Chapter IV: Part 4

This popular game is played by four, five, or six persons with a full
pack of cards, which take the same value as in Whist. The object of
the game is to make tricks, which are paid to or received from the
dealer at a fixed rate, a penny or more a trick, as previously
arranged. The deal being decided in the usual way, the pack is cut and
five cards are dealt one at a time to each player, beginning at the
left. After every round the deal passes. Each player looks at his
cards, the one to the left of the dealer being the first to declare.
When he thinks he can make two or three tricks he says, "I go two," or
"I go three." The next may perhaps think he can make four tricks; and
if the fourth believes he can do better he declares Napoleon, and
undertakes to win the whole five tricks. The players declare or pass
in the order in which they sit; and a declaration once made cannot be
recalled. The game then, proceeds. The first card played is the trump
suit; and to win the trick, a higher card than that led in each suit
must be played. The winner of the first trick leads for the second,
and so on till each of the five tricks are played out. Each player
must follow suit, but he is not bound to head the trick or to trump.
Each card as played remains face upwards on the table. Supposing the
stake to be a penny a trick, the declarer, if he win all the tricks he
declared, receives from each of his adversaries a penny for each of
the declared tricks; but if he fail to win the required number, he
pays to each of them a penny a trick. For Napoleon he receives double
stakes from each player; but failing to win the five tricks, he pays
them single stakes. The game, though simple, requires good judgment
and memory to play it well. In some companies it is varied by the
introduction of a Wellington, which is a superior call after the
Napoleon, and takes triple stakes; or a Sedan, in which the player
undertakes to lose all his tricks. This declaration takes precedence
of all the others. Each player may Pass, or decline to make a
declaration; and when all the players pass, the deal is void.
Occasionally a pool or kitty is made by each dealer paying a half
stake; or the players may purchase new cards from the pack. In either
case, the pool is taken by the winner of the first Napoleon, or
divided according to arrangement at the close of the play. The best
play in Napoleon is not to win tricks, but to co-operate in defeating
the declaring hand.

131. Picquet.

A game for two players, once very fashionable in France and of some
repute in England; but now quite obsolete. Like Quadrille, it is
encumbered with a vast number of rules and maxims, technical terms and
calculations; all too long and tiresome for modern card-players.

132. Poker, or Draw Poker,

a gambling game common in the United States. An elaboration of the old
English game of Brag, which, like Blind Hookey and Baccarat, is purely
one of chance, generally played by two or three sharpers opposed to
three or four greenhorns. And, for these reasons, is unworthy a place
in this volume.

133. Lansquenet.

This is a game for a large company, much played in France, where it is
the custom to mix three, four, or more packs of cards together. In
England it is played with one pack, after the following plan:--The
dealer, who has rather an advantage, begins by shuffling the cards,
and having them cut by any of the party. He then deals two cards on
his left hand, turning them up; then one for himself, and a fourth,
which he places in the middle of the table for the company, called the
_rejouissance_. Upon this card any or all of the company, except the
dealer, may stake their counter or money, either a limited or
unlimited sum, as may be agreed on, which the dealer is obliged to
answer, by staking a sum equal to the whole put upon it by different
players. He continues dealing, and turning the cards upwards, one by
one, till two of a sort appear: for instance, two aces, two deuces,
&c., which, in order to separate, and that no person may mistake for
single cards, he places on each side of his own card; and as often as
two, three, or the fourth card of a sort comes up, he always places
them, as before, on each side of his own. Any single card the company
have a right to take and put their money upon, unless the dealer's own
card happens to be double, which often occurs by this card being the
same as one of the two cards which the dealer first of all dealt out
on his left-hand. Thus he continues dealing till he brings either
their cards, or his own. As long as his own card remains undrawn he
wins; and whichever card comes up first, loses. If he draw or deal out
the two cards on his left, which are called the hand-cards, before his
own, he is entitled to deal again; the advantage of which is no other
than being exempted from losing when he draws a similar card to his
own, immediately after he has turned up one for himself. This game is
often played more simply without the _rejouissance_ card, giving every
person round the table a card to put his money on. Sometimes it is
played by dealing only two cards, one for the dealer, and another for
the company.--Generally Lansquenet is played with counters instead of
money. With counters at (say) a penny a dozen, it is a lively and
amusing game.

[A LADY IN AMERICA MADE A QUILT IN 55,555 PIECES.]

134. Quinze or Fifteen

is played by two persons. The cards are shuffled by both players, and
when they have cut for deal (which falls to the lot of him who cuts
the lowest), the dealer has the liberty to shuffle them again. When
this is done, the adversary cuts them; after which, the dealer gives
one card to his opponent, and one to himself. Should the dealer's
adversary not approve of his card, he is entitled to have as many
cards given to him, one after the other, as will make fifteen, or come
nearest to that number; which are usually given from the top of the,
pack: for example--if he should have a deuce, and draw a five, which
amounts to seven, he must continue going on, in expectation of coming
nearer to fifteen. If he draw an eight, which will make just fifteen,
he, as being eldest hand, is sure of winning the game. But if he
overdraw himself, and make more than fifteen, he loses, unless the
dealer should happen to do the same; which circumstance constitutes a
drawn game; and the stakes are consequently doubled. In this manner
they persevere, until one of them has won the game, by standing and
being nearest to fifteen. At the end of each game the cards are packed
and shuffled, and the players again cut for deal. The advantage is
invariably or the side of the elder hand.

135. Solitaire

This is a game for one person, played on a board pierced with
thirty-seven holes, in each one of which is placed a marble or peg.
The art or motive of the game is to remove one marble and then to
shift the rest about, so as to bring the last marble to the hole
whence the first was removed. One marble or man takes any other over
which it can leap into a vacant hole beyond; or any number of men in
succession, so long as there is a hole into which it can go. An
example of a game played will better explain the method, than any
amount of verbal instruction.

