chain. 4 bars. 

Steps, etc. 

Ladies at head couples half ladies' chain, remain- 
ing with opposite gentleman. 4 bars. 

Ladies at sides, half ladies' chain, remaining with op- 
posite gentleman. 4 bars. 

All use plain polka step. 



CALLY POLKA QUADRILLE. 295 

First Strain repeated. 

All round the set with three-slide polka. 8 bars. 

Each gentleman having the opposite lady for part- 
ner, the 2d, 3d, and 4th movements are repeated. 
At the 4th movement the gentlemen regain their 
own partners, the number ending with all round, 
as at first strain repeated. 

This figure twice. 

Second Figure. 
First Strain. 

Wait. 8 bars. 
Second Strain. 
1st Movement. 

Forward four and back. 4 bars. 

Steps, etc., for this Movement. 
Taking partner's hand, walk four steps forward 
(not passing opposite couple) ; then face partner, and 
make three-slide polka back to place. 
2d Movement. 

Cross over. 4 bars. 

Steps, etc. 
Walk four steps forward, passing opposite couple, 
ladies between. Then face partner ; take hands 
(lady's right, gentleman's left) ; make three-slide polka 
to opposite corners. 
3d Movement. 

Forward four and back. 4 bars. 

Steps, etc. 
Same as 1st movement; not directly forward, but 
inclining to the right ; returning to same place. 



296 DANCING. i 

4th Movement. 

Cross over. 4 bars. 

Steps, etc. 

Same as 2d movement. 
First Strain repeated. 

All round with three-slide polka. 8 bars. 
This figure four j 1st and 3d times by the heads, 
times. ( 2d and 4th times by the sides. 

Third Figure. 
First Strain. 

Wait. 8 bars. 

Second Strain. 

Head couples face sides. Heads to right, sides to 

left. 
1st Movement. 

All forward and back. 4 bars. 

Steps, etc. 

Same as 1st movement of 2d figure. 
2d Movement. 

Change partners. 4 bars. 

Steps, etc. 

All walk forward four steps. Each gentleman pre- 
sents both hands to both hands of lady opposite, turn- 
ing with that lady so as to gain the opposite gen- 
tleman^ place, thus all changing partners by the 
gentlemen changing places. First gentleman chang- 
ing with the third, second with the fourth, being 
careful that the heads still face the sides, and sides 
the heads. All the remaining movements are danced 
with changed partners. 



CALLY POLKA QUADRILLE. 297 

Third Strain. 
1st Movement. 
All chasse in couples. 2 bars. 

Steps, etc. 
Three-slide polka. 

1st and 2d couples to the left. 

3d and 4th " to the right. 

Those going to the left always in front of those to 

the right. By this movement 

The 1st couple will change place with the 4th. 

The 2d " " " " " " 3d. 

2d Movement. 

All cross over. 2 bars. 

Steps j etc. 
Walk forward four steps, pass the opposite couple, 
ladies between, and stop back to back with same 
couple. 

3d Movement. 

Chasse in couples. 2 bars. 

Steps, etc. 
Three-slide polka. 

While the couples are back to back 

The 1st and 3d couples pass to right. 
The 2d and 4th " " " left. 

Those going to the left passing in front. 
4th Movement. 

All cross to places. 2 bars. 

Steps, etc. 

All turn and face partners, and return to places 
with three-slide polka, ladies passing between. 

13* 



298 DANCING. 

Fourth Strain. 
1st Movement. 

Ladies forward. 4 bars. 

Steps, etc. 
Four ladies walk forward, courtesy, and join hands 
in circle. 

2d Movement. 

Gentlemen forward. 4 bars. 

Steps ', etc. 

Four gentlemen walk forward, placing themselves 
on the left of their partners; take hands in front of 
the ladies, forming a basket. 
Fifth Strain. 

Polka in circle. 8 bars. 

Steps, etc. 

While in form of basket all make three-slide polka 
to left ; same three-slide polka to right ; same to left 
again ; same to right, but disengage hands ; take 
partner's hand, and make the steps wider, so as to re- 
turn to places. 

