Chapter V: Part 5

The circular movement of the Polka admits of two directions--from right or left or from left to right. The ordinary direction is from right to left. The opposite one is known as the _reverse_ step. It is more difficult to execute, but is a pleasant change for skilled dancers, if they have become giddy from turning too long in one direction.

In dancing the Polka, or any circular dance where a large number of couples are performing at the same time, the gentleman must be careful to steer his fair burden safely through the mazes of the crowded ball-room. A little watchfulness can almost always avoid collisions, and a good dancer would consider himself disgraced if any mishap occurred to a lady under his care. Keep a sharp look out, and avoid crowded corners. Should so many couples be dancing as to render such caution impossible, stop at once, and do not go on until the room has become somewhat cleared. In a few minutes others will have paused to rest, and you can then continue. Your partner will be grateful that your consideration has preserved her from the dismal plight in which we have seen some ladies emerge from this dance--their _coiffeurs_ disordered, their dresses torn, and their cheeks crimson with fatigue and mortification, while their indignant glances plainly showed the anger they did not care to express in words, and which their reckless partner had fully deserved. A torn dress is sometimes not the heaviest penalty incurred: we have known more than one instance where ladies have been lamed for weeks through the culpable carelessness of their partners, their tender feet having been half crushed beneath some heavy boot in one of these awkward collisions. This is a severe price to pay for an evening's amusement, and gentlemen are bound to be cautious how they inflict it, or anything approaching to it, upon their fair companions. Ladies, on the other hand, will do well to remember that by leaning heavily upon their partner's shoulder, dragging back from his encircling arm or otherwise impeding the freedom of his movements, they materially add to his labour and take from his pleasure in the dance. They should endeavour to lean as lightly, and give as little trouble, as possible; for, however flattering to the vanity of the nobler sex may be the idea of feminine dependence, we question whether the reality, in the shape of a dead weight upon their aching arms throughout a Polka or Valse of twenty minutes' duration, would be acceptable to even the most chivalrous amongst them.

We have been thus minute in our instructions, because they not only apply to the Polka, but equally to all circular dances where a great number stand up to dance at the same time.

We now pass on to the

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X.--CELLARIUS VALSE.

Sometimes called the Mazourka, though generally best known by the name of its inventor, M. Cellarius, of Paris. It was imported to England in 1845, two years after the introduction of the Polka; and, although it never attained so great a popularity as its predecessor, it was favourably received, and much danced in the best circles. Still it failed to achieve the decided success which might have been reasonably expected from its elegance and beauty. Perhaps one reason of this disappointing result was that many inefficient performers attempted to dance it before they had mastered its somewhat difficult step, and brought it into disrepute by their ungraceful exhibitions. But the grand secret of its partial failure lay in the mania for rapid whirling dances, introduced by the Polka. While the rage for "fast dancing" continued, the measured grace of the Cellarius stood no chance. Now that it has at last happily abated, people are better prepared to appreciate the refined and quiet charm of this really beautiful valse. To dance it well requires some practice; and particular attention must be paid to the carriage and position of the figure, since no dance is more thoroughly spoiled by an awkward, stiff, or stooping attitude.

We proceed to describe the step, so far as it may be possible to do so in words; but we have an uneasy consciousness that all such descriptions bear a close resemblance to those contained in certain little volumes designed to instruct our fair readers in the mysteries of knitting, netting, and crochet. "Slip two, miss one, bring one forward," &c., may convey to the mind of the initiated a distinct idea of the pattern of a collar; but are hardly satisfactory guides to the step of a valse. We must, however, do our best; though again we would impress upon the reader the necessity of seeking further instruction from a professor or experienced friend.

The time of the Cellarius Valse is 3/4, like the common valse; but it should be played much more slowly; if danced quickly, it becomes an unmeaning succession of hops, and its graceful character is destroyed.

We describe the step as danced by the lady; for the gentleman it will be the same, with the feet reversed; that is, for right foot read left, and so on.

First Step.

_1st and 2nd beat_.--Spring on left foot, sliding forward right foot at the same time, and immediately let your weight rest on the forward foot. This occupies two beats.

_3rd beat_.--Spring on right foot; this ends the bar.

_2nd bar, 1st and 2nd beat_.--Spring again on right foot, and slide forward left at same time. Rest on it a moment as before during second beat; at third beat spring on it; which ends second bar. Continue same step throughout. You will perceive that, at the first and third beat of the time, you hop slightly, resting, during the second beat, on the foremost foot.

Second Step.

_1st beat_.--Spring on left foot, slightly striking both heels together.

_2nd beat_.--Slide right foot to the right, bending the knee.

_3rd beat_.--Bring left foot up to right foot with a slight spring, raising right foot; which ends the first bar.

_2nd bar, 1st beat_.--Spring again on left foot, striking it with heel of right.

_2nd beat_.--Slide right foot to the right.

_3rd beat_.--Fall on right foot, raising left foot behind it, which ends the second bar. Reverse the step by springing first on the right foot, and sliding the left, &c. The music generally indicates that this step should be repeated three times to the right, which occupies three bars; then _rest_, during the fourth bar, and return with reverse step to the left during the three bars which follow, resting again at the eighth bar.

Third Step

_1st beat_.--Spring on left foot, and slide right foot to the right.

_2nd beat_.--Rest on right foot.

