Chapter IV: Part 4

A gentleman cannot ask a lady to dance without being first introduced to her by some member of the hostess's family.

Never enter a ball-room in other than full evening dress, and white or light kid gloves.

A gentleman cannot be too careful not to injure a lady's dress. The young men of the present day are inconceivably thoughtless in this respect, and often seem to think the mischief which they do scarcely worth an apology. Cavalry officers should never wear spurs in a ball-room.

Bear in mind that all _Casino_ habits are to be scrupulously avoided in a private ball-room. It is an affront to a highly-bred lady to hold her hand behind you, or on your hip, when dancing a round dance. We have seen even aristocratic young men of the "fast" genus commit these unpardonable offences against taste and decorum.

Never forget a ball-room engagement. It is the greatest neglect and slight that a gentleman can offer to a lady.

At the beginning and end of a quadrille the gentleman bows to his partner, and bows again on handing her to a seat.

After dancing, the gentleman may offer to conduct the lady to the refreshment-room.

Should a lady decline your hand for a dance, and afterwards stand up with another partner, you will do well to attribute her error to either forgetfulness or ignorance of the laws of etiquette. Politeness towards your host and hostess demands that you should never make any little personal grievance the ground of discomfort or disagreement.

A gentleman conducts his last partner to supper; waits upon her till she has had as much refreshment as she desires, and then re-conducts her to the ball-room.

However much pleasure you may take in the society of any particular lady, etiquette forbids that you should dance with her too frequently. Engaged persons would do well to bear this maxim in mind.

It is customary to call upon your entertainers within a few days after the ball.[A]

[Footnote A: For a more detailed account of the laws and business of the ball, see the chapters entitled "The Ball-room Guide."]

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XII.--STAYING AT A FRIEND'S HOUSE:--BREAKFAST, LUNCHEON, &c.

A visitor is bound by the laws of social intercourse to conform in all respects to the habits of the house. In order to do this effectually, he should inquire, or cause his personal servant to inquire, what those habits are. To keep your friend's breakfast on the table till a late hour; to delay the dinner by want of punctuality; to accept other invitations, and treat his house as if it were merely an hotel to be slept in; or to keep the family up till unwonted hours, are alike evidences of a want of good feeling and good breeding.

At breakfast and lunch absolute punctuality is not imperative; but a visitor should avoid being always the last to appear at table.

No order of precedence is observed at either breakfast or luncheon. Persons take their seats as they come in, and, having exchanged their morning salutations, begin to eat without waiting for the rest of the party.

If letters are delivered to you at breakfast or luncheon, you may read them by asking permission from the lady who presides at the urn.

Always hold yourself at the disposal of those in whose house you are visiting. If they propose to ride, drive, walk, or otherwise occupy the day, you may take it for granted that these plans are made with reference to your enjoyment. You should, therefore, receive them with cheerfulness, enter into them with alacrity, and do your best to seem pleased, and be pleased, by the efforts which your friends make to entertain you.

You should never take a book from the library to your own room without requesting permission to borrow it. When it is lent, you should take every care that it sustains no injury while in your possession, and should cover it, if necessary.

A guest should endeavour to amuse himself as much as possible, and not be continually dependent on his hosts for entertainment. He should remember that, however welcome he may be, he is not always wanted. During the morning hours a gentleman visitor who neither shoots, reads, writes letters, nor does anything but idle about the house and chat with the ladies, is an intolerable nuisance. Sooner than become the latter, he had better retire to the billiard-room and practise cannons by himself, or pretend an engagement and walk about the neighbourhood.

Those who receive "staying visitors," as they are called, should remember that the truest hospitality is that which places the visitor most at his ease, and affords him the greatest opportunity for enjoyment. They should also remember that different persons have different ideas on the subject of enjoyment, and that the surest way of making a guest happy is to find out what gives him pleasure; not to impose that upon him which is pleasure to themselves.

A visitor should avoid giving unnecessary trouble to the servants of the house, and should be liberal to them when he leaves.

The signal for retiring to rest is generally given by the appearance of the servant with wine, water, and biscuits, where a late dinner-hour is observed and suppers are not the custom. This is the last refreshment of the evening, and the visitor will do well to rise and wish good-night shortly after it has been partaken of by the family.

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XIII.--GENERAL HINTS.

In entering a morning exhibition, or public room, where ladies are present, the gentleman should lift his hat.

In going upstairs the gentleman should precede the lady; in going down, he should follow her.

If you accompany ladies to a theatre or concert-room, precede them to clear the way and secure their seats.

Do not frequently repeat the name of the person with whom you are conversing. It implies either the extreme of _hauteur_ or familiarity. We have already cautioned you against the repetition of titles. Deference can always be better expressed in the voice, manner, and countenance than in any forms of words.

If when you are walking with a lady in any crowded thoroughfare you are obliged to proceed singly, always precede her.

Always give the lady the wall; by doing so you interpose your own person between her and the passers by, and assign her the cleanest part of the pavement.

At public balls, theatres, &c., a gentleman should never permit the lady to pay for refreshments, vehicles, and so forth. If she insists on repaying him afterwards, he must of course defer to her wishes.

Never speak of absent persons by only their Christian or surnames; but always as Mr. ---- or Mrs. ----. Above all, never name anybody by the first letter of his name. Married people are sometimes guilty of this flagrant offence against taste.