Remove the marble from the centre hole; then bring the marble from 1
in the upper limb of the diagram, to the centre, jumping over and
taking the piece between. By following the direction of the figures,
it will be found that the last place arrived at will be the centre
from which you started. With practice and patience the Solitaire
player will be able to start from and return to any hole on the board.

5 O-----O-----O 35
| | |
| 1 | |
14 O-----O-----O 4
| | |
17 16 18 17 |15 16|18 3|5 18 2
15 O-----O-----O-----O-----O-----O-----O 9
| | | |2 | | |
| | 14|21 19|20 4 |6 22 | |
O-----O-----O-----O-----O-----O-----O
| | |12 1 |22 |21 19| |
| 10|18 11|13 18|8 7 |9 8 |18 7 |
17 O-----O-----O-----O-----O-----O-----O 9
| 10|18 |
| 20| 6 |
12 O-----O-----O
| | |
|13 |13 |
11 O-----O-----O
THE CENTRE-HOLE GAME.

Many variations of the game will suggest themselves as you proceed;
but the above will suffice to show the plan and system of Solitaire.

136. Backgammon.

A game of mingled chance and skill, played on a board marked with
points, and generally to be found inside the box draughtboard. The
board has twenty-four points, coloured alternately red and blue; the
implements of play are fifteen draught-men on each side, and the
movements of the men are determined by the throw of two dice; each
player being provided with a dice box and dies. It is an elaborate
game to explain on paper, and would occupy too much space to be given
in detail in this work. Those, however, who desire to be fully
informed as to its various intricacies, may consult "Bohn's Handbook
of Games," or the cheaper and more concise treatise by Captain Crawley.

137. Dominoes.

This game is played by two or four persons, with twenty-eight pieces
of oblong ivory, plain at the back, but on the face divided by a black
line in the middle, and indented with spots, from one to a double-six,
which pieces are a double-blank, ace-black, double-ace, deuce-blank,
deuce-ace, double-deuce, trois-blank, trois-ace, trois-deuce,
double-trois, four-blank, four-ace, four-deuce, four-trois,
double-four, five-blank, five-ace, five-deuce, five-trois, five-four,
double-five, six-blank, six-ace, six-deuce, six-trois, six-four,
six-five, and double-six. Sometimes a double set is played with, of
which double-nine is the highest.

138. Method of Play.

At the commencement of the game the dominoes are well mixed together,
with their faces upon the table. Each player draws one, and if four
play, those who choose the two highest are partners against these who
take the two lowest. Drawing the latter also serves to determine who
is to lay down the first piece--a great advantage. Afterwards each
player takes seven pieces at random. The eldest hand having laid down
one, the next must pair him at either end of the piece he may choose,
according to the number of pips, or the blank in the compartment of
the piece; but whenever any one cannot match the part, either of the
domino last put down, or of that unpaired at the other end of the row,
then he says, "_Go_;" and the next is at liberty to play. Thus they
play alternately, either until one party has played all his pieces,
and thereby won the game, or till the game be _blocked_; that is, when
neither party can play, by matching the pieces where unpaired at
either end; then that player wins who has the smallest number of pips
on the pieces remaining in his hand. It is to the advantage of every
player to dispossess himself as early as possible of the heavy pieces,
such as a double-six, five, four, &c. Sometimes, when two persons
play, they take each only three or five pieces, and agree to _play_ or
_draw_, i.e., when one cannot come in, or pair the pieces upon the
board at the end unmatched, he draws from the pieces in stock till he
finds one to suit. There are various other ways of playing dominoes,
but they are all dependent on the matching of the pips.

139. Quadrilles.

The First Set.

_First Figure, Le Pantalon_.--Right and left. Balancez to partners;
turn partners. Ladies' chain. Half promenade; half right and left.
(Four times.)

_Second Figure, L'Été_.--Leading lady and opposite gentleman advance
and retire; chassez to right and left; cross over to each other's
places; chassez to right and left. Balancez and turn partners. (Four
times.)

_Or Double L'Été_.--Both couples advance and retire at the same
time; cross over; advance and retire again; cross to places.
Balancez and turn partners. (Four times.)

_Third Figure, La Poule_.--Leading lady and opposite gentleman cross
over, giving right hands; recross, giving left hands, and fall in a
line. Set four in a line; half promenade. Advance two, and retire
(twice). Advance four, and retire; half right and left. (Four
times.)

_Fourth Figure, Trenise_.--The first couple advance and retire
twice, the lady remaining on the opposite side; the two ladies go
round the first gentleman, who advances up the centre; balancez and
turn hands. (Four times.)

_Fifth Figure, La Pastorale_.--The leading couple advance twice,
leaving the lady opposite the second time. The three advance and
retire twice. The leading gentleman advance and set. Hands four half
round; half right and left. [1] (Four times)

_Sixth Figure, Galop Finale_.--Top and bottom couples galopade quite
round each other. Advance and retire; four advance again, and change
the gentlemen. Ladies' chain. Advance and retire four, and regain
your partners in your places. The fourth time all galopade for an
unlimited period. (Four times.)

_Or_, All galopade or promenade, eight bars. Advance four _en
galopade oblique_, and retire, then half promenade, eight bars.
Advance four, retire, and return to places with the half promenade,
eight bars. Ladies' chain, eight bars. Repeated by the side couples,
then by the top and bottom, and lastly by the side couples,
finishing with grand promenade.

In different companies the Quadrille varies slightly. For instance,
in the last figure, sometimes called Flirtation, the four couples
set in a circle, the gentlemen turn their partners, the ladies
advance to the centre and retire, the gentlemen advance and retire;
the gentlemen turn the ladies to the left and promenade: the whole
figure being repeated four times.

[Footnote 1: This or the Trenise must be omitted.]

