IGNORANCE BOASTFUL, CONCEITED, AND SURE. 45 xxxi. Sans appeler is playing with- | unless the youngest hand and the rest out calling a king. have passed. xxxii. Sans prendre is erroneously used for sans appeler, meaning the same. xxxiii. Tenace is to wait with two trumps that must make when he who has two others is obliged to lead, such as the two black aces against manille or punto. xxxiv. Tours are the counters, which they who win put down, to mark the number of coups played. XXXV. Vole is to get all the tricks, either with a friend or alone, sans prendre, or declared at the first of the deal. 121. LAWS OF QUADRILLE. i. The cards are to be dealt by fours and threes, and in no other manner. The dealer is at liberty to begin by four or three. If in dealing there is a faced card, there must be a new deal, unless it is the last card. ii. If there are too many or too few cards, it is also a new deal. iii. No penalty is inflicted for dealing wrong, but the dealer must deal again. iv. He who has asked leave is obliged to play. v. No one should play out of his turn: if, however, he does, he is not basted for it, but the card played may be called at any time in that deal, provided it does not cause a revoke; or either of the adversaries may demand the partner of him who played out of his turn, or his own partner, to play any suit he thinks fit. vi. No matadore can be forced but by a superior matt; but the superior forces the inferior, when led by the first player. vii. Whoever names any suit for trumps must abide by it, even though it should happen to be his worst suit. viii. If you play with eleven cards you are basted. ix. If you play sans prendre or have matadores, you are to demand them before the next dealer has finished his deal, otherwise you lose the benefit. x. If any one name his trump without asking leave, he must play alone, xi. If any person play out of his turn, the card may be called at any time, or the adversary may call a suit. xii. If the person who won the sixth trick play the seventh card, he must play the vole. xiii. If you have four kings, you may call a queen to one of your kings, or call one of your kings; but you must not call the queen of trumps. xiv. If a card be separated from the rest, and it is seen, it must be played if the adverse party has seen it, unless the person who separated it play sans prendre. xv. If the king called, or his mated queen, play out of turn, no vole can be played. xvi. No one is to be basted for a renounce unless the trick be turned and quitted; and if any person renounce and it is discovered, if the player should happen to be basted by such renounce, all the parties are to take up their cards and play them over again. xvii. Forced spadille is not obliged to make three tricks. xviii. The person who undertakes to play the vole has the preference of playing before him who offers to play sans prendre. xix. The player is entitled to know who is his king called, before he declares for the vole. xx. When six tricks are won, the person who won the sixth must say, "I play (or, do not play) the vole;" or "I ask;" and no more. xxi. He who has passed once has no right to play after, unless he has spadille; and he who asks must play, unless somebody else play sans prendre. xxii. If the players show their cards before they have won six tricks, they may be called. xxiii. Whoever has asked leave cannot play sans prendre, unless he be forced. xxiv. Any person may look at the tricks when he is to lead. xxv. Whoever, playing for a vole, 46 RE NOT THE FIRST BY WHOM THE NEW IS TRIED; loses it, has a right to stakes, sans prendre, and matadores. xxvi. Forced spadille cannot play for the vole. xxvii. If any person discover his game he cannot play the vole. xxviii. No one is to declare how many trumps are out. xxix. He who plays and does not win three tricks, is basted alone, unless forced spadille. XXX. If there are two cards of a sort, it is a void deal, if discovered before the deal is played out. 122. RULES FOR LEARNERS.-t. When you are the ombre, and your friend leads from a matt, play your best trump, and then lead the next best the first opportunity. ii. If you possess all the trumps continue to lead them, except you hold certain other winning cards. iii. If all the other matts are not revealed by the time you have six tricks, do not run a risk in playing for the vole. iv. When you are the friend called, and hold only a matt, lead it; but if it be guarded by a small trump, lead that. But when the ombre is last player, lead the best trump you possess. v. Punto in red, or king of trumps in black, are good cards to lead when you are best; and should either of them succeed, then play a small trump. vi. If the ombre lead to discover his friend, and you have king, queen, and knave, put on the knave. vii. Preserve the suit called, whether friend or foe. viii. When playing against a lone hand, never lead a king unless you have the queen; nor change the suit: and prevent, if possible, the ombre from being last player. ix. You are to call your strongest suits, except you have a queen guarded; and if elder hand, you have a better chance than middle hand. x. A good player may play a weaker game, either elder or younger, than middle hand. and is so called from fifteen being the number to count out. It is usually played by two persons only, and is much admired for its simplicity and fairness, as it depends entirely upon chance, is soon decided, and does not require that attention which most other games do. It is, therefore, particularly calculated for those who love to sport upon an equal chance. METHOD OF PLAYING.