If you are smoking and meet a lady to whom you wish to speak, immediately throw away your cigar.

Do not smoke shortly before entering the presence of ladies.

A young man who visits frequently at the house of a married friend may be permitted to show his sense of the kindness which he receives by the gift of a Christmas or New Year's volume to the wife or daughter of his entertainer. The presentation of _Etrennes_ is now carried to a ruinous and ludicrous height among our French neighbours; but it should be remembered that, without either ostentation or folly, a gift ought to be worth offering. It is better to give nothing than too little. On the other hand, mere costliness does not constitute the soul of a present; on the contrary, it has the commercial and unflattering effect of repayment for value received.

A gift should be precious for something better than its price. It may have been brought by the giver from some far or famous place; it may be unique in its workmanship; it may be valuable only from association with some great man or strange event. Autographic papers, foreign curiosities, and the like, are elegant gifts. An author may offer his book, or a painter a sketch, with grace and propriety. Offerings of flowers and game are unexceptionable, and may be made even to those whose position is superior to that of the giver.

If you present a book to a friend, do not write his or her name in it, unless requested. You have no right to presume that it will be rendered any the more valuable for that addition; and you ought not to conclude beforehand that your gift will be accepted.

Never refuse a present unless under very exceptional circumstances. However humble the giver, and however poor the gift, you should appreciate the goodwill and intention, and accept it with kindness and thanks. Never say "I fear I rob you," or "I am really ashamed to take it," &c., &c. Such deprecatory phrases imply that you think the bestower of the gift cannot spare or afford it.

Never undervalue the gift which you are yourself offering; you have no business to offer it if it is valueless. Neither say that you do not want it yourself, or that you should throw it away if it were not accepted. Such apologies would be insults if true, and mean nothing if false.

No compliment that bears insincerity on the face of it is a compliment at all.

To yawn in the presence of others, to lounge, to put your feet on a chair, to stand with your back to the fire, to take the most comfortable seat in the room, to do anything which shows indifference, selfishness, or disrespect, is unequivocally vulgar and inadmissible.

If a person of greater age or higher rank than yourself desires you to step first into a carriage, or through a door, it is more polite to bow and obey than to decline.

Compliance with, and deference to, the wishes of others is the finest breeding.

When you cannot agree with the propositions advanced in general conversation, be silent. If pressed for your opinion, give it with modesty. Never defend your own views too warmly. When you find others remain unconvinced, drop the subject, or lead to some other topic.

Look at those who address you.

Never boast of your birth, your money, your grand friends, or anything that is yours. If you have travelled, do not introduce that information into your conversation at every opportunity. Any one can travel with money and leisure. The real distinction is to come home with enlarged views, improved tastes, and a mind free from prejudice.

Give a foreigner his name in full, as Monsieur de Vigny--never as _Monsieur_ only. In speaking of him, give him his title, if he has one. Foreign noblemen are addressed _viva voce_ as Monsieur. In speaking of a foreign nobleman before his face, say Monsieur le Comte, or Monsieur le Marquis. In his absence, say Monsieur le Comte de Vigny.

Converse with a foreigner in his own language. If not competent to do so, apologize, and beg permission to speak English.

Ball-Room Guide.

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I.--HOW TO ORGANISE A BALL.

As the number of guests at a dinner-party is regulated by the size of the table, so should the number of invitations to a ball be limited by the proportions of the ball-room. A prudent hostess will always invite a few more guests than she really desires to entertain, in the certainty that there will be some deserters when the appointed evening comes round; but she will at the same time remember that to overcrowd her room is to spoil the pleasure of those who love dancing, and that a party of this kind when, too numerously attended is as great a failure as one at which too few are present.

A room which is nearly square, yet a little longer than it is broad, will be found the most favourable for a ball. It admits of two quadrille parties, or two round dances, at the same time. In a perfectly square room this arrangement is not so practicable or pleasant. A very long and narrow room is obviously of the worst shape for the purpose of dancing, and is fit only for quadrilles and country dances.

The top of the ball-room is the part nearest the orchestra. In a private room, the top is where it would be if the room were a dining-room. It is generally at the farthest point from the door. Dancers should be careful to ascertain the top of the room before taking their places, as the top couples always lead the dances.

A good floor is of the last importance in a ball-room. In a private house, nothing can be better than a smooth, well-stretched holland, with the carpet beneath.

Abundance of light and free ventilation are indispensable to the spirits and comfort of the dancers.

Good music is as necessary to the prosperity of a ball as good wine to the excellence of a dinner. No hostess should tax her friends for this part of the entertainment. It is the most injudicious economy imaginable. Ladies who would prefer to dance are tied to the pianoforte; and as few amateurs have been trained in the art of playing dance music with that strict attention to time and accent which is absolutely necessary to the comfort of the dancers, a total and general discontent is sure to be the result. To play dance music thoroughly well is a branch of the art which requires considerable practice. It is as different from every other kind of playing as whale fishing is from fly fishing. Those who give private balls will do well ever to bear this in mind, and to provide skilled musicians for the evening. For a small party, a piano and cornopean make a very pleasant combination. Unless where several instruments are engaged we do not recommend the introduction of the violin: although in some respects the finest of all solo instruments, it is apt to sound thin and shrill when employed on mere inexpressive dance tunes, and played by a mere dance player.