140.--Lancers.

i. _LaRose_.--First gentleman and opposite lady advance and
set--turn with both hands, retiring to places--return, leading
outside--set and turn at corners.

ii. _La Lodoiska_.--First couple advance twice, leaving the lady in
the centre--set in the centre--turn to places--all advance in two
lines--all turn partners.

iii. _La Dorset_.--First lady advance and stop, then the opposite
gentleman--both retire, turning round--ladies' hands across half
round, and turn the opposite gentlemen with left hands--repeat back
to places, and turn partners with left hands.

iv. _L'Étoile_.--First couple set to couple at right--set to couple
at left--change places with partners, and set, and pirouette to
places--right and left with opposite couple,

v. _Les Lanciers_.--The grand chain. The first couple advance and
turn facing the top; then the couple at right advance behind the top
couple; then the couple at left and the opposite couple do the same,
forming two lines. All change places with partners and back again.
The ladies turn in a line on the right, the gentlemen in a line on
the left. Each couple meet up the centre. Set in two lines, the
ladies in one line, the gentlemen in the other. Turn partners to
places. Finish with the grand chain.

141. The Caledonians.

_First Figure_.--The first and opposite couples hands across round
the centre and back to places--set and turn partners. Ladies' chain.
Half promenade--half right and left. Repeated by the side couples.

_Second Figure_.--The first gentleman advance and retire twice. All
set at corners, each lady passing into the next lady's place on the
right. Promenade by all. Repeated by the other couples.

_Third Figure_.--The first lady and opposite gentleman advance and
retire, bending to each other. First lady and opposite gentleman
pass round each other to places. First couple cross over, having
hold of hands, while the opposite couple cross on the outside of
them--the same reversed. All set at corners, turn, and resume
partners. All advance and retire twice, in a circle with hands
joined--turn partners.

_Fourth Figure_.--The first lady and opposite gentleman advance and
stop; then their partners advance; turn partners to places. The four
ladies move to right, each taking the next lady's place, and
stop--the four gentlemen move to left, each taking the next
gentleman's place, and stop--the ladies repeat the same to the
right--then the gentlemen to the left. All join hands and promenade
round to places, and turn partners. Repeated by the other couples.

_Fifth Figure_.--The first couple promenade or waltz round inside
the figure. The four ladies advance, join hands round, and
retire--then the gentlemen perform the same--all set and turn
partners. Chain figure of eight half round, and set. All promenade
to places and turn partners. All change sides, join right hands at
corners, and set--back again to places. Finish with grand
promenade.

These three are the most admired of the quadrilles: the First Set
invariably takes precedence of every other dance.

[COFFEE WAS FIRST BROUGHT TO ENGLAND IN 1641.]

142. Spanish Dance.

Danced in a circle or a line by sixteen or twenty couples. The couples
stand as for a Country Dance, except that the first gentleman must
stand on the ladies' side, and the first lady on the gentlemen's side.
First gentleman and second lady balancez to each other, while first
lady and second gentleman do the same, and change places. First
gentleman and partner balancez, while second gentleman and partner do
the same, and change places. First gentleman and second lady balancez,
while first lady and second gentleman do the same, and change places.
First gentleman and second lady balancez to partners, and change
places with them. All four join hands in the centre, and then change
places, in the same order as the foregoing figure, four times. All
four poussette, leaving the second lady and gentleman at the top, the
same as in a Country Dance. The first lady and gentleman then go
through the same figure with the third lady and gentleman, and so
proceed to the end of the dance. This figure is sometimes danced in
eight bars time, which not only hurries and inconveniences the
dancers, but also ill accords with the music.

143. Waltz Cotillon.

Places the same as quadrille. First couple waltz round inside; first
and second ladies advance twice and cross over, turning twice; first
and second gentlemen do the same; third and fourth couples the same;
first and second couples waltz to places, third and fourth do the
same; all waltz to partners, and turn half round with both hands,
meeting the next lady; perform this figure until in four places; form
two side lines, all advance twice and cross over, turning twice; the
same, returning; all waltz round; the whole repeated four times.

144. La Galopade

is an extremely graceful and spirited dance, in a continual chassez.
An unlimited number may join; it is danced in couples, as waltzing.

145. The Galopade Quadrilles.

1st. Galopade.
2nd, Right and left, sides the same.
3rd, Set and turn, hands all eight.
4th, Galopade.
5th, Ladies' chain, sides the same.
6th, Set and turn partners all eight.
7th, Galopade.
8th, Tirois, sides the same.
9th, Set and turn partners all eight.
10th, Galopade.
11th, Top lady and bottom gentleman advance and retire, the other
six do the same.
12th, Set and turn partners all eight.
13th, Galopade.
14th, Four ladies advance and retire, gentlemen the same.
15th, Double ladies' chain.
16th, Set and turn partners all eight.
17th, Galopade.
18th, Poussette, sides the same.
19th, Set and turn.
20th, Galopade waltz.

146. The Mazurka.

This dance is of Polish origin--first introduced into England by the
Duke of Devonshire, on his return from Russia. It consists of twelve
movements; and the first eight bars are played (as in quadrilles)
before the first movement commences.

