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lady's place, and stop—the four gentle- same as quadrille. First couple waltz men move to left, each taking the round inside; first and second ladies next gentleman's place, and stop-the advance twice and cross over, turning ladies repeat the same to the right twice; first and second gentlemen do

—then the gentlemen to the left. All the same; third and fourth couples the join hands and promenade round to same; first and second couples waltz to places, and turn partners. Repeated by places, third and fourth do the same; the other couples. Fifth Figure.—The all waltz to partners, and turn half first couple promenade or waltz round round with both hands, meeting the inside the figure. The four ladies ad- next lady; perform this figure until in vance, join hands round, and retire your places; form two side lines, all then the gentlemen perform the same advance twice and cross over, turning -all set and turn partners. Chain figure twice; the same, returning; all waltz of eight half round, and set. All pro- round; the whole repeated four times. menade to places and turn partners. All 129. LA GALOPADE is an change sides, join right hands at corners, tremely graceful and spirited dance, in a and set-back again to places. Finish continual chassez. An unlimited numwith grand promenade. These three ber may join; it is danced in couples, are the most admired of the quadrilles : as waltzing. the First Set invariably takes precedence 130. THE GALOPADE QUADRILLES.of every other dance.

1st, Galopade. 2nd, Right and left, 127. SPANISH DANCE.— Danced in sides the same. 3rd, Set and turn a circle or a line by sixteen or twenty hands all eight. 4th, Galopade. 5th, couples. The couples stand as for a Ladies' chain, sides the same. 6th, Country Dance, except that the first Set and turn partners all eight. 7th gentleman must stand on the ladies' | Galopade. 8th, Tirois, sides the same. side, and the first lady on the gentle-9th, Set and turn partners all eight. men's side. First gentleman and second 10th, Galopade. 11th, Top lady and lady balancez to each other, while first bottom gentleman advance and retire, lady and second gentleman do the same, the other six do the same. 12th, Set and change places. First gentleman and turn partners all eight. 13th, and partner balancez, while second Galopade. 14th, Four ladies advance gentleman and partner do the same, and retire, gentlemen the same. 15th, and change places. First gentleman Double ladies' chain. 16th, Set and and second lady balancez, while first tum partners all eight. 17th, Galopade, lady and second gentleman do the same, 18th, Poussette, sides the same. 19th, and change places. First gentleman Set and turn. 20th, Galopade waltz. and second lady balancez to partners, 131. THE MAZURKA.—This dance is and change places with them. All four of Polish origin—first introduced into join hands in the centre, and then England by the Duke of Devonshire, change places, in the same order as the on his return from Russia. It consists foregoing figure, four times. All four of twelve movements; and the first poussette, leaving the second lady and eight bars are played (as in quadrilles) gentleman at the top, the same as in a before the first movement commences. Country Dance. The first lady and 132. THE REDOWA WALTZ is comgentleman then go through the same posed of three parts, distinct from each figure with the third lady and gentle- other. 1st, The pursuit.

2nd, The man, and so proceed to the end of the waltz called Redowa. 3rd, The Waltz dance. This figure is sometimes danced à Deux Temps, executed to a peculiar in eight bars time, which not only measure, and which, by a change of the hurries and inconveniences the dancers, rhythm, assumes a new character. The but also ill accords with the music. middle of the floor must be reserved