Invitations to a ball should be issued in the name of the lady of the house, and written on small note paper of the best quality. Elegant printed forms, some of them printed in gold or silver, are to be had at every stationer's by those who prefer them. The paper may be gilt-edged, but not coloured. The sealing-wax used should be of some delicate hue.

An invitation to a ball should be sent out at least ten days before the evening appointed. A fortnight, three weeks, and even a month may be allowed in the way of notice.

Not more than two or three days should be permitted to elapse before you reply to an invitation of this kind. The reply should always be addressed to the lady of the house, and should be couched in the same person as the invitation. The following are the forms generally in use:--

Mrs. Molyneux requests the honour of Captain Hamilton's
company at an evening party, on Monday, March the 11th
instant.

_Dancing will begin at Nine o'clock_.

Thursday, March 1st.

* * * * *

Captain Hamilton has much pleasure in accepting Mrs.
Molyneux's polite invitation for Monday evening, March the
11th instant.

Friday, March 2nd.

The old form of "presenting compliments" is now out of fashion.

If Mrs. Molyneux writes to Captain Hamilton in the first person, as "My dear Sir," he is bound in etiquette to reply "My dear Madam."

The lady who gives a ball[A] should endeavour to secure an equal number of dancers of both sexes. Many private parties are spoiled by the preponderance of young ladies, some of whom never get partners at all, unless they dance with each other.

A room should in all cases be provided for the accommodation of the ladies. In this room there ought to be several looking-glasses; attendants to assist the fair visitors in the arrangement of their hair and dress; and some place in which the cloaks and shawls can be laid in order, and found at a moment's notice. It is well to affix tickets to the cloaks, giving a duplicate at the same time to each lady, as at the public theatres and concert-rooms. Needles and thread should also be at hand, to repair any little accident incurred in dancing.

Another room should be devoted to refreshments, and kept amply supplied with coffee, lemonade, ices, wine and biscuits during the evening. Where this cannot be arranged, the refreshments should be handed round between the dances.

The question of supper is one which so entirely depends on the means of those who give a ball or evening party, that very little can be said upon it in a treatise of this description. Where money is no object, it is of course always preferable to have the whole supper, "with all appliances and means to boot," sent in from some first-rate house. It spares all trouble whether to the entertainers or their servants, and relieves the hostess of every anxiety. Where circumstances render such a course imprudent, we would only observe that a home-provided supper, however simple, should be good of its kind, and abundant in quantity. Dancers are generally hungry people, and feel themselves much aggrieved if the supply of sandwiches proves unequal to the demand. Great inconvenience is often experienced by the difficulty of procuring cabs at the close of an evening party. Gentlemen who have been dancing, and are unprepared for walking, object to go home on foot, or seek vehicles for their wives and daughters. Female servants who have been in attendance upon the visitors during a whole evening ought not to be sent out. If even men-servants are kept, they may find it difficult to procure as many cabs as are necessary. The best thing that the giver of a private ball can do under these circumstances, is to engage a policeman with a lantern to attend on the pavement during the evening, and to give notice during the morning at a neighbouring cab-stand, so as to ensure a sufficient number of vehicles at the time when they are likely to be required.

[Footnote A: It will be understood that we use the word "ball" to signify a private party, where there is dancing, as well as a public ball.]

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II.--BALL-ROOM TOILETTE.

LADIES.

The style of a lady's dress is a matter so entirely dependent on age, means and fashion, that we can offer but little advice upon it. Fashion is so variable, that statements which are true of it to-day may be false a month hence. Respecting no institution of modern society is it so difficult to pronounce half a dozen permanent rules.

We may perhaps be permitted to suggest the following leading principles; but we do so with diffidence. Rich colours harmonize with rich brunette complexions and dark hair. Delicate colours are the most suitable for delicate and fragile styles of beauty. Very young ladies are never so suitably attired as in white. Ladies who dance should wear dresses of light and diaphanous materials, such as _tulle_, gauze, crape, net, &c., over coloured silk slips. Silk dresses are not suitable for dancing. A married lady who dances only a few quadrilles may wear _a decolletée_ silk dress with propriety.

Very stout persons should never wear white. It has the effect of adding to the bulk of the figure.

Black and scarlet, or black and violet, are worn in mourning.

A lady in deep mourning should not dance at all.

However fashionable it may be to wear very long dresses, those ladies who go to a ball with the intention of dancing and enjoying the dance, should cause their dresses to be made short enough to clear the ground. We would ask them whether it is not better to accept this slight deviation from an absurd fashion, than to appear for three parts of the evening in a torn and pinned-up skirt?

Well-made shoes, whatever their colour or material, and faultless gloves, are indispensable to the effect of a ball-room toilette.

Much jewellery is out of place in a ball-room. Beautiful flowers, whether natural or artificial, are the loveliest ornaments that a lady can wear on these occasions.

GENTLEMEN.

A black suit, thin enamelled boots, a white neckcloth, and white or delicate grey gloves, are the chief points of a gentleman's ball-room toilette. He may wear an embroidered shirt; and his waistcoat may be of silk. White waistcoats are no longer fashionable. Much display of jewellery is no proof of good taste. A handsome watch-chain, with, perhaps, the addition of a few costly trifles suspended to it, and a set of shirt-studs, are the only adornments of this kind that a gentleman should wear. The studs should be small, but good.[A]

A gentleman's dress is necessarily so simple that it admits of no compromise in point of quality and style. The material should be the best that money can procure, and the fashion unexceptionable. So much of the outward man depends on his tailor, that we would urge no gentleman to economise in this matter.

