50 THE CURRANT TREE WAS INTRODUCED IN 1533. tleman, hopping, strikes the left heel three times against the right heel, and then jumps half round on the left foot; he then strikes the right heel three times against the left, and jumps on the right foot, completing the circle. The lady does the same steps with reverse feet. Third. The gentleman raises up the left foot, steps it lightly on the ground forward, then strikes the right heel smartly twice, and glissades half round. The same is then done with the other foot. The lady begins with the right foot. 136. VALSE A DEUX TEMPS.-This waltz contains, like the common waltz, three times, but differently divided. The first time consists of a gliding step; the second a chassez, including two times in one. A chassez is performed by bringing one leg near the other, then moving it forward, backward, right, left, and round. The gentleman begins by sliding to the left with his left foot, then performing a chassez towards the left with his right foot without turning at all during the first two times. He then slides backwards with his right leg, turning half round; after which he puts his left leg behind, to perform a chassez forward, turning then half round for the second time. The lady waltzes in the same manner, except that the first time she slides to the right with the right foot, and also performs the chassez on the right, and continues the same as the gentleman, except that she slides backwards with her right foot when the gentleman slides with his left foot to the left; and when the gentleman slides with his right foot backwards, she slides with the left foot to the left. To perform this waltz gracefully, care must be taken to avoid jumping, but merely to slide, and keep the knees slightly bent. 137. CIRCASSIAN CIRCLE.-The company is arranged in couples round the room-the ladies being placed on the right of the gentlemen,-after which, the first and second couples lead off the dance. Figure. Right and left, set and turn partners-ladies chain, waltz.-At the conclusion, the first couple with fourth, and the second with the third couple, recommence the figure, and so on until they go completely round the circle, when the dance is concluded. 138. POLKA. In the polka there are but two principal steps, all others belong to fancy dances, and much mischief and inconvenience is likely to arise from their improper introduction into the ball-room. First step. The gentleman raises the left foot slightly behind the right, the right foot is then jumped upon, and the left brought forward with a glissade. The lady commences with the right, jumps on the left, and glissades with the right. The gentleman during his step has hold of the lady's left hand with his right. Second step. The gentleman lightly hops the left foot forward on the heel, then hops on the toe, bringing the left foot slightly behind the right. He then glissades with the left foot forward; the same is then done, commencing with the right foot. The lady dances the same step, only beginning with the right foot.-There are a variety of other steps of a fancy character, but they can only be understood with the aid of a master, and even when well studied, must be introduced with care. The polka should be danced with grace and elegance, eschewing all outré and ungainly steps and gestures, taking care that the leg is not lifted too high, and that the dance is not commenced in too abrupt a manner. Any number of couples may stand up, and it is the privilege of the gentleman to form what figure he pleases, and vary it as often as his fancy and taste may dictate. First Figure. Four or eight bars are devoted to setting forwards and backwards, turning from and towards your partner, making a slight hop at the commencement of each set, and holding your partner's left hand; you then perform the same step (forwards) all round the room. Second Figure. The gentleman faces his partner, and does the same step backwards all round the room, the lady following with the oppo CABBAGE, CARROTS, ETC., WERE NOT KNOWN BEFORE 1547. 51 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. room. 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 step down the middle and back againtwo first couples polka waltz. couple repeat with the third couple, then with fourth, and so on to the end of dance. First 139. THE GORLITZA is similar to the polka, the figures being waltzed through. 140. THE SCHOTTISCHE.-The gentleman holds the lady precisely as in the polka. Beginning with the left foot, 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 principle as the gentleman's. Vary, by a reverse turn; or by going in a straight line round the room. Double, if you like, each part, by giving four bars to the first part, and four bars to the second part. The time may be stated as precisely the same as in the Polka; but let it not be forgotten that La Schottische ought to be danced much slower. 144. TERMS USED TO DESCRIBE THE Chaine Anglaise double.-The right and left double. Chaine des Dames.-The ladies' chain. Chaine des Dames double.-The ladies' chain double, which is performed by all the ladies commencing at the same time. Chassez.