Figure danced four times : 
1st time head couples dance with right-tiand couples. 
2d " " " " " left-hand 

3d " m " " " " right-hand " 

4th " " " " " left-hand " 

Remember that partners do not dance together un- 
til the fourth time the figure is repeated. 

_ „ _ , Fourth Figure. 

Polka Redowa. 

First Strain. 

Wait. 8 bars. 



CALLY POLKA QUADRILLE. 299 

Second Strain. 

Right hands across. 8 bars. 
1st Movement. 

First lady and opposite gentleman cross over, 
giving, but not retaining, right hands. 
2d Movement. 

The same two return, but not to places, giving 
and holding left hands, and then taking part- 
ners' right hands, forming a line across the 
set ; the two ladies facing one way, while the 
two gentlemen face the opposite way; not a 
straight line, but in this form : 

o. < 
o 

All this with Polka Redowa. 
Third Strain. 
Balance and cross over. 8 bars. 
1st Movement. 
While in line as above, with hands well raised, 
all balance, 4 bars (forward with right, back 
with left). 
2d Movement. 

While holding hands as above, swing round in 
line, bringing each couple to the opposite side, 
where they separate, each to the other couple's 
place. 
Fourth Strain. 

Two ladies forward and back. 4 bars. 



300 DANCING. 

Two gentlemen forward and back. 4 bars. 
All with Polka Redowa or waltz step. 
Fifth Strain, 

Four forward and back. 4 bars. 
The two couples return to places. 4 bars. 
All the above with Polka Redowa. 
First Strain repeated. 

All round with the York. 8 bars. 
Figure repeated four times. 

1st time, 1st lady, 2d gentleman. 

2d " 2d " 1st " 

3d " 3d " 4th " 

4th " 4th " 3d 

Fifth Figure, 

Introductory Chord, — Dance commences with the 
first strain. 
First Strain, 

The Square* 

1st Movement. 

All chasse pass partners, Three-slide polka. 2 
bars. 
2d Movement. 

Change places, each lady meeting a gentleman 
at the corner of the set ; both present hands 
and walk half round to the left, so as to ex- 
change places. 2 bars. 
3d Movement. 

All chasse again, ladies still going to the left, 
while gentlemen go to the right. 2 bars. 

* The first part of this figure is taken from Dodworths " New 
York Lancers." 



CALLY POLKA QUADRILLE. 301 

4th Movement. 

Change places with those met at the next cor- 
ner. 2 bars. 
These four movements are repeated again four 
times in the same direction, the final " Change place" 
bringing all back to the side of partners, all having 
made the circuit of the set ; ladies to the left, gentle- 
men to the right. 8 bars. 
Second Strain, 
1st Movement. 
Forward four. 2 bars. 

Four hands round, using three-slide polka. 2 bars. 
2d Movement. 

Head couples separate. 4 bars. 
1st lady goes to the side of the 4th gentleman. 
1st gentleman " " 3d lady. 

2d lady " " 3d gentleman. 

2d gentleman " " 4th lady. 

Forming two lines face to face. 
3d Movement. 

The two lines three-slide polka to the right, and 
back to left. 4 bars. 
4th Movement. 

All forward. 2 bars. 

Separate with partners. 2 bars. 

1st couple to 2d couple's place. 
2d " " 1st 
3d " returns to own " 
4th " 
First Strain repeated. 16 bars. 

Repeating the 2d strain, the 1st and 2d couples re- 
gain their own places. At the third repetition 



302 DANCING. 

of the 2d strain the 3d and 4th couples advance, 
form hands half round ; separate, going to the 
head couples, and form lines with them. At the 
end of the third repetition the two sides will be 
opposite to their own places. At the end of the 
fourth repetition they will be returned to their 
own places. 

Final Salutations. 

Slower music. 16 bars. 

All the couples advance two steps towards the cen- 
tre, and make courtesies and bows to the others ; then 
step backward, turn, and face partners, to whom a 
second salutation is made. 

All the motions of these movements should be ex- 
tremely slow, and then pause about two bars, until 
the music begins the first strain of the fifth figure 
again, when the sets are broken up by all dancing the 
three-slide polka round the room, the musicians con- 
tinuing the music of the fifth figure, say twice through, 
ending on the first strain. 



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