_3rd beat_.--Spring on right foot, bringing left up behind it.

_2nd bar, 1st beat_.--Spring on right foot, sliding left foot to the left.

_2nd beat_.--Rest on left foot.

_3rd beat_.--Hop on left foot, bringing right behind it as before. Continue at pleasure.

The first of these three steps is most commonly used in the valse; but the second is an agreeable change for those who may have grown giddy or weary in doing the _figure en tournant_ (circular movement).

Be careful not to exaggerate the slight hop at the first and third beats of each bar; and to _slide_ the foot gracefully forward, not merely to make a step, as some bad dancers do.

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XI.--THE MAZOURKA QUADRILLE.

Those who have mastered the steps of the Cellarius will find little trouble in dancing this elegant quadrille. It has five figures, and can be performed by any even number of couples.

The music, like the step, is that of the Mazourka. The couples are arranged as in the ordinary quadrille.

Join hands all round; _grand rond_ to the left (four bars), then back again to the right (four bars), employing the _second_ step of the Cellarius. Each couple does the _petit tour_ forwards, and backwards, still using the second step, and repeating it three times to the right--then resting a bar; three times to the left--then resting another bar; which occupies eight bars of the music. These figures may be considered as preliminary. We find the quadrille itself so well described in the work of a contemporary, that we cannot do better than extract the account in full, for the benefit of our readers.

_1st Figure_.--Top and bottom couples right and left (eight bars), with Redowa steps;[A] then they advance, the ladies cross over, the gentleman meanwhile pass quickly round each other, and return to own places (four bars); _petit tour_ forward with opposite ladies (four bars); right and left (eight bars); advance again; the ladies return to own places, and the gentlemen pass again round each other to their own ladies (four bars); _petit tour_ backward (four bars). Side couples do likewise.

_2nd Figure_.--(Eight bars rest.) Top and bottom couples advance and retire, hands joined (four bars). All cross over into opposite places, each going to each other's left (four bars); _petit tour_ forward (four bars); advance and retire (four bars), and return to places (four bars); _petit tour_ (four bars). Side couples do likewise.

_3rd Figure_.--(Eight bars rest.) Top and bottom ladies cross over into opposite places (four bars); return, presenting left hands to each other, and right hands to partners, as in _La Poule_ (four bars); pass round with partners into opposite places (four bars); _petit tour_ backward (four bars); _vis-à-vis_ couples hands across, round (six bars); retire (two bars); top and bottom ladies cross over (four bars); ladies cross again, giving each other left hands, and right to partners (four bars). All pass round to own places (four bars); _petit tour_ backward (four bars).

_4th Figure_.--(Eight bars rest.) Top couple lead round inside the figure (eight bars); _petit tour_ forward and backward (eight bars); advance to opposite couple; the gentleman turns half round without quitting his partner, and gives his left hand to opposite lady; the two ladies join hands behind gentleman (four bars); in this position the three advance and retire (eight bars). The gentleman passes under the ladies' arms; all three pass round to the left, with second step of Cellarius, the opposite lady finishing in her own place (four bars). The top couple return to places (four bars); _petit tour_ forward (four bars). Opposite couple and side couples do likewise.

_5th Figure_.--(Eight bars rest.) Top and bottom couples half right and left (four bars); _petit tour_ backward (four bars); half right and left to places (four bars); _petit tour_ backward (four bars); _vis-à-vis_ couples hands round to opposite places (four bars); _petit tour_ forward (four bars); hands round to own places (four bars); _petit tour_ (four bars); right and left (eight bars).

Side couples do likewise.

_Finale_. Grand round all to the left, and then to the right (sixteen bars); grand chain, as in the Lancers, with first step of Cellarius (sixteen bars). But if there are more than eight in the quadrille, the music must be continued until all have regained their places.

N.B.--Music continues during rest.

[Footnote A: This step will be found farther on in the book, under the head of the Redowa Valse.]

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XII.--THE POLKA MAZOURKA.

The step of this dance is, as its implies, a mixture of the steps of the Polka and the Mazourka. It is a favourite dance with the Parisians, but has never been very popular in England, probably from the same reasons which prevented the success of the Cellarius. Yet it is a pretty dance, and the step is easily acquired. We recommend it to the attention of our readers. The time is 3/8, and quicker than that of the Cellarius.

Gentleman takes his partner as in the valse. _Figure en tournant_. We describe the steps for the gentleman; the lady simply reverses the order of the feet, using left foot for right throughout.

_1st beat_.--Rest on right foot, with left foot a little raised behind, and slide left foot to the left.

_2nd beat_.--Spring on the right foot, bringing it up to where the left foot is, and raising the latter in front.

_3rd beat_.--Spring once more on right foot, passing left foot behind without touching the ground with it; this ends first bar.

_2nd bar, 1st beat_.--Slide left foot to the left, as before.

_2nd beat_.--Spring on right foot, as before, and bring it up to the place of left foot, raising latter at same moment.

_3rd beat_.--Fall on the left foot, and raise the right foot behind; end of second bar.

Begin third bar with right foot, and continue as before. You turn half round in the first three beats, and complete the circle in the second three.

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XIII.--THE REDOWA, OR REDOVA.