-Move to the right and left. Chassez croisez.--Gentlemen change places with partners, and back again. Demie Chaine Anglaise. The four opposite persons half right and left. Demie Promenade. All eight half promenade. Dos-à-dos.-The two opposite persons pass round each other. Demi Moulinet. -The ladies all advance to the centre, giving hands, and return to places. 82 COFFEE WAS FIRST BROUGHT TO ENGLAND IN 1041. La Grande Chaine.-All eight chassez quite round, giving alternately right and left hands to partners, beginning with the right. Le Grand Rond.-All join hands and advance and retire twice. Pas d'Allemande. - The gentlemen turn the partners under their arms. Traversez. The two opposite persons change places. Vis-à-vis.-The opposite partner. 145. Scandal-Live it down. SHOULD envious tongues some malice frame, To soil and tarnish your good name, Live it down! Grow not dishearten'd; 'tis the lot Live it down! Rail not in answer, but be calm; Live it down! Go not among your friends and say, Live it down! Far better thus yourself alone Live it down! What though men evil call your good! Live it down! formance this evening!" Considering that most amateur performances are premature, we hesitate to say that this word was misapplied; though, evi dently, the maternal intention was to convey quite another meaning. 147. OTHER ERRORS ARISE from the substitution of sounds similar to the words which should be employed; that is, spurious words instead of genuine ones. Thus, some people say "renumerative," when they mean munerative." A nurse, recommending her mistress to have one of the newlyinvented carriages for her child, advised her to purchase a preamputator! re 148. OTHER ERRORS ARE OCCASIONED by imperfect knowledge of the English grammar. Thus, many people say, "Between you and I," instead of "Between you and me." By the misuse of the adjective: "What beautiful butter!" What a nice landscape!' They should say, "What a beautiful landscape!" "What nice butter!" And by numerous other departures from the rules of grammar, which will be pointed out hereafter. 149. BY THE MISPRONUNCIATION OF WORDS. Many persons say pronounciation instead of pronunciation others say pro-nun'-she-a-shun, instead of pro-nun-ce-a-shun. 150. BY THE MISDIVISION OF WORDS and syllables. This defect makes the words an ambassador sound like a nam-bassador, or an adder like a nadder. 151. BY IMPERFECT ENUNCIATION, as when a person says hebben for heaven, ebber for ever, jocholate for chocolate, &c. 152. BY THE USE OF PROVINCIALISMS, or words retained from various dialects, of which we give the following examples : 146. Errors in Speaking. There are several kinds of errors in speaking. The most objectionable of them are those in which words are employed that are unsuitable to convey the meaning intended. Thus, a person wishing to express his intention of going to a given place, says, "I propose going," when, in fact, he purposes going. An amusing illustration of this class of error was overheard by ourselves. A 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-a-theere for there; e-reed, seeven, for 153. CAMBRIDGESHIRE, CHESHIRE, SUFFOLK, &c.-Foyne, twoyne, for fine, twine; ineet for night; ǎ-mon for man; poo for pull. PHOSPHORUS WAS DISCOVERED IN 1677. red, seven; bleedin' for bleeding; hawf for half; saumon for salmon. 155. DEVONSHIRE, CORNWALL, &c. -F-vind for find; fet for fetch; wid for with; zee for see; tudder for the other; drash, droo, for thrash, and through; gewse for goose; Toosday for Tuesday. 156. ESSEX, LONDON, &c.-V-wiew for view; vent for went; vite for white; ven for when; vot for what. &c.-Clom 157. HEREFORD, for climb; hove for heave; puck for pick; rep for reap; sled for sledge. 158. LEICESTERSHIRE, LINCOLNSHIRE, LANCASHIRE, &c.-Housen for houses; a-loyne for lane; mon for man; thik for this; brig for bridge; thack, pick, for thatch, pitch. 159. YORKSHIRE, &c.-Foyt for foot; foight for fight; o-noite, foil, coil, hoil, for note, foal, coal, hole; loyne for lane; o-nooin, gooise, fooil, tooil, for noon, goose, fool, tool; spwort, scworn, whoam, for sport, scorn, home; g-yet for gate. 160. THE FOLLOWING EXAMPLES of provincial dialects will be found very amusing: 58 caan't tell my A, B, C, and I wud 66 162. THE MIDDLESEX THIMBLERIGGER.-Now, then, my jolly sports. men, I've got more money than the parson of the parish. Those as don't play can't vin, and those as are here harn't there! I'd hold any on you, from a tanner to a sovereign, or ten, as 161. THE CORNWALL SCHOOLBOY. you don't tell which thimble the pea is -An ould man found, one day, a young under." "It's there, sir." "I barr gentleman's portmantle, as he were a tellings." "I'll go it again." "Vat going to es dennar; he took'd et en and you don't see don't look at, and vat gived et to es wife, and said, "Mally, you do see don't tell. I'll hould you a here's a roul of lither, look, see, I sup- soveren, sir, you don't tell me vitch poase some poor ould shoemaker or thimble the pea is under." "Lay him, other have los en; tak'en, and put'en a sir (in a whisper), it's under the middle top of the teaster of tha bed; he'll be 'un. I'll go you halves." Lay him glad to hab'en agin sum day, I dear another; that's right." "I'm blow'd, say.' The ould man, Jan, that was es but we've lost; who'd a thought it?" neame, went to es work as before. Smack goes the flat's hat over his eyes; Mally than opened the portmantle, and exit the confederates, with a loud laugh. found en et three hunderd pounds. 