128. Waltz COTILLON.—Places the for the dancers who execute the proA LADY IN AMERICA MADE A QUILT IN 65,655 Pieces. menade, called the pursuit, while those selves at every two bars, the gentleman who dance the waltz turn in a circle with his left foot forwards, and the lady about the room. The position of the with her right, that is to say, we should gentleman is the same as for the waltz. make one whole and one half step to The gentleman sets out with the left every bar. The music is rather slower foot, and the lady with the right. In than for the ordinary waltz. the pursuit the position is different, the 133. VALSE CELLARIUS.—The gengentleman and his partner face, and tleman takes the lady's left hand with take each other by the hand. They his right, moving one bar to the left by advance or fall back at pleasure, and glissade, and two hops on his left foot, balance in advance and backwards. To while the lady does the same to the advance, the step of the pursuit is made right, on her right foot; at the second by a glissade forward, without spring- bar they repeat the same with the other ing, coupé with the hind foot, and jetė foot - this is repeated for sixteen bars ; on it. You recommence with the other they then waltz sixteen bars, glissade foot, and so on throughout. The re- and two hops, taking care to occupy the tiring step is made by a sliding step of time of two bars to get quite round. the foot backwards, without spring, The gentleman now takes both hands jete with the front foot, and coupé with of the lady, and makes the grand square the one behind. It is necessary to ad---moving three bars to his left-at the vance well upon the slidi step, and to fourth bar making two beats while spring lightly in thetwoothers, sur place, turning the angle; his right foot is now balancing equally in the pas de poursuite, moved

forward to the other angle three which is executed alternately by the bars—at the fourth, beat again while left in advance, and the right backwards. turning the angle; the same repeated The lady should follow all the move- for sixteen bars—the lady having her ments of her partner, falling back when right foot forward when the gentleman he advances, and advancing when he has his left foot forward; the waltz is falls back. Bring the shoulders a little again repeated; after which several other forward at each sliding step, for they steps are introduced, but which must should always follow the movement of needs be seen to be understood. the leg as it advances or retreats; but 134. CIRCULAR WALTZ.—The aan. this should not be too marked. When cers form a circle, then promenade the gentleman is about to waltz, he during the introduction—all waltz sixshould take the lady's waist, as in the teen bars-set, holding partner's right ordinary waltz. The step of the hand, and turn-waltz thirty-two bars Redowa, in turning, may be thus de---rest, and turn partners slowly-face scribed. For the gentleman-jeté of partner and chassez to the right and left the left foot, passing before the lady. -pirouette lady twice with the right Glissade of the right foot behind to the hand, all waltz sixteen bars—set and fourth position aside the left foot is turn—all form a circle, still retaining brought to the third position behind the lady by the right hand, and move then the pas de basque is executed by round to the left, sixteen bars—waltz the right foot, bringing it forward, and for finale. you recommence with the left.

The 135. POLKA WALTZES.—The couples pas de basque should be made in three take hold of hands as in the usual waltz. very equal beats, as in the Mazurka. First Waltz. The gentleman hops the The lady performs the same steps as left foot well forward, then back; and the gentleman, beginning by the pas de glissades half round. He then hops basque with the right foot. To waltz the right foot forward and back, and à deux temps to the measure of the glissades the other half round. The Redowa, we should make each step lady performs the same steps, beginning upon each beat of the bar, and find our with the right foot. Second. The gen

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tleman, hopping, strikes the left heel the conclusion, the first couple with three times against the right heel, and fourth, and the second with the third then jumps half round on the left foot; couple, recommence the figure,-and so he then strikes the right heel three on until they go completely round the times against the left, and jumps on the circle, when the dance is concluded. right foot, completing the circle. The 138. Polka.—In the polka there lady does the same steps with reverse are but two principal steps, all others feet. Third. The gentleman raises up belong to fancy dances, and much misthe left foot, steps it lightly on the chief and inconvenience is likely to ground forward, then strikes the right arise from their improper introduction heel smartly twice, and glissades half into the ball-room. First step. The round. The same is then done with gentleman raises the left foot slightly the other foot. The lady begins with behind the right, the right foot is then the right foot.

jumped upon, and the left brought 138. VALSE A Deux TEMPS.—This forward with a glissade.

