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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. 129. LA GALOPADE is an tremely graceful and spirited dance, in a continual chassez. An unlimited number may join; it is danced in couples, as waltzing.


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 ladý 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



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.

133. VALSE CELLARIUS.-The gentleman takes the lady's left hand with his right, moving one bar to the left by glissade, and two hops on his left foot, while the lady does the same to the right, on her right foot; at the second bar they repeat the same with the other foot-this is repeated for sixteen bars; they then waltz sixteen bars, glissade and two hops, taking care to occupy the time of two bars to get quite round. The gentleman now takes both hands of the lady, and makes the grand square

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.

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 gentleman and his partner face, and take each other by the hand. They advance or fall back at pleasure, and balance in advance and backwards. To advance, the step of the pursuit is made by a glissade forward, without springing, coupé with the hind foot, and jeté on it. You recommence with the other foot, and so on throughout. The retiring step is made by a sliding step of the foot backwards, without spring, jeté with the front foot, and coupé with 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 134. CIRCULAR WALTZ.-The dan 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. 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 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.

138. 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

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site foot, and doing the step forwards. Third figure. The same as the second figure, only reversed, the lady stepping backwards, and the gentleman forwards, always going the same way round the room. Fourth figure. The same step as figures two and three, but turning as in a waltz.

All form two lines, ladies on the right, gentlemen on the left. Figure. Top lady and second gentleman heel and toe (polka step) across to each other's placesecond lady and top gentleman the same. Top lady and second gentleman retire back to places-second lady and top gentleman the same. Two couples polka step down the middle and back againtwo first couples polka waltz. First couple repeat with the third couple, then with fourth, and so on to the end of dance.

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.

141. COUNTRY DANCES.-Sir Roger de Coverley.-First lady and bottom gentleman advance to centre, salute, and retire; first gentleman and bottom lady, same. First lady and bottom gentleman advance to centre, turn, and retire; first gentleman and bottom lady the same. Ladies promenade, turning off to the right down the room, and back to places, while gentlemen do the same, turning to the left; top couple remain at bottom; repeat to the end of dance. 142. LA POLKA COUNTRY DANCES.

Balancez.-Set to partners.
Chaine Anglaise.-The top and bottom
couples right and left.

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. All eight half

Demie Promenade. 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.



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
Of all men, whether good or not:

Rail not in answer, but be calm;
For silence yields a rapid balm :

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!

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148. OTHER ERRORS ARE OCCASIONED by imperfect knowledge of the Live it down! 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.

Live it down!
Go not among your friends and say,
Evil hath fallen on my way:

Live it down!

Far better thus yourself alone
To suffer, than with friends bemoan
The trouble that is all your own:

Live it down!

What though men evil call your good!
So CHRIST himself, misunderstood,
Was nail'd unto a cross of wood!
And now shall you, for lesser pain,
Your inmost soul for ever stain,
By rendering evil back again?

Live it down!

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.

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