[Footnote A: See "Etiquette for Gentlemen," Sec. VII.]

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III.--ETIQUETTE OF THE BALL-ROOM.[A]

On entering the ball-room, the visitor should at once seek the lady of the house, and pay his respects to her. Having done this, he may exchange salutations with such friends and acquaintances as may be in the room.

If the ball be a public one, and a gentleman desires to dance with any lady to whom he is a stranger, he must apply to the master of the ceremonies for an introduction.

Even in private balls, no gentleman can invite a lady to dance without a previous introduction. This introduction should be effected through the lady of the house, or a member of her family.

No lady should accept an invitation to dance from a gentleman to whom she has not been introduced. In case any gentleman should commit the error of so inviting her, she should not excuse herself on the plea of a previous engagement, or of fatigue, as to do so would imply that she did not herself attach due importance to the necessary ceremony of introduction. Her best reply would be to the effect that she would have much pleasure in accepting his invitation, if he would procure an introduction to her. This observation may be taken as applying only to public balls. At a private party the host and hostess are sufficient guarantees for the respectability of their guests; and, although a gentleman would show a singular want of knowledge of the laws of society in acting as we have supposed, the lady who should reply to him as if he were merely an impertinent stranger in a public assembly-room, would be implying an affront to her entertainers. The mere fact of being assembled together under the roof of a mutual friend, is in itself a kind of general introduction of the guests to each other.

An introduction given for the mere purpose of enabling a lady and gentleman to go through a dance together, does not constitute an acquaintanceship. The lady is at liberty to pass the gentleman in the park the next day without recognition.

No gentleman should venture to bow to a lady upon the strength of a ball-room introduction, unless she does him the honour to recognize him first. If he commits this solecism he must not be surprised to find that she does not return his salutation.

No gentleman should accept an invitation to a ball if he does not dance. When ladies are present who would be pleased to receive an invitation, those gentleman who hold themselves aloof are guilty, not only of a negative, but a positive act of neglect.

To attempt to dance without a knowledge of dancing is not only to make one's self ridiculous, but one's partner also. No lady or gentleman has the right to place a partner in this absurd position.

Never forget a ball-room engagement. To do so is to commit an unpardonable offence against good breeding.

It is not necessary that a lady or gentleman should be acquainted with the _steps_, in order to walk gracefully and easily through a quadrille. An easy carriage and a knowledge of the figure is all that is requisite. A round dance, however, should on no account be attempted without a thorough knowledge of the steps, and some previous practice.

No person who has not a good ear for time and tune need hope to dance well.

At the conclusion of a dance, the gentleman bows to his partner, and either promenades with her round the room, or takes her to a seat. Where a room is set apart for refreshments, he offers to conduct her thither. At a public hall no gentleman would, of course, permit a lady to pay for refreshments.

No lady should accept refreshments from a stranger at a public ball; for she would thereby lay herself under a pecuniary obligation. For these she must rely on her father, brothers, or old friends.

Good taste forbids that a lady and gentleman should dance too frequently together at either a public or private ball. Engaged persons should be careful not to commit this conspicuous solecism.

Engagements for one dance should not be made while the present dance is yet in progress.

If a lady happens to forget a previous engagement, and stand up with another partner, the gentleman whom she has thus slighted is bound to believe that she has acted from mere inadvertence, and should by no means suffer his pride to master his good temper. To cause a disagreeable scene in a private ball-room is to affront your host and hostess, and to make yourself absurd. In a public room it is no less reprehensible. Always remember that good breeding and good temper (or the appearance of good temper) are inseparably connected.

Young gentlemen are earnestly advised not to limit their conversation to remarks on the weather and the heat of the room. It is, to a certain extent, incumbent on them to do something more than dance when they invite a lady to join a quadrille. If it be only upon the news of the day, a gentleman should be able to offer at least three or four observations to his partner in the course of a long half-hour.

Gentlemen who dance cannot be too careful not to injure the dresses of the ladies who do them the honour to stand up with them. The young men of the present day are singularly careless in this respect; and when they have torn a lady's delicate skirt, appear to think the mischief they have done scarcely worth the trouble of an apology.

A gentleman conducts his last partner to the supper-room, and, having waited upon her while there, re-conducts her to the ball-room. Never attempt to take a place in a dance which has been previously engaged.

Withdraw from a private ball-room as quietly as possible, so that your departure may not be observed by others, and cause the party to break up. If you meet the lady of the house on her way out, take your leave of her in such a manner that her other guests may not suppose you are doing so; but do not seek her out for that purpose.

Never be seen without gloves in a ball-room, though it were only for a few moments. Those who dance much and are particularly _soigné_ in matters relating to the toilette, take a second pair of gloves to replace the first when soiled.

A thoughtful hostess will never introduce a bad dancer to a good one, because she has no right to punish one friend in order to oblige another.

It is not customary for married persons to dance together in society.

[Footnote A: See "Etiquette for Ladies," and "Etiquette for Gentlemen," Sec. IX.]

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IV.--THE QUADRILLE.