The step of this valse somewhat resembles that of the Cellarius, and is used, as we have seen, in dancing the Mazourka Quadrille. It is an elegant valse, not so lively as the Polka Mazourka, but, if danced in correct time, not too slowly, is very graceful and pleasing. The step is not so difficult as that of the Cellarius; it is almost a _Pas de Basque_, with the addition of the hop. In all these dances, which partake of the nature of the Mazourka, it is requisite to mark distinctly the first and third beats of every bar, otherwise the peculiar character of the movement is completely lost. We describe the step for the lady as it is employed in the forward movement.

_1st beat_.--Stand with right foot slightly forward; spring upon it, bringing it behind left foot, which is raised at same moment.

_2nd beat_.--Slide your left foot forward, bending the knee.

_3rd beat_.--Bring your right foot, with a slight hop, up behind your left foot, raising the latter and keeping it in front. (One bar.)

_1st beat_.--Spring Upon your left foot, passing it behind your right, and raising latter.

_2nd beat_.--Slide right foot forward, bending the knee.

_3rd beat_.--Bring left foot up to right, with slight hop, and raise right foot at same moment, keeping it in front as before.

When the _figure en tournant_ (circular movement) is employed, the lady begins by sliding the left foot forward, and the right foot backward. Gentleman always does the same, with order of feet reversed.

This dance has been very popular in Paris; in England it is now seldom seen.

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XIV.--THE SCHOTTISCHE.

The Schottische was introduced amongst us about the same time as the Polka Mazourka, but it received a much more cordial welcome, and has always been popular in England. Its origin is as uncertain as that of the Polka, and it is believed to be a very ancient national dance. It is a great favourite with the German peasantry; and although its name, _Schottische_, would seem to imply that it came from Scotland, there is no doubt that it is essentially German alike in character and in music.

The step, although easy to learn, requires great precision. We would recommend our readers to adhere throughout to the circular movement. Some dancers begin by four steps to the right, then back again, not turning until they commence the second half of the figure. But when many couples are dancing this practice involves a risk of collisions, and it is safer to begin at once with the _figure en tournant_. The second part of the step consists of a series of slight hops, which must be made exactly at the same moment by both parties, otherwise a break-down is inevitable. They should be executed as quickly as possible, so as to avoid the _jigging_ effect which bad dancers impart to the Schottische. When well performed it is a very animated and elegant dance, forming an agreeable variety to the Polka and Valse.

The time is 2/4; it should be played a good deal slower than the Polka; when hurried it becomes ungraceful and vulgar. The first and third beat in each bar should be slightly marked.

We proceed to describe the step as danced by the gentleman.

Slide the left foot forward; bring right foot close up behind left foot. Slide left foot forward a second time. Spring upon left foot. Then do the same with right foot.

Having completed four steps, first with the left foot, and then with the right, you come to the second part, which consists of a series of double hops, two on each foot alternately. Hop twice on the left foot (one hop for each beat of the time), and half turn round; then twice on the right, completing the circular movement. Repeat the same through another four beats; then resume first step through the next two bars, and continue to alternate them every second bar. You can also vary the dance at pleasure, by continuing the first step without changing it for the hops; or you can likewise continue these throughout several bars in succession; taking care, of course, to apprise your partner of your intention. Even when well and quietly danced, there is something undignified in the hopping movement of the second step; and we have observed with satisfaction that for some time past it has been replaced by the step of the _Valse à Deux Temps_, which is now generally used instead of the double hops.

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XV.--LA VARSOVIENNE.

This is a round dance for two, which, like the Polka Mazourka, is a combination of the steps of one or two other dances. Since the introduction of the Polka and the Cellarius, several dances have been invented which partake largely of the character of both. La Varsovienne is very graceful, and was popular in England a few years ago. It is not often danced now.

Take your partner as for the Valse. Count three in each bar. Time much the same as in Polka Mazourka. The music is generally divided into parts of sixteen bars each. The steps for the gentleman is as follows in the first part:--

Slide left foot to the left; slightly spring forward with right foot, twice, leaving the left foot raised behind, in readiness for next step, (1st bar.) Repeat the same. (2nd bar.) One polka step, during which turn. (3rd bar.) Bring your right foot to the second position, and wait a whole bar. (4th bar.) Resume first step with right foot, and repeat throughout, reversing order of feet. Lady, as usual, begins with her right foot, doing the same step.

_Second step in second part. 1st bar_.--Gentleman, beginning with his left foot, does one polka step to the left, turning partner.

_2nd bar_.--Bring right foot to the second position, and bend towards it; wait a whole bar.

_3rd bar_.--One polka step with right foot to the right, turning partner.

_4th bar_.--Left foot to second position; bend towards it, and wait as before.

_Third part_.--Take three polka steps to the left. (This occupies three bars.) Bring right foot to second position, and wait one bar. Repeat the same, beginning with right foot to the right.

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XVI.--THE GORLITZA.

This is a Polish round dance for two, which was brought over to London from Paris in 1851. Like the Varsovienne, it is now seldom seen beyond the walls of the dancing academy. Perhaps one reason of its short-lived popularity is to be found in the fact that it is rather troublesome to learn, the steps being changed continually. The time is the same as that of the Schottische, but not quite so quick. Take your position as for the Polka.

_1st bar_.--One polka step to the left, beginning with left foot, and turning half round.

_2nd bar_.--Slide your right foot to right, bring left foot up close behind it, as in the fifth position; make a _glissade_ with your right foot, ending with your left in front.