147. The Redowa Waltz

is composed of: three parts, distinct from each other. 1st, The
Pursuit. 2nd, The waltz called Redowa. 3rd, The waltz a Deux Temps,
executed to a peculiar measure, and which, by a change of the rhythm,
assumes a new character. The middle of the floor must he reserved for
the dancers who execute the promenade, called the pursuit, while those
who dance the waltz turn in a circle about the room. The position of
the gentleman is the same as for the waltz. The gentleman sets out
with the left foot, and the lady with the right. In the pursuit the
position is different, the gentleman and his partner face, and take
each other by the hand. They advance or fall back at pleasure, and
balance in advance and backwards. To advance, the step of the pursuit
is made by a glissade forward, without springing, _coupé_ with the
hind foot, and _jeté_ on it. You recommence with the other foot, and
so on throughout. The retiring step is made by a sliding step of the
foot backwards, without spring, _jeté_ with the front foot, and
_coupé_ with the one behind. It is necessary to advance well upon the
sliding step, and to spring lightly in the two others, _sur place_,
balancing equally in the _pas de poursuite_, which is executed
alternately by the left in advance, and the right backwards. The lady
should follow all the movements of her partner, falling back when he
advances, and advancing when he falls back. Bring the shoulders a
little forward at each sliding step, for they should always follow the
movement of the leg as it advances or retreats; but this should not be
too marked. When the gentleman is about to waltz, he should take the
lady's waist, as in the ordinary waltz. The step of the Redowa, in
turning, may be thus described. For the gentleman--_jete_ of the left
foot, passing before the lady. _Glissade_ of the right foot behind to
the fourth position aside--the left foot is brought to the third
position behind--then the _pas de basque_ is executed by the right
foot, bringing it forward, and you recommence with the left. The _pas
de basque_ should be made in three very equal beats, as in the
Mazurka. The lady performs the same steps as the gentleman, beginning
by the _pas de basque_ with the right foot. To waltz à deux temps to
the measure of the Redowa, we should make each step upon each beat of
the bar, and find ourselves at every two bars, the gentleman with his
left foot forwards, and the lady with her right, that is to say, we
should make one whole and one half step to every bar. The music is
rather slower than for the ordinary waltz.

[PHOSPHORUS WAS DISCOVERED IN 1677.]

148. Valse Cellarius.

The gentleman takes the lady's left hand with his right, moving one
bar to the left by _glissade_, and two hops on his left foot, while
the lady does the same to the right, on her right foot; at the second
bar they repeat the same with the other foot--this is repeated for
sixteen bars; they then waltz sixteen bars, _glissade_ and two hops,
taking care to occupy the time of two bars to get quite round. The
gentleman now takes both hands of the lady, and makes the grand
square--moving three bars to his left--at the fourth bar making two
beats while turning the angle; his right foot is now moved forward to
the other angle three bars--at the fourth, beat again while turning
the angle; the same repeated for sixteen bars--the lady having her
right foot forward when the gentleman has his left toot forward; the
waltz is again repeated; after which several other steps are
introduced, but which must needs be seen to be understood.

149. Circular Waltz.

The dancers form a circle, then promenade during the introduction--all
waltz sixteen bars--set, holding partner's right hand, and turn--waltz
thirty-two bars--rest, and turn partners slowly--face partner and
chassez to the right and left--pirouette lady twice with the right
hand, all waltz sixteen bars--set and turn--all form a circle, still
retaining the lady by the right hand, and move round to the left,
sixteen bars--waltz for finale.

150. Polka Waltzes.

The couples take hold of hands as in the usual waltz.

_First Waltz_. The gentleman hops the left foot well forward, then
hack; and _glissades_ half round. He then hops the right foot forward
and back, and _glissades_ the other half round. The lady performs the
same steps, beginning with the right foot.

_Second._ The gentleman, hopping, strikes the left heel three times
against the right heel, and then jumps half round on the left foot; he
then strikes the right heel three times against the left, and jumps on
the right foot, completing the circle. The lady does the same steps
with reverse feet.

_Third._ The gentleman raises up the left foot, steps it lightly on
the ground forward, then strikes the right heel smartly twice, and
_glissades_ half round. The same is then done with the other foot. The
lady begins with the right foot.

151. Valse a Deux Temps.

This waltz contains, like the common waltz, three times, but
differently divided. The first time consists of a gliding step; the
second a chassez, including two times in one. A chassez is performed
by bringing one leg near the other, then moving it forward, backward,
right, left, and round. The gentleman begins by sliding to the left
with his left foot, then performing a chassez towards the left with
his right foot without turning at all during the first two times. He
then slides backwards with his right leg, turning half round; after
which he puts his left leg behind, to perform a chassez forward,
turning then half round for the second time. The lady waltzes in the
same manner, except that the first time she slides to the right with
the right foot, and also performs the chassez on the right, and
continues the same as the gentleman, except that she slides backwards
with her right foot when the gentleman slides with his left foot to
the left; and when the gentleman slides with his right foot backwards,
she slides with the left foot to the left. To perform this waltz
gracefully, care must be taken to avoid jumping, but merely to slide,
and keep the knees slightly bent.

[AVERAGE WEIGHT OF MAN'S BRAIN, 3-1/2LBS, WOMAN'S 2LBS. 11OZ.]

152. Circassian Circle.

The company is arranged in couples round the room--the ladies being
placed on the right of the gentlemen,--after which, the first and
second couples lead off the dance.

_Figure._ Eight and left, set and turn partners--ladies' chain,
waltz.

At the conclusion, the first couple with fourth, and the second with
the third couple, recommence the figure,--and so on until they go
completely round the circle, when the dance is concluded.

153. Polka.

In the polka there an but two principal steps, all others belong to
fancy dances, and much mischief and inconvenience is likely to arise
from their improper introduction into the ball-room.

_First step._ The gentleman raises the left foot slightly behind the
right, the right foot is then hopped with, and the left brought
forward with a glissade. The lady commences with the right, jumps on
the left, and glissades with the right. The gentleman during his
step has hold of the lady's left hand with his right.

_Second step._ The gentleman lightly hops the left foot forward on
the heel, then hops on the toe, bringing the left foot slightly
behind the right. He then glissades with the left foot forward; the
same is then done, commencing with the right foot. The lady dances
the same step, only beginning with the right foot.

There are a variety of other steps of a fancy character, but they can
only be understood with the aid of a master, and even when well
studied, must be introduced with care. The polka should be danced with
grace and elegance, eschewing all _outré_ and ungainly steps and
gestures, taking care that the leg is not lifted too high, and that
the dance is not commenced in too abrupt a manner. Any number of
couples may stand up, and it is the privilege of the gentleman to form
what figure he pleases, and vary it as often as his fancy and taste
may dictate.