The Quadrille is the most universal, as it is certainly the most sociable, of all fashionable dances. It admits of pleasant conversation, frequent interchange of partners, and is adapted to every age. The young or old, the ponderous _paterfamilias_ or his sylph-like daughter, may with equal propriety take part in its easy and elegant figures. Even an occasional blunder is of less consequence in this dance than in many others; for each personage is in some degree free as to his own movements, not being compelled by the continual embrace of his partner to dance either better or worse than he may find convenient.

People now generally walk through a quadrille. Nothing more than a perfect knowledge of the figure, a graceful demeanour, and a correct ear for the time of the music are requisite to enable any one to take a creditable part in this dance. Steps are quite gone out of fashion: even the _chassé_ has been given up for some time past.

A quadrille must always consist of five parts. If a variation be made in the fourth figure, by the substitution of _Pastorale_ for _Trenise_, the latter must then be omitted; or _vice-versâ_. As soon as a gentleman has engaged his partner for the quadrille, he should endeavour to secure as his _vis-à-vis_ some friend or acquaintance; and should then lead his partner to the top of the quadrille, provided that post of honour be still vacant. He will place the lady always at his right hand.

Quadrille music is divided into eight bars for each part of the figure; two steps should be taken in every bar; every movement thus invariably consists of eight or of four steps.

It is well not to learn too many new figures; the memory is liable to become confused amongst them; besides which, it is doubtful whether your partner, or your _vis-à-vis_, is as learned in the matter as yourself. Masters are extremely fond of inventing and teaching new figures; but you will do well to confine your attention to a few simple and universally received sets, which you will find quite sufficient for your purpose. We begin with the oldest and most common, the

FIRST SET OF QUADRILLES.

First Figure.--Le Pantalon.

The couples at the top and bottom of the quadrille cross to each other's places in eight steps, occupying four bars of the time; then re-cross immediately to their own places, which completes the movement of eight bars. This is called the _Chaine Anglaise_. The gentleman always keeps to the right of _vis-à-vis_ lady in crossing, thus placing her _inside_.

Set to partners, or _balances_; turn your partners. (This occupies the second eight bars.) Ladies, chain, or _chaine des dames_. (Eight bars more.) Each couple crosses to opposite couple's place, gentleman giving his hand to his partner: this is called half-promenade. Couples recross right and left to their places, without giving hands, which completes another eight bars, and ends the figure.

The side couples repeat what the top and bottom couples have done.

Second Figure.--L'Eté

The ladies in all the top couples, and their _vis-à-vis_ gentlemen, advance four steps, and retire the same, repeating this movement once again, which makes the first eight bars.

Top ladies and _vis-à-vis_ gentlemen cross to each other's places; advance four steps; retreat ditto; cross back towards partners, who set to them as they advance; turn partners; which ends first half of figure.

Second ladies and top _vis-à-vis_ gentlemen execute the same movements. Then side couples begin, the privilege of commencement being conferred on those ladies who stand at the _right_ of the top couples.

This figure is sometimes performed in a different manner, known as double _L'Eté_. Instead of the top lady and _vis-à-vis_ gentleman advancing alone, they advance with partners joining hands; cross and return, as in the single figure. This variation is, however, somewhat out of vogue, except (as will presently be seen) in the last figure of the quadrille, where it is still frequently introduced.

Third Figure--La Poule.

Top lady and _vis-à-vis_ gentleman cross to each other's places, giving right hand in passing; cross back again with left hand. (Eight bars.) The two couples form in a line, and join hands, the left hand of one holding the right hand of his or her neighbour, so that each faces different ways; in this position all four _balancez_, then half promenade with partner to opposite place; top lady and _vis-à-vis_ gentleman advance four steps and retire ditto. (2nd eight bars.) Both top and bottom couples advance together, and retire the same; then re-cross right and left to places. (3rd eight bars.) Second lady and first opposite gentleman repeat figure. Side couples repeat, observing same rule for commencement as in _L'Eté_.

Fourth Figure.--La Trenise.

Top couples join hands, advance four steps and retreat ditto: advance again, gentleman leaving lady at left hand of _vis-à-vis_ gentleman, and retiring alone, (1st eight bars.) Two ladies advance, crossing to opposite side; gentleman advances to meet his partner, _vis-à-vis_ lady returns to hers. (2nd eight bars.) _Balancez_; turn partners to places. (3rd eight bars.) Second couple performs same figure; side couples repeat as before.

If _La Pastorale_ be preferred, it will be performed thus:--Top couple advance and retreat; advance, gentleman leading lady to left hand of _vis-à-vis_ gentleman; he advances with both ladies four steps, retreating ditto; again advancing, he leaves both ladies with first gentleman, retreating alone; top gentleman and both ladies advance and retreat; again advance, joining hands in circle, go half round, half promenade to opposite places, then return right and left to their own. Second couples and side couples repeat as before.

Fifth Figure.--La Finale.

Begin with the _grand rond_ or great round; that is, the whole quadrille; first and second couples and sides join hands all round, advance four steps, and retreat ditto. _L'Eté_ is now sometimes introduced, the _grand rond_ being repeated between each division of the figure. But it gives a greater variety and _brio_ to the quadrille if, after the first _grand rond_, the following figure be performed, the _galop_ step being used throughout. Each gentleman (at top and bottom couples) takes his lady round the waist, as for the _galop_; advance four steps, retreat ditto, advance again, cross to opposite places; advance, retreat, re-cross to own places. Ladies chain; half promenade across; half right and left to places; _grand rond_. Side couples repeat figure. _Grand rond_ between each division and at the conclusion. Bow to your partners, and conduct your lady to seat.