The lady waltz contains, like the common waltz, commences with the right, jumps on three times, but differently divided. the left, and glissades with the right. The first time consists of a gliding step; The gentleman during his step has the second a chassez, including two hold of the lady's left hand with his times in one. A chassez is performed right. Second step. The gentleman by bringing one leg near the other, then lightly hops the left foot forward on moving it forward, backward, right, left, the heel, then hops on the toe, bringing and round. The gentleman begins by the left foot slightly behind the right. sliding to the left with his left foot, He then glissades with the left foot then performing a chassez towards the forward; the same is then done, comleft with his right foot without turning mencing with the right foot. The lady at all during the first two times. He dances the same step, only beginning then slides backwards with his right with the right foot.- There are a variety leg, turning half round; after which he of other steps of a fancy character, but puts his left leg behind, to perform a they can only be understood with the chassez forward, turning then half aid of a master, and even when well round for the second time. The lady studied, must be introduced with care. waltzes in the same manner, except that The polka should be danced with the first time she slides to the right with grace and elegance, eschewing all outré the right foot, and also performs the and ungainly steps and gestures, taking chassez on the right, and continues the care that the leg is not lifted too high, same as the gentleman, except that she and that the dance is not commenced slides backwards with her right foot in too abrupt a manner. Any number when the gentleman slides with his left of couples may stand up, and it is the foot to the left; and when the gentleman privilege of the gentleman to form what slides with his right foot backwards, she figure he pleases, and vary it as often slides with the left foot to the left. To as his fancy and taste may dictate. perform this waltz gracefully, care must First Figure. Four or eight bars are debe taken to avoid jumping, but merely voted to setting forwards and backto slide, and keep the knees slightly wards, turning from and towards your bent.

partner, making a slight hop at the 137. CIRCASSIAN CIRCLE.—The com- commencement of each set, and holding pany is arranged in couples round the your partner's left hand; you then perroom—the ladies being placed on the form the same step (forwards) all round right of the gentlemen, -after which, the room. Second Figure. The gentlethe first and second couples lead off the man faces his partner, and does the dance. Figure. Right and left, set and same step backwards all round the turn partners—ladies chain, waltz.-At room, the lady following with the oppo




site foot, and doing the step forwards. -All form two lines, ladies on the right, Third figure. The same as the second gentlemen on the left. Figure. Top figure, only reversed, the lady stepping lady and second gentleman heel and toe backwards, and the gentleman forwards, (polka step) across to each other's placealways going the same way round the second lady and top gentleman the same.

Fourth figure. The same step Top lady and second gentleman retire as figures two and three, but turning back to places second lady and top as in a waltz.

gentleman the same. Two couples polka 139. THE GORLITZA is similar to the step down the middle and back againpolka, the figures being waltzed through. two first couples polka waltz. First

140. THE SCHOTTISCHE.—The gen- couple repeat with the third couple, tleman holds the lady precisely as in the then with fourth, and so on to the end polka. Beginning with the left foot, of dance. he slides it forward, then brings up 143. The HIGHLAND REEL. This the right foot to the place of the left, dance is performed by the company slides the left foot forward, and springs arranged in parties of three, along the or hops on this foot. This movement room in the following manner: a lady is repeated to the right. He begins between two gentlemen, in double rows. with the right foot, slides it forward, All advance and retire-each lady then brings up the left foot to the place of performs the reel with the gentleman the right foot, slides the right foot on her right hand, and retires with the forward again, and hops upon it. The opposite gentleman to places --hands gentleman springs twice on the left three round and back again-all six foot, turning half round; twice on the advance and retire—then lead through right foot; twice encore on the left to the next trio, and continue the figure foot, turning half round; and again to the end of the room. Adopt the twice on the right foot, turning half Highland step, and music of three-part round. Beginning again, he proceeds tune. as before. The lady begins with the right foot, and her step is the same in 144. TERMS USED TO DESCRIBE THE principle as the gentleman's. Vary, by

MOVEMENTS OF DANCES. à reverse turn; or by going in a straight Balancez.-Set to partners. line round the room. Double, if you Chaine Anglaise.—The top and bottom like, each part, by giving four bars to couples right and left. the first part, and four bars to the Chaine Anglaise double.--The right second part. The time may be stated and left double. as precisely the same as in the Polka ; Chaine des Dames.-The ladies' ehain. but let it not be forgotten that La Chaine des Dames double.-The ladies' Schottische ought to be danced much chain double, which is performed by slower.

all the ladies commencing at the same 141. COUNTRY DANCES.—Sir Roger time. de Coverley.-First lady and bottom gen- Chassez.—Move to the right and left. tleman advance to centre, salute, and Chassez croisez.--Gentlemen change retire; first gentleman and bottom lady, places with partners, and back again.