_First Figure._ Four or eight bars are devoted to setting forwards
and backwards, turning from and towards your partner, making a
slight hop at the commencement of each set, and holding your
partner's left hand; you then perform the same step (forwards) all
round the room.

_Second Figure._ The gentleman faces his partner, and does the same
step backwards all round the room, the lady following with the
opposite foot, and doing the step forwards.

_Third Figure._ The same as the second figure, only reversed, the
lady stepping backwards, and the gentleman forwards, always going
the same way round the room.

_Fourth Figure._ The same step as figures two and three, but turning
as in a waltz.

[MAN'S HEART BEATS 92,160 TIMES IN A DAY.]

154. The Gorlitza

is similar to the polka, the figures being waltzed through.

155. The Schottische.

The gentleman holds the lady precisely as in the polka. Beginning with
the left foot, he slides it forward, then brings up the right foot to
the place of the left, slides the left foot forward, and springs or
hops on this foot. This movement is repeated to the right. He begins
with the right foot, slides it forward, brings up the left foot to the
place of the right foot, slides the right foot forward again, and hops
upon it. The gentleman springs twice on the left foot, turning half
round; twice on the right foot; twice _encore_ on the left foot,
turning half round; and again twice on the right foot, turning half
round. Beginning again, he proceeds as before. The lady begins with
the right foot, and her step is the same in principle as the
gentleman's. Vary, by a _reverse turn_; or by going in a straight line
round the room. Double, if you like, each part, by giving four bars to
the first part, and four bars to the second part. The _time_ may be
stated as precisely the same as in the polka; but let it not be
forgotten that _La Schottische_ ought to be danced _much slower_.

156. Country Dances. _Sir Roger de Coverley_.

First lady and bottom gentleman advance to centre, salute, and retire;
first gentleman and bottom lady, same. First lady and bottom
gentleman advance to centre, turn, and retire; first gentleman and
bottom lady the same. Ladies promenade, turning off to the right down
the room, and back to places, while gentlemen do the same, turning to
the left; top couple remain at bottom; repeat to the end of dance.

157. La Polka Country Dances.

All form two lines, ladies on the right, gentlemen on the left.

_Figure_. Top lady and second gentleman heel and toe (polka step)
across to each other's place--second lady and top gentleman the
same. Top lady and second gentleman retire back to places--second
lady and top gentleman the same. Two couples polka step down the
middle and back again--two first couples polka waltz. First couple
repeat with the third couple, then with fourth, and so on to the end
of dance.

158. The Highland Reel.

This dance is performed by the company arranged in parties of three,
along the room in the following manner: a lady between two gentlemen,
in double rows. All advance and retire--each lady then performs the
reel with the gentleman on her right hand, and retires with the
opposite gentleman to places--hands three round and back again--all
six advance and retire--then lead through to the next trio, and
continue the figure to the end of the room. Adopt the Highland step,
and music of three-four time.

159. Terms used to Describe the Movements of Dances.

_Balancez_.--Set to partners.

_Chaine Anglaise_.--The top and bottom couples right and left.

_Chaine Anglaise double_.--The right and left double.

_Chaine des Dames_.--The ladies' chain.

_Chaine des Dames double_.--The ladies' chain double, which is
performed by all the ladies commencing at the same time.

_Chassez_.--Move to the right and left.

_Chassez croisez_.--Gentlemen change places with partners, and back
again.

_Demie Chaine Anglaise_.--The four opposite persons half right and
left.

_Demie Promenade_.--All eight half promenade.

_Dos-à-dos_.--The two opposite persons pass round each other.

_Demie Moulinet_.--The ladies all advance to the centre, giving
hands, and return to places.

_La Grande Chaine_.--All eight chassez quite round, giving
alternately right and left hands to partners, beginning with the
right.

_Le Grand Rond_.--All join hands and advance and retire twice.

_Pas d'Allemande_.--The gentlemen turn the partners under their
arms.

_Traversez_.--The two opposite persons change places.

_Vis-à-vis_.--The opposite partner.

[THE HUMAN BODY HAS 240 BONES.]

160. Scandal--Live it down.

Should envious tongues some malice frame,
To soil and tarnish your good name,
Live it down!

Grow not disheartened; 'tis the lot
Of all men, whether good or not:
Live it down!

*Him not in answer, but be calm;
For silence yields a rapid balm:
Live it down!

Go not among your friends and say,
Evil hath fallen on my way:
Live it down!

Far better thus yourself alone
To suffer, than with friends bemoan
The trouble that is all your own:
Live it down!

What though men _evil_ call your _good!_
So CHRIST Himself, misunderstood,
Was nailed unto a cross of wood!
And now shall you for lesser pain,
Your inmost soul for ever stain,
By rendering evil back again?
Live it down!

161. Errors in Speaking.

There are several kinds of errors in speaking. The most objectionable
of them are those in which words are employed that are unsuitable to
convey the meaning intended. Thus, a person wishing to express his
intention of going to a given place, says, "I _propose_ going," when,
in fact, he _purposes_ going. The following affords an amusing
illustration of this class of error:--A venerable matron was speaking
of her son, who, she said, was quite stage-struck. "In fact," remarked
the old lady, "he is going to a _premature_ performance this evening!"
Considering that most _amateur_ performances are _premature_, it
cannot be said that this word was altogether misapplied; though,
evidently, the maternal intention was to convey quite another meaning.

162. Other Errors

arise from the substitution of sounds similar to the words which
should be employed; that is, spurious words instead of genuine ones.
Thus, some people say "renumerative," when they mean "remunerative." A
nurse, recommending her mistress to have a _perambulator_ for her
child, advised her to purchase a _preamputator_!