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V.--THE CALEDONIANS.

This quadrille has, within the last few years become more fashionable than formerly. But it is not so frequently danced as the Lancers, still less as the First Set of Quadrilles. Each set can consist only of eight couples, differing in this respect from the simple quadrille, which admits of an indefinite number of couples.

_1st Figure_.--Top and opposite couples hands across; then back again; _balancez_ and turn partners; _chaine des dames_; half promenade across; half right and left to places.

_2nd Figure_.--Top gentleman advances and retreats twice. _Balancez_ to corners and turn, each lady passing to her next neighbour's place. Having changed your partner, all promenade quite round. Second, third, and fourth gentleman repeat same figure; thus all have regained their places.

_3rd Figure_.--Top lady and _vis-à-vis_ gentleman advance and retreat twice.

Top couple join hands and cross over; opposite couple cross likewise, separately, allowing top couple to pass between them; then top couple re-cross to places separately, leaving the second couple (who re-cross with joined hands) inside.

_Balancez_ to corners and turn your neighbour's partner; back to places. All four couples, joining hands in circle, advance and retreat twice. Same figure repeated by second and side couples.

_4th Figure_.--Top lady and _vis-à-vis_ gentleman advance four steps; second lady and her _vis-à-vis_ then do the same; each couple turns partner back to places. Ladies in all four couples move four steps to the right, each taking her neighbour's place; gentlemen then move four steps to the left, each into next neighbour's place. Ladies again to the right; gentlemen again to the left. Promenade round, turn partners to places. Second and side couples repeat in succession.

_5th Figure_.--First couple promenade round inside the quadrille. Four ladies advance, courtesy to each other, and retire; four gentlemen advance, bow, and retire. _Balancez_ and turn partners. Grand chain half way round. All promenade to places, and turn partners. All _chassez croisez_, ladies right, gentlemen left (behind their partners), and back again to places. Second and side couples repeat as before. Promenade all round for _finale_.

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VI.--THE LANCERS.

The Lancers Quadrille is perhaps the most graceful and animated of any. Within the last few years it has become a great favourite in fashionable circles, probably owing to its revival at the state balls of Her Majesty. It admits of much skill and elegance in executing its quick and varied figures, a correct acquaintance with which is absolutely requisite to all who take part in it. Unlike the common quadrille, the Lancers must be danced by four couples only in each set; though of course there can be many sets dancing at the same time. The number being so limited, one awkward or ignorant person confuses the whole set; therefore, it is indispensable that every one who dances in this quadrille should have a thorough mastery of its graceful intricacies. We have observed that of late it has become the fashion to substitute new tunes for the old well-known music of the Lancers Quadrille. We cannot consider this an improvement. The old simple melodies are peculiarly fitted to the sprightly, joyous character of the dance; which is more than can be said for any of the modern substitutes. When these are used, the Lancers, in our opinion, loses its individuality and spirit, becoming almost like a common quadrille. We should be heartily glad to see the old tunes restored once for all to their rightful supremacy.

The sets of four couples, top, opposite and sides, having been arranged, the dance begins as follows:--_1st Figure_.--First lady and opposite gentleman advance and retreat; advance again, joining their hands; pass round each other and back to places. (1st eight bars.) Top couple join hands, and cross, opposite couple crossing at the same time, separately, outside them; the same reversed, back to places. (2nd eight bars.) All the couples _balancez_ to corners; each gentleman turns his neighbour's partner back to places. (3rd eight bars.) Second couple repeat figure from beginning; after them side couples, those who stand to the right of top couple having always the priority, as in the common quadrille.

_2nd Figure_.--First couple advance and retreat, gentleman holding lady's left hand; advance again; gentleman leaves his partner in the centre of the quadrille, and retires to place. (1st eight bars.) _Balancez_ to each other and turn to places. (2nd eight bars.) Side couples join first and second couples, forming a line of four on either side. Each line advances four steps, retreats ditto; then advances again, each gentleman reclaiming his partner, and all turn to places. Second and side couples repeat figure in succession.

_3rd Figure_.--First lady advances four steps alone, and stops; _vis-à-vis_ gentleman does the same; first lady retires, facing gentleman, to whom she makes a slow profound courtesy. (The courtesy must occupy a bar or two of the music; and as, if made with grace and dignity, it is most effective, we would recommend ladies to practise it carefully beforehand.) The gentleman at the same time bows and retires. (1st eight bars.) All four ladies advance to centre, give right hands across to each other (which is called the _double chain_), and left hand to _vis-à-vis_ gentleman; then back again, left hands across in the middle, and right hands to partners, back to places. (2nd eight bars.) Second and side couples repeat figure from commencement.

A more recent fashion for dancing this figure is as follows:--Instead of one lady advancing at first, all four advance, and courtesy to each other; then turn and courtesy to their partners. Ladies do the _moulinet_ in the centre; that is, give right hands across to each other, and half round; left hands back again, and return to places. Gentlemen meantime all move round outside the ladies, till each has regained his place. Figure, as usual, repeated four times; but the second and fourth time the gentlemen advance instead of the ladies, and bow, first to each other, then to their partners; continuing as before through the rest of the figure.