163. HINTS TO THOSE WHO HAVE Soon after thes, the ould man not being PIANOFortes. Damp is very injuvery well, Mally said, "Jan, I'ave rious to a pianoforte; it ought theresaaved away a little money, by the bye, fore to be placed in a dry place, and not and as thee caan't read or write, thee exposed to draughts. shu'st go to scool" (he were then nigh Keep your piano free from dust, threescore and ten). He went but a very and do not allow needles, pins, or bread short time, and comed hoam one day to be placed upon it, especially if the and said, "Mally, I waint go to scool no key-board is exposed, as such articles more, 'caase the childer do be laffen at are apt to get inside and produce a jarme; they can tell their letters, and I ring or whizzing sound. 54 AVERAGE WEIGHT OF MAN'S BRAIN, 3 LBS.; WOMAN'S, 2 LBS. 11 oz. Do not load the top of a piano with involve a closer application than our books, music, &c., as the tone is thereby readers generally could afford, and deadened, and the disagreeable noise would require much more space than alluded to in the last paragraph is often produced likewise. Have your piano tuned about every two months; whether it is used or not, the strain is always upon it, and if it is not kept up to concert pitch it will not stand in tune when required, which it will do if attended to regularly. An upright instrument sounds better if placed about two inches from the wall. When not in use keep the piano locked. To make the polish look nice, rub it with an old silk handkerchief, being careful first that you have dusted off any small particles, which otherwise are apt to scratch the surface. Should any of the notes keep down when struck, it is a sure sign that there is damp somewhere, which has caused the small note upon which the key works to swell. 164. MEASTER GODDIN used to zay as how children costed a sight o' money to breng um up, and 'twas all very well whilst um was leetle, and zucked th' mother, but when um begind to zuck the vather, 'twas nation akkerd! 165. YORKSHIRE.-Men an' women is like so monny cards, played wi' be two opponents, Time an' Eternity: Time gets a gam' noo an' then, and hez t'pleasure o' keepin' his cards for a bit, bud Eternity's be far t'better hand, an' proves, day be day, an' hoor be hoor, 'at he's winnin incalcalably fast." Hoo sweet, hoo varry sweet is life!" as t' flee said when he wur stuck i' treacle! 166. Persons bred in these localities, and in Ireland and Scotland, retain more or less of their provincialisms; and, therefore, when they move into other districts, they become conspicuous for the peculiarities of their speaking, In many cases they appear vulgar and uneducated, when they are not so. It is, therefore, very desirable for all persons to approach the recognized standard of correctness as nearly as possible. 167. TO CORRECT THESE ERRORS by a systematic course of study would we can devote to the subject. We will therefore give numerous Rules and Hints, in a concise and simple form, which will be of great assistance to inquirers. These Rules and Hints will be founded upon the authority of scholars, the usages of the bar, the pulpit, and the senate, and the authority of societies formed for the purpose of collecting and diffusing knowledge pertaining to the language of this country. 168. Rules and Hints for Correct Speaking.-1. Who and whom are used in relation to persons, and which in relation to things. But it was once common to say, "the man which." This should now be avoided. It is now usual to say, "Our Father who art in heaven," instead of "which art in heaven." 2. Whose is, however, sometimes applied to things as well as to persons. We may therefore say, "The country whose inhabitants are free." [Grammarians differ in opinion upon this subject, but general usage justifies the rule.] 3. Thou is employed in solemn discourse, and you in common language, Ye (plural) is also used in serious addresses, and you in familiar language. 4. The uses of the word It are various, and very perplexing to the uneducated. It is not only used to imply persons, but things, and even ideas, and therefore, in speaking or writing, its assistance is constantly required. The perplexity respecting this word arises from the fact that in using it in the construction of a long sentence, sufficient care is not taken to insure that when it is employed it really points out or refers to the object intended. For instance, "It was raining when John set out in his cart to go to the market, and he was delayed so long that it was over before he arrived." Now what is to be understood by this sentence? Was the rain over? or the market? Either or both might be inferred from the con |