163. Other Errors (2)

are occasioned by imperfect knowledge of the English grammar: thus,
many people say, "Between you and I," instead of "Between you and
_me_." And there are numerous other departures from the rules of
grammar, which will be pointed out hereafter.

164. By the Misuse of the Adjective:

"What _beautiful_ butter!" "What a _nice_ landscape!" They should say,
"What a _beautiful_ landscape!" "What _nice_ butter!" Again, errors
are frequently occasioned by the following causes:

165. By the Mispronunciation of Words.

Many persons say _pro_noun_ciation_ instead of _pronunciation_; others
say pro-nun'-she-a-shun, instead of pro-nun-ce-a-shun.

166. By the Misdivision of Words and syllables.

This defect makes the words _an ambassador_ sound like _a
nam-bassador_, or _an adder_ like _a nadder_.

167. By Imperfect Enunciation,

as when a person says _hebben_ for _heaven_, _ebber_ for _ever_,
_jocholate_ for _chocolate_, &c.

168. By the Use of Provincialisms,

or words retained from various dialects, of which we give the
following examples:

169. Cambridgeshire, Cheshire, Suffolk, &c.

Foyne, twoyne, for _fine_, _twine_; ineet for _night_; a-mon for
_man_; poo for _pull_.

170. Cumberland, Scotland, &c.

Cuil, bluid, for _cool_, _blood_; spwort, seworn, whoam, for _sport_,
_scorn_, _home_; a-theere for _there_; e-reed, seeven, for _red_,
_seven_; bleedin' for _bleeding_; hawf for _half_; saumon for
_salmon_.

171. Devonshire, Cornwall, &c.

F-vind for _find_; fet for _fetch_; wid for _with_; zee for _see_;
tudder for _the other_; drash, droo, for _thrash_, and _through_;
gewse for _goose_, &c.

172. Essex, London, &c.

V-wiew for _view;_ vent for _went;_ vite for _white;_ ven for _when;_
vot for _what_. Londoners are also prone to say Toosday for _Tuesday;_
noomerous for _numerous_; noospaper for _newspaper_, &c.

[THE MUSICAL SCALE WAS INVENTED IN 1022.]

173. Hereford, &c.:

Clom for _climb;_ hove for _heave;_ puck for _pick;_ rep for _reap;_
sled for _sledge_.

174. Leicestershire, Lincolnshire, Lancashire, &c.

Housen for _houses;_ a-ioyne for _lane;_ mon for _man;_ thik for
_this;_ brig for _bridge;_ thack, pick, for _thatch, pitch_.

175. Yorkshire, &c.

Foyt for _foot;_ foight for _fight;_ o-noite, foil, coil, hoil, for
_note, foal, coal, hole;_ loyne for _lane;_ o-nooin, gooise, fooil,
tooil, for _noon, goose, fool, tool;_ spwort, scworn, whoam, for
_sport, scorn, home;_ g-yet for _gate_.

176. Examples of Provincial Dialects.

The following will be found very amusing:

177. The Cornish Schoolboy.

An ould man found, one day, a young gentleman's portmantle, as he were
a going to es dennar; he took'd et en and gived et to es wife, and
said, "Mally, here's a roul of lither, look, see, I suppoase some poor
ould shoemaker or other have los'en; tak'en, and put'en a top of the
teaster of tha bed; he'll be glad to hab'en agin sum day, I dear say."
The ould man, Jan, that was es neame, went to es work as before.
Mally then opened the portmantle, and found en et three hunderd
pounds. Soon after thes, the ould man not being very well, Mally said,
"Jan, I'ave saaved away a little money, by the bye, and as thee
caan't read or write, thee shu'st go to scool" (he were then nigh
threescore and ten). He went but a very short time, and comed hoam one
day and said, "Mally, I waint go to scool no more, 'caase the childer
do be laffen at me: they can tell their letters, and I caan't tell my
A, B, C, and I wud rayther go to work agen." "Do as thee wool," ses
Mally. Jan had not been out many days, afore Vhe young gentleman came
by that lost the portmantle, and said, "Well, my ould man, did'ee see
or hear tell o' sich a thing as a portmantle?" "Port-mantle, sar,
was't that un, sumthing like thickey?" (pointing to one behind es
saddle). "I vound one the t'other day zackly like that." "Where es,
et?" "Come along, I carr'd'en and gov'en to my ould 'ooman, Mally;
thee sha't av'en, nevr vear.--Mally, where es that roul of lither I
broft en tould thee to put en a top o' the teaster of the bed,
_afore I go'd to scool?_" "Drat thee emperance," said the young
gentleman; "thee art bewattled; _that were afore I were born._"
So he druv'd off, and left all the three hunderd pounds with Jan and
Mally.

178. Yorkshire.

Men an' women is like so monny cards, played wi' be two oppoanents,
Time an' Eternity: Time gets a gam' noo an' then, and hez t' pleasure
o' keepin' his cards for a bit, bud Eternity's be far t'better hand,
an' proves, day be day, an' hoor be hoor, 'at he's winnin incalcalably
fast.--"Hoo sweet, hoo varry sweet is life!" as t' fiee said when he
wur stuck i' treacle!

179. Effect of Provincialisms

Persons bred in these localities, and in Ireland and Scotland, retain
more or less of their provincialisms; and, therefore, when they move
into other districts, they become conspicuous for their peculiarities
of speech. Often they appear vulgar and uneducated, when they are not
so. It is, therefore, desirable for all persons to approach the
recognised standard of correctness as nearly as possible.

180. Correction of Errors in Speaking.

To correct these errors by a systematic course of study would involve
a closer application than most persons could afford, and require more
space than we can devote to the subject. We will therefore give
numerous Rules and Hints, in a concise and simple form, which will be
of great assistance to inquirers. These Rules and Hints will be
founded upon the authority of scholars, the usages of the bar, the
pulpit, and the senate, and the authority of societies formed for the
purpose of collecting and diffusing knowledge pertaining to the
language of this country.