-The cards must be shuffled by the two players, and when they have cut for deal (which falls to the lot of him who cuts the lowest), the dealer has the liberty at this, as well as all other games, to shuffle them again. When this is done, the adversary cuts them; after which, the dealer gives one card to his opponent, and one to himself. Should the dealer's adversary not approve of his card, he is entitled to have as many cards given to him, one after the other, as will make fifteen, or come nearest to that number; which are usually given from the top of the pack: for example-if he should have a deuce, and draw a five, which amounts to seven, he must continue going on, in expectation of coming nearer to fifteen. If he draw an eight, which will make just fifteen, he, as being eldest hand, is sure of winning the game. But if he overdraw himself, and make more than fifteen, he loses, unless the dealer should happen to do the same; which circumstance constitutes a drawn game; and the stakes are consequently doubled. In this manner they persevere, until one of them has won the game, by standing and being nearest to fifteen. At the end of each game the cards are packed and shuffled, and the players again cut for deal. The advantage is invariably on the side of the elder hand. NOR YET THE LAST TO CAST THE OLD ASIDE. 47 centre turn to places-all advance in two lines-all turn partners. iii. La Dorset.-First lady advance and stop, then the opposite gentleman-both retire, turning round-ladies' hands across half round, and turn the opposite gentlemen with left hands-repeat back to places, and turn partners with left hands. couple at right-set to couple at left— change places with partners, and set, and pirouette to places-right and left with opposite couple. v. Les Lanciers. cross over to each other's places; chassez to right and left. Balancez and turn partners. (Four times.) Or Double L'Eté.-Both couples advance and retire at the same time; cross over: advance and retire again; cross to places. Balancez and turn partners. (Four times.) Third Figure, La Poule.-Leading lady and opposite gentleman cross over, iv. L'Etoile. First couple set to giving right hands; recross, giving left hands, and fall in a line. Set four in a line; half promenade. Advance two, and retire (twice). Advance four, and retire; half right and left. (Four times.) The grand chain. The first couple adFourth Figure, Trenise.—The first couple vance and turn facing the top; then the advance and retire twice, the lady couple at right advance behind the top remaining on the opposite side; the two couple; then the couple at left, and the ladies go round the first gentleman, opposite couple, do the same, forming who advances up the centre; balancez two lines. All change places with and turn hands. (Four times.) Fifth partners and back again. The ladies Figure, La Pastorale. The leading turn in a line on the right, the gentlecouple advance twice, leaving the lady men in a line on the left. Each couple opposite the second time. The three meet up the centre. Set in two lines, advance and retire twice. The leading the ladies in one line, the gentlemen in gentleman advance and set. Hands four the other. Turn partners to places. half round; half right and left.* (Four Finish with the grand chain. times.) Sixth Figure, Galop Finale.Top and bottom couples galopade quite round each other. Advance and retire; four advance again, and change the gentlemen. Ladies' chain. Advance and retire four, and regain your partners in your places. The fourth time all galopade for an unlimited period. (Four times.) Or, All galopade or promenade, eight bars. Advance four en galop oblique, and retire, then half promenade, eight bars. Advance four, retire, and return to places with the half promenade, eight bars. Ladies' chain, eight bars. Repeated by the side couples, then by the top and bottom, and lastly by the side couples, finishing with grand promenade. 125. LANCERS.-i. La Rose.-First gentleman and opposite lady advance and set-turn with both hands, retiring to places-return, leading outside-set and turn at corners. ii. La Lodoiska. -First couple advance twice, leaving the lady in the centre set in the *This or the Trenise must be omitted. First 126. THE CALEDONIANS. Figure.-The first and opposite couples hands across round the centre and back to places set and turn partners. Ladies' chain. Half promenade-half right and left. Repeated by the side couples. Second Figure. The first gentleman advance and retire twice. All set at corners, each lady passing into the next lady's place on the right. Promenade by all. Repeated by the other couples. Third Figure.-The first lady and opposite gentleman advance and retire, bending to each other. First lady and opposite gentleman pass round each other to places. First couple cross over, having hold of hands, while the opposite couple cross on the outside of them-the same reversed. All set at corners, turn, and resume partners. All advance and retire twice, in a circle with hands joined-turn partners. Fourth Figure. The first lady and opposite gentleman advance and stop; then their partners advance; turn partners to places. The four ladies move to right, each taking the next 48 WILLOWS ARE WEAK, YET THEY BIND OTHER WOOD. lady's place, and stop-the four gentlemen move to left, each taking the next gentleman's place, and stop-the ladies repeat the same to the right -then the gentlemen to the left. All join hands and promenade round to places, and turn partners. Repeated by the other couples. Fifth Figure.-The first couple promenade or waltz round inside the figure. The four ladies advance, join hands round, and retirethen the gentlemen perform the same -all set and turn partners. Chain figure of eight half round, and set. All promenade to places and turn partners. All change sides, join right hands at corners, and set-back again to places. Finish with grand promenade. These three are the most admired of the quadrilles : the First Set invariably takes precedence of every other dance. 127. SPANISH DANCE.