_4th Figure_.--Top gentleman, taking partner's left hand, leads her to the couple on their right, to whom they bow and courtesy (which civility must be met with the like acknowledgment), then cross quickly to fourth couple, and do the same, (1st eight bars.) All four couples _chassez croisez_ right and left (gentleman invariably passing behind his partner) then turn hands (_tour des mains_) back to places. (2nd eight bars.) First and opposite couples right and left across and back again to places. (3rd eight bars.) Second and sides repeat as usual.

_5th Figure_.--This figure commences with the music. Each couple should stand ready, the gentleman facing his partner, his right hand holding hers. If every one does not start directly the music begins, and does not observe strict time throughout, this somewhat intricate figure becomes hopelessly embarrassed; but, when well danced, it is the prettiest of the set. It commences with the _grande chaine_ all round; each gentleman giving his right hand to his partner at starting, his left to the next lady, then his right again, and so all round, till all have returned to their places. (This occupies sixteen bars of the music.) First couple promenade inside figure, returning to places with their backs turned to opposite couple. The side couple on their right falls in immediately behind them; the fourth couple follows, the second couple remaining in their places. A double line is thus formed--ladies on one side and gentlemen on the other. (3rd eight bars.) All _chassez croisez_, ladies left, gentlemen right, behind partners. First lady leads off, turning sharply round to the right; first gentleman does the same to the left, meeting at the bottom of the quadrille, and promenade back to places. All the ladies follow first lady; all the gentlemen follow first gentleman; and as each meets his partner at the bottom of the figure, they touch hands, then fall back in two lines--ladies on one side, gentlemen on the other--facing each other. (4th eight bars.) Four ladies join hands, advance and retreat; four gentlemen ditto at the same time; then each turns his partner to places. (5th eight bars.) _Grande chaine_ again. Second and side couples repeat the whole figure in succession, each couple taking its turn to lead off, as the first had done. _Grande chaine_ between each figure and in conclusion.

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VII.--THE LANCERS FOR SIXTEEN, OR DOUBLE LANCERS.

_1st figure_.--Two first ladies and _vis-à-vis_ gentlemen begin at the same moment, and go through the figure as in Single Lancers. All _balancez_ to corners; in other words, each lady sets to gentleman at her right, who turns her to her place. Second couples and sides repeat as usual.

_2nd Figure_.--First couples advance, retreat, advance again, leaving ladies in centre; set to partners and turn to places. Two side couples nearest first couples join them; two side couples nearest second couples do the same, thus forming eight in each line. They all advance and retreat, holding hands, then turn partners to places. Repeated by second and side couples as usual.

_3rd Figure_.--First ladies advance and stop; _vis-à-vis_ gentlemen ditto; courtesy profoundly, bow, and back to places. Ladies do the _moulinet_, gentlemen go round outside, and back to places. Or, ladies advance and courtesy to each other and then to partners; gentlemen, doing the same when the second and fourth couples begin the figure, as in Single Lancers.

_4th Figure_.--First couples advance to couples on their right; bow and courtesy; cross to opposite side, bow and courtesy, _chassez croisez_, and return to places. Right and left to opposite places, and back again. Second couples and sides repeat figure.

_5th Figure_.--_Grande chaine_ all round, pausing at the end of every eight bars to bow and courtesy; continue _chaine_ back to places, which will occupy altogether thirty-two bars of the music. Figure almost the same as in Single Lancers. Both first couples lead round, side couples falling in behind, thus forming four sets of lines. Figure repeated by second and side couples; _grande chaine_ between each figure and at the conclusion.

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VIII.--COULON'S DOUBLE QUADRILLE.

This quadrille contains the same figures as the common quadrille, but so arranged that they are danced by four instead of two couples. All quadrille music suits it; and it occupies just half the time of the old quadrille. It makes an agreeable variety in the movements of the dance, and is easily learnt. It requires four couples.

First Figure.--Pantalon.

First and second couples right and left, whilst side couples dance the _chaine Anglaise_ outside them. All four couples set to partners and turn them. Four ladies form ladies' chain, or hands across in the middle of the figure, giving first right hands, and then left, back to places. Half promenade, first and second couples do _chaine Anglaise_, while side couples do _grand chaine_ round them. This leaves all in their right places, and ends figure.

Second Figure.--L'Eté

First lady, and lady on her right hand, perform the figure with their _vis-à-vis_ gentlemen, as in common _L'Eté_; taking care, when they cross, to make a semicircle to the left. Second couple and second side couple repeat figure, as in common. _L'Eté_.

Third Figure.--La Poule.

Top lady and _vis-à-vis_ gentleman, lady at her right, and her opposite gentleman, perform figure at the same time, setting to each other in two cross lines. Other couples follow as usual.

Fourth Figure.--La Pastorale.

The first and opposite couples dance the figure, not with each other, but with the couples to their right. The latter do the same with first and second couples.

Fifth Figure.--Finale.

Galopade all round. Top and opposite couples galopade forwards, and retreat. As they retreat side couples advance; and, as they retreat in their turn, first and second couples galopade to each others place. Side couples the same. First and second couples advance again; side couples the same as the others retreat; first and second back to places as side couples retreat. Side couples back to places. Double _chaine des dames_, and galopade all round. Then side couples repeat figure as usual, and _galop_ all round in conclusion.