[A SALMON NAS BEEN KNOWN TO PRODUCE 10,000,000 EGGS.]

181. Rules and Hints for Correct Speaking.

1. _Who_ and _whom_ are used in relation to persons, and _which_ in
relation to things. But it was once common to say, "the man
_which._" This should now be avoided. It is now usual to say, "Our
Father _who_ art in heaven," instead of "_which_ art in heaven."

2. _Whose_ is, however, sometimes applied to things as well as to
persons. We may therefore say, "The country _whose_ inhabitants are
free." Grammarians differ in opinion upon this subject, but general
usage justifies the rule.

3. _Thou_ is employed in solemn discourse, and you in common
language. _Ye_ (plural) is also used in serious addresses, and you
in familiar language.

4. The uses of the word _It_ are various, and very perplexing to the
uneducated. It is not only used to imply persons, but things, and
even, ideas, and therefore, in speaking or writing, its assistance
is constantly required. The perplexity respecting this word arises
from the fact that in using it in the construction of a long
sentence, sufficient care is not taken to ensure that when _it_ is
employed it really points out or refers to the object intended. For
instance, "It was raining when John set out in his cart to go to the
market, and he was delayed so long that it was over before he
arrived." Now what is to be understood by this sentence? Was the
rain over? or the market? Either or both might be inferred from the
construction of the sentence, which, therefore, should be written
thus:--"It was raining when John set out in his cart to go to the
market, and he was delayed so long that the market was over before
he arrived."

5. _Rule_.--After writing a sentence always look through it, and see
that wherever the word It is employed, it refers to or carries the
mind back to the object which it is intended to point out.

6. The general distinction between _This_ and _That_ may be thus
defined: _this_ denotes an object present or near, in time or place,
_that_ something which is absent.

7. _These_ refers, in the same manner, to present objects, while
_those_ refers to things that are remote.

8. _Who_ changes, under certain conditions, into _whose_ and _whom_.
But _that_ and _which_ always remain the same.

9. _That_ may be applied to nouns or subjects of all sorts; as, the
_girl that_ went to school, the _dog that_ bit me, the _ship that_
went to London, the _opinion that_ he entertains.

10. The misuse of these pronouns gives rise to more errors in
speaking and writing than any other cause.

11. When you wish to distinguish between two or more persons, say,
"_Which_ is the happy man?"--not _who_--"_Which_ of those ladies do
you admire?"

12. Instead of "_Who_ do you think him to be?"--say, "_Whom_ do you
think him to be?"

13. _Whom_ should I see?

14. To _whom_ do you speak?

15. _Who_ said so?

16. _Who_ gave it to you?

17. Of _whom_ did you procure them?

18. _Who_ was _he_?

19. _Who_ do men say that _I_ am?

20. _Whom_ do they represent _me_ to be? [1]

21. In many instances in which _who_ is used as an interrogative, it
does not become _whom_; as "_Who_ do you speak to?" "_Who_ do you
expect?" "_Who_ is she married to?" "_Who_ is this reserved for?"
"_Who_ was it made by?" Such sentences are found in the writings of
our best authors, and it would be presumptuous to consider them as
ungrammatical. If the word _whom_ should be preferred, then it would
be best to say, "For _whom_ is this reserved?" &c.

22. Instead of "After _which_ hour," say "After _that_ hour."

23. _Self_ should never be added to _his, their, mine, or thine._

24. _Each_ is used to denote every individual of a number.

25. _Every_ denotes all the individuals of a number.

26. _Either_ and _or_ denote an alternative: "I will take _either_
road, at your pleasure;" "I will take this _or_ that."

27. _Neither_ means _not either_; and _nor_ means _not the other_.

28. _Either_ is sometimes used for _each_--"Two thieves were
crucified, on _either_ side one."

29. "Let _each_ esteem others as good as themselves," should be,
"Let _each_ esteem others as good as _himself_."

30. "There are bodies _each_ of which _are_ so small," should be,
"each of which _is_ so small."

31. Do not use double superlatives, such as _most straightest_,
_most highest_, _most finest_.

32. The term _worser_ has gone out of use; but _lesser_ is still
retained.

33. The use of such words as _chiefest_, _extremest_, &c., has
become obsolete, because they do not give any superior force to the
meanings of the primary words, _chief_, _extreme_, &c.

34. Such expressions as _more impossible_, _more indispensable_,
_more universal_, _more uncontrollable_, _more unlimited_, &c., are
objectionable, as they really enfeeble the meaning which it is the
object of the speaker or writer to strengthen. For instance,
_impossible_ gains no strength by rendering it _more_ impossible.
This class of error is common with persons who say, "A _great large_
house," "A _great big_ animal," "A _little small_ foot," "A _tiny
little_ hand."

35. _Here_, _there_, and _where_, originally denoting place, may
now, by common consent, he used to denote other meanings; such as,
"_There_ I agree with you," "_Where_ we differ," "We find pain
_where_ we expected pleasure," "_Here_ you mistake me."

36. _Hence_, _whence_, and _thence_, denoting departure, &c., may be
used without the word _from_. The idea of _from_ is included in the
word _whence_--therefore it is unnecessary to say "_From whence_."

37. _Hither_, _thither_, and _whither_, denoting to a place, have
generally been superseded by _here_, _there_, and _where_. But there
is no good reason why they should not be employed. If, however, they
are used, it is unnecessary to add the word _to_, because that is
implied--"_Whither_ are you going?" "_Where_ are you going?" Each of
these sentences is complete. To say, "Where are you going _to_?" is
redundant.

38. Two _negatives_ destroy each other, and produce an affirmative.
"_Nor_ did he _not_ observe them," conveys the idea that he _did_
observe them.

39. But negative assertions are allowable. "His manners are not
unpolite," which implies that his manners are, in some degree,
marked by politeness.