_3rd bar_.--Spring on your right foot, raising your left in front. Fall on your left foot, passing it behind your right foot. _Glissade_ to right with right foot, ending with left in front.

_4th bar_.--Again spring on right foot, raising left in front. Fall on left foot, passing it behind right. _Glissade_ to right, with your right foot; end with same foot in front. Then repeat from beginning during the next four bars, but the second time be careful to end with the left foot in front. During the last two bars you turn round, but do not move forward.

The step for the lady is the same, with the order of the feet, as usual, reversed; except, however, in the last two bars of this figure, which both begin with the same foot.

The Gorlitza, like the preceding dance, is divided into parts. The first part occupies eight bars of the music; the second, sixteen bars. The step for the second part is as follows:--

_1st four bars_.--Commence with Polka Mazurka step, with left foot to the left, and turn half round. Then do the step of the Cellarius to the right, beginning with the right foot; fall on left foot, keeping it behind right foot; _glissade_ with right foot, and end with same in front.

_2nd four bars_.--Polka Mazurka, with right foot to the right, and turn half round. Cellarius step, with left foot to the left. Fall on right foot, keeping it behind; _glissade_ with left foot, bringing it behind.

Repeat from beginning, which completes the sixteen bars of second half of the figure.

Lady does the same steps, with order of feet reversed.

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XVII.--THE VALSE A TROIS TEMPS

Twenty years ago, the Valse (or, as it was then pronounced, _Waltz_) was a stately measure, danced with gravity and deliberation. Each couple wheeled round and round with dignified composure, never interrupting the monotony of the dance by any movements forward or backward. They consequently soon became giddy, although the music was not played above half as fast as the valse music of our day. We are bound to admit that this stately fashion of waltzing was infinitely more graceful than the style which has superseded it. But, having confessed so much, we may venture to add that the Valse, as danced by the present generation, possesses a spirit, lightness, and variety quite unknown to its stately predecessor.

The old Waltz was introduced into this country from Germany, where it has always been the favourite dance of the people in all ranks and conditions. But, although we adopted the step of their national waltz, we so entirely altered the time, that it became in our hands a totally different dance, which the Germans themselves would have found it difficult to recognize. At that period, "fast dancing" was unknown in England, and would have been regarded as highly indecorous.

At its first introduction, the Waltz was received with great mistrust by the older portion of the community. If it was to be tolerated at all in correct society, it must at least be danced in a deliberate manner, consonant with the dignity of the English character. It was, therefore, taken at half its original _temps_; it ceased to be the giddy, intoxicating whirl in which the Germans delight, and subsided into the comparatively insipid and spiritless affair known thirty years ago as the "German Waltz."

We have already seen how complete was the revolution effected by the Polka in these old-fashioned ideas. But, although we cannot regret the introduction of a more animated style of dancing, we are sorry that the old Waltz has been so entirely given up. When restored to its original _temps_, the _Valse à Trois Temps_ is nearly as spirited as the _Valse à Deux_; and twice as graceful. It has the additional advantage over the latter, that it contains in each bar three steps to three beats of the time; whereas the _Deux Temps_, as its name implies, numbers only two steps in a bar of three notes; and is thus incorrect in time. We venture to predict that the old Waltz will, at no distant day, be restored to public favour. We shall be heartily glad to welcome it once more, but on the condition that it shall be danced in the only manner which does justice to all its attractions; that is, as it is danced by the German peasants under the wide-spreading oaks of its own fatherland. We proceed to describe the step for the gentleman: the same, beginning with right foot instead of left, will apply to the lady.

Gentleman takes his partner round the waist with his right arm; his left hand holds hers, as in the Polka. Lady places left hand on his shoulder, and right hand in his left hand. Begin at once with the _figure en tournant_. Time 3/4; one step to each beat. First beat in each bar should be slightly marked by the dancers.

_1st beat_.--Slide left foot backwards, towards the left.

_2nd beat_.--Slide your right foot past your left in same direction, keeping right foot behind left, and turning slightly to the right.

_3rd beat_.--Bring left foot up behind right (one bar).

_1st beat_.--Slide right foot forward towards the right.

_2nd beat_.--Slide left foot forward, still turning towards right.

_3rd beat_.--Bring right foot up to right, turning on both feet, so as to complete the circle (two bars). Remember to finish with right foot in front. Repeat from first beat of first bar. Gentleman always turns from left to right; lady from right to left.

The step of the old Waltz is simple enough; nevertheless some practice is required to dance it really well. Remember always to _slide_, not to _step_, forward; for the beauty of this valse consists in its gliding motion. It is not at first easy to dance swiftly and quietly at the same time; but a little patience will soon enable you to conquer that difficulty, and to do full justice to what is, in our opinion, the most perfectly graceful of all the round dances, without a single exception.

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XVIII.--THE VALSE À DEUX TEMPS.

We are indebted to the mirth-loving capital of Austria for this brilliant Valse, which was, as we have observed elsewhere, introduced to our notice shortly before the Polka appeared in England, and owed its popularity to the revolution in public taste effected by that dance.

Although the Polka has gone out of fashion, the _Valse à Deux Temps_ still reigns supreme; but within the last two years a dangerous rival has arisen, which may perhaps drive it in its turn from the prominent position which, for more than twenty seasons, it has maintained. This rival is the New Valse, of which we shall speak in its place; but we must now describe the step of the _Valse à Deux Temps_.