- Danced in a circle or a line by sixteen or twenty couples. The couples stand as for a Country Dance, except that the first gentleman must stand on the ladies' side, and the first lady on the gentlemen's side. First gentleman and second lady balancez to each other, while first lady and second gentleman do the same, and change places. First gentleman and partner balancez, while second gentleman and partner do the same, and change places. First gentleman and second lady balancez, while first lady and second gentleman do the same, and change places. First gentleman and second lady balancez to partners, and change places with them. All four join hands in the centre, and then change places, in the same order as the foregoing figure, four times. All four poussette, leaving the second lady and gentleman at the top, the same as in a Country Dance. The first lady and gentleman then go through the same figure with the third lady and gentleman, and so proceed to the end of the dance. This figure is sometimes danced in eight bars time, which not only hurries and inconveniences the dancers, but also ill accords with the music. 128. WALTZ COTILLON.-Places the same as quadrille. First couple waltz round inside; first and second ladies advance twice and cross over, turning twice; first and second gentlemen do the same; third and fourth couples the same; first and second couples waltz to places, third and fourth do the same; all waltz to partners, and turn half round with both hands, meeting the next lady; perform this figure until in your places; form two side lines, all advance twice and cross over, turning twice; the same, returning; all waltz round; the whole repeated four times. 130. THE GALOPADE QUADRILLES.1st, Galopade. 2nd, Right and left, sides the same. 3rd, Set and turn hands all eight. 4th, Galopade. 5th, Ladies' chain, sides the same. 6th, Set and turn partners all eight. 7th Galopade. 8th, Tirois, sides the same. 9th, Set and turn partners all eight. 10th, Galopade. 11th, Top lady and bottom gentleman advance and retire, the other six do the same. 12th, Set and turn partners all eight. 13th, Galopade. 14th, Four ladies advance and retire, gentlemen the same. 15th, Double ladies' chain. 16th, Set and turn partners all eight. 17th, Galopade, 18th, Poussette, sides the same. 19th, Set and turn. 20th, Galopade waltz. 131. THE MAZURKA.-This dance is of Polish origin-first introduced into England by the Duke of Devonshire, on his return from Russia. It consists of twelve movements; and the first eight bars are played (as in quadrilles) before the first movement commences. 132. THE REDOWA WALTZ is composed of three parts, distinct from each other. 1st, The pursuit. 2nd, The waltz called Redowa. 3rd, The waltz à Deux Temps, executed to a peculiar measure, and which, by a change of the rhythm, assumes a new character. The middle of the floor must be reserved for the dancers who execute the pro A LADY IN AMERICA MADE A QUILT IN 55,555 PIECES. 40 selves at every two bars, the gentleman with his left foot forwards, and the lady with her right, that is to say, we should make one whole and one half step to every bar. The music is rather slower than for the ordinary waltz. menade, called the pursuit, while those who dance the waltz turn in a circle about the room. The position of the gentleman is the same as for the waltz. The gentleman sets out with the left foot, and the lady with the right. In the pursuit the position is different, the 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 jeté 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 jeté 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 sliding step, and to spring lightly in the two others, sur place, balancing equally in the pas de poursuite, which is executed alternately by the left in advance, and the right backwards. The lady should follow all the movements of her partner, falling back when he advances, and advancing when he falls back. Bring the shoulders a little forward at each sliding step, for they should always follow the movement of the leg as it advances or retreats; but this should not be too marked. When the gentleman is about to waltz, he should take the lady's waist, as in the ordinary waltz. The step of the Redowa, in turning, may be thus de-rest, and turn partners slowly-face scribed. For the gentleman-jeté of the left foot, passing before the lady. Glissade of the right foot behind to the fourth position aside the left foot is brought to the third position behind then the pas de basque is executed by the right foot, bringing it forward, and you recommence with the left. The pas de basque should be made in three very equal beats, as in the Mazurka. The lady performs the same steps as the gentleman, beginning by the pas de basque with the right foot. To waltz à deux temps to the measure of the Redowa, we should make each step upon each beat of the bar, and find our fourth bar making two beats while turning the angle; his right foot is now moved forward to the other angle three bars-at the fourth, beat again while turning the angle; the same repeated for sixteen bars-the lady having her right foot forward when the gentleman has his left foot forward; the waltz is again repeated; after which several other steps are introduced, but which must needs be seen to be understood. 134. CIRCULAR WALTZ.-The dan cers form a circle, then promenade during the introduction-all waltz sixteen bars-set, holding partner's right hand, and turn-waltz thirty-two bars partner and chassez to the right and left -pirouette lady twice with the right hand, all waltz sixteen bars-set and turn-all form a circle, still retaining the lady by the right hand, and move round to the left, sixteen bars-waltz for finale. 135. POLKA WALTZES.-The couples take hold of hands as in the usual waltz. First Waltz. The gentleman hops the left foot well forward, then back; and glissades half round. He then hops the right foot forward and back, and glissades the other half round. lady performs the same steps, beginning with the right foot. Second. The gen The |