40. Instead of "I _had_ rather walk," say "I _would_ rather walk."

41. Instead of "I _had better_ go," say "It were better that I
should go."

42. Instead of "I doubt not _but_ I shall be able to go," say "I
doubt not that I shall be able to go."

43. Instead of "Let you and _I_," say "Let you and me."

44. Instead of "I am not so tall as _him_," say "I am not so tall as
he."

45. When asked "Who is there?" do not answer "Me," but "I."

46. Instead of "For you and _I_," say "For you and me."

47. Instead of "_Says_ I," say "I said."

48. Instead of "You are taller than _me_," say "You are taller than
I."

49. Instead of "I _ain't_," or "I _arn't_," say "I am not."

50. Instead of "Whether I be present or _no_," say "Whether I be
present or not."

51. For "Not that I know _on_," say "Not that I know."

52. Instead of "_Was_ I to do so," say "_Were_ I to do so."

53. Instead of "I would do the same if I _was him_," say "I would do
the same if I were he."

54. Instead of "I _had_ as lief go myself," say "I would as soon go
myself," or "I would rather."

55. It is better to say "Bred and born," than "Born and bred."

56. It is better to say "Six weeks ago," than "Six weeks back."

57. It is better to say "Since which time," than "Since when."

58. It is better to say "I repeated it," than "I said so over
again."

59. It is better to say "A physician," or "A surgeon," than "A
medical man."

60. Instead of "He was too young to _have_ suffered much," say "He
was too young to suffer much."

61. Instead of "_Less_ friends," say "Fewer friends." Less refers
to quantity.

62. Instead of "A _quantity_ of people," say "A number of people."

63. Instead of "_He and they_ we know," say "Him and them."

64. Instead of "_As_ far as I can see," say "So far as I can see."

65. Instead of "If I am _not mistaken_," say "If I mistake not."

66. Instead of "You _are mistaken_," say "You mistake."

67. Instead of "What _beautiful_ tea!" say "What good tea!"

68. Instead of "What a _nice_ prospect!" say "What a _beautiful_
prospect!"

69. Instead of "A _new pair_ of gloves," say "A pair of new gloves."

70. Instead of saying "_He_ belongs to the _house_," say "The house
belongs to him."

71. Instead of saying "_Not no_ such thing," say "Not any such
thing."

72. Instead of "I hope you'll think nothing _on_ it," say "I hope
you'll think nothing of it."

73. Instead of "Restore it _back_ to me," say "Restore it to me."

74. Instead of "I suspect the _veracity_ of his story," say "I doubt
the truth of his story."

75. Instead of "I seldom _or ever_ see him," say "I seldom see him."

76. Instead of "_Rather warmish_" or "A _little_ warmish," say
"Rather warm."

77. Instead of "I expected _to have_ found him," say "I expected to
find him."

78. Instead of "_Shay_," say "Chaise."

79. Instead of "He is a very _rising_ person," say "He is rising
rapidly."

80. Instead of "Who _learns_ you music?" say "Who teaches you
music?"

81. Instead of "I _never_ sing _whenever_ I can help it," say "I
never sing when I can help it."

82. Instead of "Before I do that I must _first_ ask leave," say
"Before I do that I must ask leave."

83. Instead of "To _get over_ the difficulty," say "To overcome the
difficulty."

84. The phrase "_get over_" is in many cases misapplied, as, to "get
over a person," to "get over a week," to "get over an opposition."

85. Instead of saying "The _observation_ of the rule," say "The
observance of the rule."

86. Instead of "A man _of_ eighty years of age," say "A man eighty
years old."

87. Instead of "Here _lays_ his honoured head," say "Here lies his
honoured head."

88. Instead of "He died from _negligence_," say "He died through
neglect," or "in consequence of neglect."

89. Instead of "Apples are plenty," say "Apples are plentiful."

90. Instead of "The _latter end_ of the year," say "The end, or the
close of the year."

91. Instead of "The _then_ government," say "The government of that
age, or century, or year, or time."

92. Instead of "For _ought_ I know," say "For aught I know."

93. Instead of "A _couple_ of chairs," say "Two chairs."

94. Instead of "_Two couples_," say "Four persons."

95. But you may say "A married couple," or, "A married pair," or, "A
couple of fowls," &c., in any case where one of each sex is to be
understood.

96. Instead of "They are _united together_ in the bonds of
matrimony," say "They are united in matrimony," or, "They are
married."

97. Instead of "We travel _slow_," say "We travel slowly."

98. Instead of "He plunged _down_ into the river," say "He plunged
into the river."

99. Instead of "He jumped _from off of_ the scaffolding," say "He
jumped off from the scaffolding."

100. Instead of "He came the last _of all_," say "He came the
last."

101. Instead of "_universal_," with reference to things that have
any limit, say "general;" "generally approved," instead of
"universally approved;" "generally beloved," instead of "universally
beloved."

102. Instead of "They ruined _one another_," say "They ruined each
other."

103. Instead of "If _in case_ I succeed," say "If I succeed."

104. Instead of "A _large enough_ room," say "A room large enough."

105. Instead of "This villa _to let_," say "This villa to be let."

106. Instead of "I am slight in comparison _to_ you," say "I am
slight in comparison with you."

107. Instead of "I went _for_ to see him," say "I went to see him."

108. Instead of "The cake is all _eat up_," say "The cake is all
eaten."

109. Instead of "It is bad _at the best_," say "It is very bad."

110. Instead of "Handsome is _as_ handsome does," say "Handsome is
who handsome does."

111. Instead of "As I _take_ it," say "As I see," or, "As I under
stand it."

112. Instead of "The book fell _on_ the floor," say "The book fell
to the floor."

113. Instead of "His opinions are _approved of_ by all," say "His
opinions are approved by all."

114. Instead of "I will add _one more_ argument," say "I will add
one argument more," or "another argument."