We have already remarked that this Valse is incorrect in time. Two steps can never properly be made to occupy the space of three beats in the music. The ear requires that each beat shall have its step; unless, as in the Cellarius, an express pause be made on one beat. This inaccuracy in the measure has exposed the _Valse à Deux Temps_ to the just censure of musicians, but has never interfered with its success among dancers. We must caution our readers, however, against one mistake often made by the inexperienced. They imagine that it is unnecessary to observe any rule of time in this dance, and are perfectly careless whether they begin the step at the beginning, end, or middle of the bar. This is quite inadmissible. Every bar must contain within its three beats two steps. These steps must begin and end strictly with the beginning and end of each bar; otherwise a hopeless confusion of the measure will ensue. Precision in this matter is the more requisite, because of the peculiarity in the measure. If the first step in each bar be not strongly marked, the valse measure has no chance of making itself apparent; and the dance becomes a meaningless _galop_.

The step contains two movements, a _glissade_ and a _chassez_, following each other quickly in the same direction. Gentleman begins as usual with his left foot; lady with her right.

_1st beat_.--_Glissade_ to the left with left foot.

_2nd and 3rd beats_.--_Chassez_ in the same direction with right foot; do not turn in this first bar.

_2nd bar, 1st beat_.--Slide right foot backwards, turning half round.

_2nd and 3rd beat_.--Pass left foot behind right, and _chassez_ forward with it, turning half round to complete the _figure en tournant_. Finish with right foot in front, and begin over again with left foot.

There is no variation in this step; but you can vary the movement by going backwards or forwards at pleasure, instead of continuing the rotatory motion. The _Valse à Deux Temps_, like the Polka, admits of a reverse step; but it is difficult, and looks awkward unless executed to perfection. The first requisite in this Valse is to avoid all jumping movements. The feet must glide smoothly and swiftly over the floor, and be raised from it as little as possible. Being so very quick a dance, it must be performed quietly, otherwise it is liable to become ungraceful and vulgar. The steps should be short, and the knees slightly bent.

As the movement is necessarily very rapid, the danger of collisions is proportionately increased; and gentlemen will do well to remember and act upon the cautions contained in the previous pages of this book, under the head of "The Polka".

They should also be scrupulous not to attempt to conduct a lady through this Valse until they have thoroughly mastered the step and well practised the _figure en tournant_. Awkwardness or inexperience doubles the risks of a collision; which, in this extremely rapid dance, might be attended with serious consequences.

The _Deux Temps_ is a somewhat fatiguing valse, and after two or three turns round the room, the gentleman should pause to allow his partner to rest. He should be careful to select a lady whose height does not present too striking a contrast to his own; for it looks ridiculous to see a tall man dancing with a short woman, or _vice versâ_. This observation applies to all round dances, but especially to the valse, in any of its forms.

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XIX.--THE NEW VALSE.

This graceful variation of the valse movement has not long been introduced into England, and is not yet so universally popular as it promises to become. It was, however, much danced in London last year, and there is reason to believe that it will be the favourite dance this season. It is more elegant than the _Valse à Deux Temps_, and more spirited than the Cellarius. The _tempo_ is slower than that of the ordinary valse. The step is extremely simple.

Gentleman takes his partner as for the _Valse à Deux Temps_. Fall on the left foot, and make two _glissades_ with the right (1st bar). Repeat, reversing order of feet (2nd bar). Lady begins with her right foot as usual. The step is the same throughout. _Figure en tournant_.

The peculiarity of this Valse lies in its accent, which cannot be properly explained in words, but must be seen to be understood. We recommend our readers to lose no time in acquiring a correct knowledge of the New Valse. It is unquestionably the most easy and most graceful dance which has appeared of late years, and we are told on first-rate authority that it is destined to a long career of triumphs.

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XX.--LE GALOP.

The Galop, as its name implies, is the quintessence of all the "fast" dances. At the time of the Polka mania it was very much in vogue, and was almost as great a favourite as the _Deux Temps_. Although its popularity has greatly declined of late, it generally occurs twice or thrice in the programme of every ball-room; and the music of the Galop is, like the dance itself, so gay and spirited, that we should regret to see it wholly laid aside. The step is similar to that of the _Deux Temps_ Valse, but the time is 2/4, and as quick as possible. Two _chassez_ steps are made in each bar. The figure can be varied by taking four or eight steps in the same direction, or by turning with every two steps, as in the _Deux Temps_. Like all round dances, it admits of an unlimited number of couples. Being, perhaps, the most easy of any, every one takes part in it, and the room is generally crowded during its continuance. A special amount of care is therefore necessary on the part of the gentleman to protect his partner from accidents.

We have now described all the round dances at present in vogue.

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XXI.--THE COTILLON.

The Cotillon is rarely seen in English ball-rooms, but on the Continent, especially in Italy, it is a great favourite. It occupies a somewhat similar position to our own Sir Roger de Coverley, being generally the concluding dance of the evening, in which every one joins. It can be prolonged at pleasure by the introduction of more figures, for it has no definite beginning or end. It is, in fact, more like a long game performed to the accompaniment of valse music than a dance.

We shall describe the Cotillon as we have seen it in the palaces of Italy, where it is danced with enthusiasm, and diversified by an innumerable variety of figures, only a few of which we can undertake to remember. It is never commenced till towards the close of the ball, at so advanced an hour that all the sober portion of the assembly have retired, and only the real lovers of dancing remain, who sometimes prolong this their favourite amusement till a late hour in the morning.