First lady and bottom gentle- Demie Chaine Anglaise.--The four man advance to centre, turn, and retire; opposite persons half right and left. first gentleman and bottom lady the Demie Promenade. - All eight half

Ladies promenade, turning off promenade. to the right down the room, and back to Dos-à-dos.—The two opposite persons places, while gentlemen do the same, pass round each other. turning to the left; top couple remain Demi Moulinet.-The ladies all adat bottom; repeat to the end of dance. vance to the centre, giving hands, and

142. LA POLKA COUNTRY DANCES. return to places.



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La Grande Chaine. --All eight chassez formance this evening!". Considering quite round, giving alternately right and that most amateur performances are left hands to partners, beginning with premature, we hesitate to say that this the right.

word was misapplied; though, eviLe Grand Rond.--All join hands and dently, the maternal intention was to advance and retire twice.

convey quite another meaning. Pas d'Allemande. — The gentlemen 147. OTHER ERRORS ARISE from turn the partners under their arms. the substitution of sounds similar to

Traversez.—The two opposite persons the words which should be employed; change places.

that is, spurious words instead of Vis-à-vis.- The opposite partner. genuine ones. Thus, some people say

"renumerative,” when they mean re145. Scandal-Live it down.

munerative." A nurse, recommending SHOULD envious tongues some malice frame, her mistress to have one of the newlyTo soil and tarnish your good name,

invented carriages for her child, advised Live it down! her to purchase a preamputator !

148. OTHER ERRORS ARE OCCAGrow not dishearten'd; 'tis the lot Of all men, whether good or not:

SIONED by imperfect knowledge of the Live it down! English grammar. Thus, many people

say, “ Between you and I," instead of Rail not in answer, but be calm;

“ Between you and ma.”

By the misFor silence yields a rapid balm :

use of the adjective: “What beautiful Live it down! butter!” What a nice landscape!” They should say,

“ What a beautiful Go not among your friends and say, Evil hath fallen on my way:

landscape !What nice butter!And Live it down! by numerous other departures from the

rules of grammar, which will be pointed Far better thus yourself alone

out hereafter. To suffer, than with friends bemoan

149. BY THE MISPRONUNCIATION The trouble that is all your own :

OF WORDS. Many persons say proLive it down!

nounciation instead of pronunciation ; What though men evil call your good ! others say pro-nun'-she-a-shun, instead So CHRIST himself, misunderstood,

of pro-nun-ce-a-shun. Was nail'd unto a cross of wood !

150. By

MIŞDIVISION And now shall you, for lesser pain,

WORDS and syllables. This defect Your inmost soul for ever stain,

makes the words an ambassador sound By rendering evil back again?

like a nam-bassador, or an adder like Live it down!

a nadder. 146. Errors in Speaking. 151. BY IMPERFECT ENUNCIATION, There are several kinds of errors in as when a person says hebben for heaven, speaking. The most objectionable of ebber for ever, jocholate for chocolate, &c. them are those in which words are 152. BY THE USE OF PROVINCIALemployed that are unsuitable to convey ISMS, or words retained from various the meaning intended. Thus, a person dialects, of which we give the followwishing to express his intention of ing examples :going to a given place, says, “I

propose 153. CAMBRIDGESHIRE, CHESHIRE, going,” when, in fact, he purposes going. SUFFOLK, &c.-Foyne, twoyne, for fine, An amusing illustration of this class of twine ; ineet for night; å-mon for man; error was overheard by ourselves. A poo for pull. venerable matron was speaking of her 154. CUMBERLAND, SCOTLAND, &c. son, who, she said, was quite stage--Cuil, bluid, for cool, blood; spwort, struck. “In fact,” remarked the old scworn, whoam, for sport, scorn, home; lady, “he is going to a premature per-la-theere for there ; e-reed, seeven, for



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