It is requisite to keep correct time and step in this quadrille, which would otherwise become much confused.

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IX.--THE POLKA.

The origin of this once celebrated dance is difficult to ascertain. It is believed by some to be of great antiquity, and to have been brought into Germany from the East. Others affirm that its origin is of more recent date, and its birthplace considerably nearer home. An authority on these matters remarks; "In spite of what those professors say who proclaim themselves to have learnt the Polka in Germany, or as being indebted for it to a Hungarian nobleman, we are far from placing confidence in their assertions. In our opinion Paris is its birthplace, and its true author, undoubtedly, the now far-famed Monsieur Cellarius, for whom this offspring of his genius has gained a European celebrity."

Whatever we may be inclined to believe with regard to this disputed question, there can be no doubt of the wide-spread popularity which for many years was enjoyed by the Polka. When first introduced, in 1843, it was received with enthusiasm by every capital in Europe; and it effected a complete revolution in the style of dancing which had prevailed up to that period. A brisk, lively character was imparted even to the steady-going quadrille; the old _Valse à Trois Temps_ was pronounced insufferably "slow;" and its brilliant rival, the _Valse à Deux Temps_, which had been recently introduced, at once established the supremacy which it has ever since maintained. The _galop_, which had been until this period only an occasional dance, now assumed a prominent post in every ball-room, dividing the honours with the _valse_.

But all these dances, though modified in character by the introduction of the Polka, were for a time thrown into the shade by this new claimant upon public favour. Its popularity was unrivalled in the annals of dancing. Rich and poor, young and old, grave and gay, all were alike smitten by the universal Polka mania. All flocked to take lessons in this new and fascinating dance; and the professors of its mysteries fairly divided public attention with the members of the Anti-Corn-Law League, then holding their meetings at Drury Lane Theatre. We will even go so far as to say that Messrs. Bright and Cobden were scarcely more anxious to destroy the vexatious Corn Laws than were these worthy Polka-maniacs to create _corn_ laws of their own, which, if more innocent, were equally undesirable.

For many years the Polka maintained its position as the universal favourite; but, during the last five or six seasons, its popularity has slowly but surely declined. It is never danced now in the ball-rooms of the aristocracy, but the middle classes have not yet quite discarded their old friend, though even amongst their programmes its name rarely occurs.

Perhaps no dance affords greater facilities for the display of ignorance or skill, elegance or vulgarity, than the Polka. The step is simple and easily acquired, but the method of dancing it varies _ad infinitum_. Some persons race and romp through the dance in a manner fatiguing to themselves and dangerous to their fellow-dancers. Others (though this is more rare) drag their partner listlessly along, with a sovereign contempt alike for the requirements of the time and the spirit of the music. Some gentlemen hold their partner so tight that she is half suffocated; others hold her so loosely that she continually slips away from them. All these extremes are equally objectionable, and defeat the graceful intention of the dance. It should be performed quietly, but with spirit, and _always in strict time_. The head and shoulders should be kept still, not jerked and turned at every step, as is the manner of some. The feet should glide swiftly along the floor--not hopping or jumping as if the boards were red-hot.

You should clasp your partner lightly but firmly round the waist with your right arm.

Your left hand takes her right hand; but beware of elevating your arm and hers in the air, or holding them out straight, which suggests the idea of windmills.

Above all, never place your left hand on your hip or behind you. In the first place, you thus drag your partner too much forward, which makes her look ungraceful; in the next, this attitude is _never used_ except in casinos, and it is almost an insult to introduce it in a respectable ball-room.

Let the hand which clasps your partner's fall easily by your side in a natural position, and keep it there. Your partner's left hand rests on your right shoulder; her right arm is thrown a little forward towards your left.

The Polka is danced in 2/4 time. There are three steps in each bar; the fourth beat is always a rest. The rhythm of the dance may be thus indicated:--

the three steps being performed on the three first beats of every bar. It is next to impossible to describe in words the step of the Polka, or of any circular dance: nothing but example can correctly teach it; and, although we shall do our best to be as clear as possible, we would earnestly recommend those of our readers who desire to excel, whether in this or the following dances, to take a few lessons from some competent instructor.

The gentleman starts with his left foot, the lady with her right. We shall describe the step as danced by the gentleman: the same directions, reversing the order of the feet, will apply to the lady.

_1st beat_.--Spring slightly on right foot, at the same time slide left foot forward.

_2nd beat_.--Bring right foot forward by _glissade_, at the same time rising left foot.

_3rd beat_.--Bring left foot slightly forward and _fall_ upon it, leaving right foot raised, and the knee slightly bent, ready to begin the step at the first beat of the next bar.

_4th beat_.--Remain on left foot. Begin next bar with the right foot, and repeat the step to end of third beat. Begin the following bar with left foot; and so on; commencing each bar with right or left foot alternately.

The Polka is danced with a circular movement, like the Valse; in each bar you half turn, so that, by the end of the second bar, you have brought your partner completely round.

It was at first customary to promenade your partner round the room, doing a kind of _balancez_ to each other in the Polka step before commencing the valse figure. But this fashion soon became antiquated, and has fallen into complete disuse.