It is customary for gentlemen to select their partners for the Cotillon early in the evening, while the other dances are in progress; for, as it lasts so long a time, it is necessary to know beforehand how many ladies feel inclined to remain during its continuance.

A circle of chairs is arranged round the room, the centre being left clear; the spectators stand behind the chairs, so as not to interfere with the dancers. Each gentleman leads his partner to a seat, taking another beside her. To these same seats they return after every figure, it being the etiquette of the dance that no couple should appropriate any chairs but their own, taken at the commencement. When the dancers are arranged round the room, the orchestra strikes up the spirited music of the Cotillon, which consists of a long series of valse movements at the usual _tempo_ of the _Deux Temps_. There are generally several leaders of the Cotillon, who decide upon the succession of the figures. If there are many couples dancing, one leader attends upon a group of six or eight couples, to ensure that all shall take part. We are aware of no fixed rule for the succession of the figures, which depends upon the caprice of the leaders. A good leader will invent new combinations, or diversify old figures; thus securing an almost endless variety. One of the most popular is the following:--

Several gentlemen assume the names of flowers or plants, such as the honeysuckle, woodbine, ivy, &c. A lady is then requested to name her favourite flower; and the fortunate swain who bears its name springs forward and valses off with her in triumph. It is usual to make one, or at most two, turns round the room, and then restore the lady to her own partner, who in the meantime has perhaps been the chosen one of another lady. All having regained their places, each gentleman valses with his own partner once round the room, or remains sitting by her side, as she may feel inclined.

Baskets filled with small bouquets are brought in. Each gentleman provides himself with a bouquet, and presents it to the lady with whom he wishes to valse.

Sometimes a light pole or staff is introduced, to the top of which are attached long streamers of different coloured ribbons. A lady takes one of these to several of her fair companions in turn, each of whom chooses a ribbon, and, holding it firmly in her hand, follows the leading lady to the room. Here they are met by an equal number of gentlemen, likewise grouped around a leader who carries the pole, while each holds a streamer of his favourite colour, or that which he imagines would be selected by the _dame de ses pensées_. The merry groups compare notes: those who possess streamers of the same colour pair off in couples, and valse gaily round the room, returning to places as before.

Six or eight ladies and the same number of gentlemen form in two lines, facing each other. The leading lady throws a soft worsted ball of bright colours at the gentleman with whom she wishes to dance. He catches it, throws it back to the fair group, and valses off with his partner. Whoever catches the returning ball, has the right to throw next; and the same ceremony is repeated until all have chosen their partners, with whom they valse round the room, returning to places as usual. Sometimes a handkerchief is substituted for the ball; but the latter is better, being more easily thrown and caught.

Six or eight chairs are placed in a circle, the backs turned inwards. Ladies seat themselves in the chairs, gentlemen move slowly round in front of them. Each lady throws her handkerchief or bouquet at the gentleman with whom she wishes to dance as he passes before her. Valse round as usual and return to places.

Sometimes a gentleman is blindfolded, and placed in a chair. Two ladies take a seat on either side of him; and he is bound to make his selection without seeing the face of his partner. Having done so, he pulls the covering from his eyes, and valses off with her. It is a curious circumstance that mistakes seldom occur, the gentleman being generally sufficiently _clairvoyant_ to secure the partner he desires.

We have here described a few of the most striking figures of the Cotillon. We might multiply them to an extent which would equally tax the patience of our readers and our own powers of remembrance; but we forbear. Enough has been told to show the graceful, coquettish character of the dance, which adapts itself admirably to the Italian nature, and is as much beloved by them as the Valse by the Germans or the Cachucha by the dark-eyed maidens of Spain. We should rejoice to see this charming stranger naturalised in English ball-rooms. It is especially adapted to sociable gatherings, where most of the guests are friends or acquaintances.

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XXII.--THE SPANISH DANCE.

This pretty though now somewhat old-fashioned dance was, before the introduction of the _Deux Temps_ and Polka, a principal feature in every ball-room. It is danced with the step and music of the Old _Valse à Trois Temps_, played slower than the music of the _Deux Temps_.

Sometimes the couples stand in two long parallel lines, as in a country dance; sometimes they are arranged in a circle. The leading gentleman must be on the ladies' side, and his partner on the gentleman's side. Every fourth lady and gentleman exchange places, to avoid the necessity of keeping the other couples waiting. The whole set can thus begin at the same moment.

Leading gentleman and _second_ lady advance and retreat with Valse step, and change places. Leading lady and second gentleman do the same at the same time.

Leading gentleman and his partner advance and retreat, and change places. Second lady and gentleman do the same at same time. Leading gentleman and second lady repeat this figure; first lady and second gentleman likewise, at same time.

Leading gentleman and first lady repeat same figure; second gentleman and lady repeat at same time.

All four, joining hands, advance to centre, and retreat. Ladies pass to the left. Repeat three times. Each gentleman takes his partner, and the two couples valse round each other once or twice at pleasure; the second lady and gentleman being left at the top of the figure, as in a country dance. Leading gentleman and partner repeat same figure with succeeding couple to end of dance.

It is obvious that there must be an equal number of couples; and that they must be arranged in sets of four, eight, sixteen, twenty, twenty-four, and so on.

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XXIII.--LA TEMPÊTE.

La Tempête was brought over to this country from Paris some years ago. It speedily became a favourite, and for several seasons was much danced in London and the provinces. It unites the cheerfulness of the quadrille with the sociability of the country dance; and when its lively figures are correctly performed, it is both amusing and animated.

It is divided into parties of four couples, like the quadrille; but their arrangement is different. Two couples stand side by side, facing their respective _vis-à-vis_; there are not any side couples. As many sets of four couples can be thus arranged as the room will accommodate. Each new set turns its back upon the second line of the preceding set. Thus the dance can be the whole length of the room, but is only the breadth of two couples. The figure is as follows:--

Place two couples side by side, the lady standing at the right hand of the gentleman. Place two other couples as their _vis-à-vis_. Next place two couples with their backs turned to the first set; two couples opposite them for their _vis-à-vis_; and continue arranging more sets of four couples according to the number of the dancers and the size of the room.

_First part_.--All the couples begin at the same moment, by advancing and retreating twice, with joined hands. First couples (that is, all whose backs are turned to the top of the room) cross, with hands joined, to the places of their _vis-à-vis_. The latter cross at the same time, but, separating, pass outside top couples to the top, where they join hands, return to own places, and back again to the top without separating; the top couples crossing separately at the same time outside the second couples. Top couples then join hands, and all return to their own places, second couples separating to allow the others to pass between them.

Lady and gentleman in the centre of each line join hands, giving their disengaged hands to their two _vis-à-vis_. All four half round to the left, then half round back again to places. Meantime, the outside lady and gentleman perform the same with their respective _vis-à-vis_, making a circle of two instead of four. Circle of four give hands across round; change hands; round once more, and back to places. Outside couples perform same figure in twos. All the sets perform the figure at the same moment.

_Second part_.--All advance, retreat, and advance again; all the top couples passing the second couples into the next line, where they re-commence the same figure, their former _vis-à-vis_ having passed to the top, and turned round to wait for a fresh _vis-à-vis_; gentleman always keeping lady at his right hand. An entire change of places is thus effected, which is continued throughout this figure, until all the top lines have passed to the bottom, the bottom lines at the same time passing to the top; and then turning round, all go back again by the same method reversed, till all have regained their original places. The dance may terminate here, or the last figure may be repeated, at pleasure. When the first exchange of _vis-à-vis_ takes place, the new lines at the top and bottom find themselves for a moment without a _vis-à-vis_; but, at the next move forward, they are provided, and can continue the figure as above described. We extract from a contemporary the following graceful variation in the first half of this dance:--"All advance and retire twice (hands joined). All _vis-à-vis_ couples _chassez croisez en double_, each gentleman retaining his partner's left hand; eight _galop_ steps (four bars); _déchassez_ eight steps (four steps), the couple on the right of the top line passing in front of the couple on the left the first time, returning to place, passing behind. Thus, two couples are moving to the right, and two to the left. This is repeated. The _vis-à-vis_ couples do likewise at the same time. This of course applies to all the couples, as all commence at the same time."

La Tempête is danced to quick music, in 2/4 time. The steps are the same as in quadrilles; varied sometimes by the introduction of the _galop_ step, when the couples cross to each others' places or advance into the lines of the next set.

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XXIV.--SIR ROGER DE COVERLEY.

We conclude our account of the dances now most in vogue with an old-fashioned favourite, whose popularity dates from a bygone age, and bids fair to survive the present one. Long may its cheerful rustic strains be heard in our ball-rooms, and prove we have not grown too fine or too foolish to take pleasure in the simple dances of our ancestors. Sir Roger de Coverley is always introduced at the end of the evening; and no dance could be so well fitted to send the guests home in good humour with each other and with their hosts. We describe it as it is danced in the present day, slightly modernised to suit the taste of our time. Like the quadrille, it can be danced with equal propriety by old or young; and is so easy, that the most inexperienced dancer may fearlessly venture to take part in it.

Form in two parallel lines; ladies on the left, gentlemen on the right, facing their partners. All advance; retreat (which occupies the first four bars); cross to opposite places (four bars more); advance and retreat (four bars); re-cross to places (four bars).

The lady who stands at the top, and the gentleman who stands at the bottom, of each line, advance towards each other, courtesy and bow, and retire to places. The gentleman at the top and the lady at the bottom do the same. Lady at top and gentleman at bottom advance again, give right hands, and swing quickly round each other back to places. Gentleman at top and lady at bottom do the same. Top lady advances, gives right hand to partner opposite, and passes behind the two gentlemen standing next to him. Then through the line and across it, giving left hand to partner, who meets her half way between the two lines, having in the meantime passed behind the two ladies who stood next his partner. Lady then passes behind the two ladies next lowest; gentleman at same time behind the two gentlemen next lowest; and so on all down the line. At the bottom, lady gives left hand to her partner, and they promenade back to places at the top of the line. (This figure is frequently omitted.) Top couple advance, courtesy and bow, then lady turns off to the right, gentleman to the left, each followed by the rest of her or his line. Top couple meet at the bottom of figure, join hands, and, raising their arms, let all the other couples pass under them towards the top of the line, till all reach their own places, except the top, who have now become the bottom couple. Figure is repeated from the beginning, until the top couple have once more worked their way back to their original places at the top of the line.

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Glossary

Throughout the Ball-room Guide we have endeavoured to avoid as much as possible the rise of French words, and to give our directions in the plain mother tongue. Nevertheless there must always be certain technical terms, such as _chassez croisez, glissade_, &c., &c., for which it would be difficult to find good English equivalents. We therefore subjoin a Glossary of all such words and expressions as have long since been universally accepted as the accredited phraseology of the Ball-room.

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A vos places, _back to your own places_.

A la fin, _at the end_.

A droite, _to the right_.

A gauche, _to the left_.

Balancez, _set to your partners_.

Balancez aux coins, _set to the corners_.

Balancez quatre en ligne, _four dancers set in a line, joining hands, as in La Poule_.

Balancez en moulinet, _gentlemen and their partners give each other right hands across, and_ balancez _in the form of a cross_.

Balancez et tour des mains, _all set to partners, and turn to places. (See_ Tour des mains.)

Ballotez, _do the same step four times without changing your place_.

Chaine Anglaise, _opposite couples right and left_.

Chaine des dames, _ladies' chain_.

Chaine Anglaise double, _double right and left_.

Chaine des dames double, _all the ladies perform the ladies' chain at the same time_.

Chassez croisez, _do the_ chassé _step from left to right, or right to left, the lady passing before the gentleman in the opposite direction, that is, moving right if he moves left, and vice versâ_.

Chassez croisez et déchassez, _change places with partners, ladies passing in front, first to the right, then to the left, back to places. It may be either_ à quatre _four couples--or_ les huit--_eight couples_.

Chassez à droite--à gauche, _move to the right--to the left_.

Le cavalier seul, _gentleman advances alone_.

Les cavaliers seuls deux fois, _gentlemen advance and retire twice without their partners_.

Changez vos dames, _change partners_.

Contre partie pour les autres, _the other dancers do the same figure_.

Demi promenade, _half promenade_.

Demi chaine Anglaise, _half right and left_.

Demi moulinet, _ladies all advance to centre, right hands across, and back to places_.

Demi tour à quatre, _four hands half round_.

Dos-à-dos, _lady and opposite gentleman advance, pass round each other back to back, and return to places_.

Les dames en moulinet, _ladies give right hands across to each other, half round, and back again with left hands_.

Les dames donnent la main droite--gauche--à leurs cavaliers, _ladies give the right--left--hands to partners_.

En avant deux et en arrière; _first lady and_ vis-à-vis _gentleman advance and retire. To secure brevity_, en avant _is always understood to imply_ en arrière _when the latter is not expressed_.

En avant deux fois, _advance and retreat twice_.

En avant quatre, _first couple and their_ vis-à-vis _advance and retire_.

En avant trois, _three advance and retire, as in La Pastorale_.

Figurez devant, _dance before_.

Figurez à droite--à gauche, _dance to the right--to the left_.

La grande tour de rond, _all join hands and dance, completely round the figure in a circle back to places_.

Le grand rond, _all join hands, and advance and retreat twice, as in La Finale_.

Le grand quatre, _all eight couples form into squares_.

La grande chaine, _all the couples move quite round the figure, giving alternately the right and left hand to each in succession, beginning with the right, until all have regained their places, as in last figure of the Lancers_.

La grande promenade, _all eight (or more) couples promenade all round the figure back to places_.

La main, _the hand_.

La meme pour les cavaliers, _gentlemen do the same_.

Le moulinet, _hands across. The figure will explain whether it is the gentlemen, or the ladies, or both, who are to perform it_.

Pas d'Allemande, _the gentleman turns his partner under each arm in succession_.

Pas de Basque, _a kind of sliding step forward, performed with both feet alternately in quick succession. Used in the Redowa and other dances. Comes from the South of France_.

Glissade, _a sliding step_.

Le Tiroir, _first couple cross with hands joined to opposite couple's place, opposite couple crossing separately outside them; then cross back to places, same figure reversed_.

Tour des mains, _give both hands to partner, and turn her round without quitting your places_.

Tour sur place, _the same_.

Tournez vos dames, _the same_.

Tour aux coins, _turn at the corners, as in the Caledonians, each gentleman turning the lady who stands nearest his left hand, and immediately returning to his own place_.

Traversez, _cross over to opposite place_

Retraversez, _cross back again_.

Traversez deux, en dormant la main droite, _lady and_ vis-à-vis _gentleman cross, giving right hand, as in La Poule_.

Vis-à-vis, _opposite_.

Figure en tournant, _circular figure_.

Etiquette of Courtship and Matrimony

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I.--FIRST STEPS IN COURTSHIP.

It would be out of place in these pages to grapple with a subject so large as that of Love in its varied phases: a theme that must be left to poets, novelists, and moralists to dilate upon. It is sufficient for our purpose to recognize the existence of this the most universal--the most powerful--of human passions, when venturing to offer our counsel and guidance to those of both sexes who, under its promptings, have resolved to become votaries of Hymen, but who, from imperfect knowledge of conventional usages, are naturally apprehensive that at every step they take, they may render themselves liable to misconception, ridicule, or censure.

We will take it for granted, then, that a gentleman has in one way or another become fascinated by a fair lady--possibly a recent acquaintance--whom he is most anxious to know more particularly. His heart already feels "the inly touch of love," and his most ardent wish is to have that love returned.