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Title: Ball-Room Dancing Without a Master, and complete
   guide to the Etiquette, Toilet, Dress and Management of
   the ball-room; with all the Principal Dances in Popular Use.
Author: [Anonymous]
Illustrator:  [Anonymous]
Date of first publication: 1872
Place and date of edition used as base for this ebook:
   [New York]: Hurst & Company, 1872 (First Edition)
Date first posted: 7 November 2008
Date last updated: 7 November 2008
Project Gutenberg Canada ebook #195

This ebook was produced by: David T. Jones
& the Online Distributed Proofreading Team
at http://www.pgdpcanada.net

This file was produced from images generously made available
by The Internet Archive/Dance Manuals




BALL-ROOM

DANCING WITHOUT A MASTER,

AND

COMPLETE GUIDE

TO THE

Etiquette, Toilet, Dress and Management

OF THE BALL-ROOM;

WITH ALL THE

PRINCIPAL DANCES IN POPULAR USE.




CONTENTS


                                              PAGE

How to Organize a Ball                           5
Ball Room Toilette                               9
Etiquette of the Ball Room                      11
The Quadrille                                   17
Cheat Figure                                    23
Jig Figure                                      24
Basket Figure                                   24
Double Quadrille                                24
The Polka                                       26
The Schottische                                 28
The Redowa                                      29
Polka Mazourka                                  31
Spanish Waltz                                   31
The Valse  deux Temps                          33
The Galop                                       34
The Mazourka Valse                              35
The Waltz Cotillion                             35
Lancers                                         36
The Tempte                                     39
The Caledonians                                 41
Couple Dances                                   42
The New Valse Cotillion                         43
Virginia Reel                                   46
The Varsoviana                                  47
The Gorlitza                                    48
The New Valse                                   50
Pop Goes the Weasel                             51
Merrie England                                  51
Polka Country Dance                             52
The Triumph                                     52
Highland Reel                                   53
Arkansas Traveller                              53
Portland Fancy Figure ("Tempest")               53
Camptown Hornpipe                               54
Jordan am a Hard Road                           54
Soldier's Joy                                   54
London Polka Quadrille                          55
Flower Girl's Dance                             56
Circassian Circle                               56
Tempest                                         57
Rustic Reel                                     57
Devil's Dream                                   57
Glossary of French Terms used in Dancing        58


_Entered according to Act of Congress, in the year 1872, by_ HURST &
COMPANY, _in the Office of the Librarian of Congress, at Washington,
D.C._




BALL-ROOM DANCING

WITHOUT A MASTER.
-----------------




HOW TO ORGANIZE A BALL.


As the number of guests at a dinner party is regulated by the size of
the table, so should the number of invitations to a ball be limited by
the proportions of the ball-room. A prudent hostess will always invite
a few more guests than she really desires to entertain, in the
certainty that there will be some deserters when the appointed evening
comes round; but she will at the same time remember that to overcrowd
her room is to spoil the pleasure of those who love dancing, and that
a party of this kind when too numerously attended is as great a
failure as one at which too few are present.

A room which is nearly square, yet a little longer than it is broad,
will be found the most favorable for a ball. It admits of two
quadrille parties, or two round dances, at the same time. In a
perfectly square room this arrangement is not so practicable or
pleasant. A very long and narrow room is obviously of the worst shape
for the purpose of dancing, and is fit only for quadrilles and country
dances.

The top of the ball-room is the part nearest the orchestra. In a
private room, the top is where it would be if the room were a
dining-room. It is generally at the farthest point from the door.
Dancers should be careful to ascertain the top of the room before
taking their places, as the top couples always lead the dances.

A good floor is of the last importance in a ball-room. In a private
house, nothing can be better than a smooth, well-stretched holland,
with the carpet beneath.

Abundance of light and free ventilation are indispensable to the
spirits and comfort of the dancers.

Good music is absolutely necessary to the prosperity of a ball. No
hostess should tax her friends for this part of the entertainment. It
is the most injuducious economy imaginable. Ladies who would prefer to
dance are tied to the pianoforte; and as few amateurs have been
trained in the art of playing dance music with that strict attention
to time and accent which is absolutely necessary to the comfort of the
dancers, a total and general discontent is sure to be the result. To
play dance music thoroughly well is a branch of the art which requires
considerable practice. It is as different from every other kind of
playing as whale fishing is from fly fishing. Those who give private
balls will do well ever to bear this in mind, and to provide skilled
musicians for the evening. For a small party, a piano and cornopean
make a very pleasant combination. Unless where several instruments are
engaged we do not recommend the introduction of the violin: although
in some respects the finest of all solo instruments, it is apt to
sound thin and shrill when employed on mere inexpressive dance tones,
and played by a mere dance player.

Invitations to a ball should be issued in the name of the lady of the
house, and written on small note paper of the best quality. Elegant
printed forms, some of them printed in gold or silver, are to be had
at every stationer's by those who prefer them. The paper may be
gilt-edged, but not colored. The sealing-wax used should be of some
delicate hue.

An invitation to a ball should be sent out at least ten days before
the evening appointed. A fortnight, three weeks, and even a month may
be allowed in the way of notice.

Not more than two or three days should be permitted to elapse before
you reply to an invitation of this kind. The reply should always be
addressed to the lady of the house, and should be couched in the same
person as the invitation. The following are the forms generally in
use:--

    Mrs. Molyneux requests the honor of Captain Hamilton's company at
    an evening party, on Monday, March the 11th instant.

        _Dancing will begin at Nine o'clock._

             Thursday, March 1st.


    Captain Hamilton has much pleasure in accepting Mrs. Molyneux's
    polite invitation for Monday evening, March the 11th instant.

             Friday, March 2nd.


The old form of "presenting compliments" is now out of fashion.

If Mrs. Molyneux writes to Captain Hamilton in the first person, as
"My dear Sir," he is bound in etiquette to reply "My dear Madam."

The lady who gives a ball[1] should endeavor to secure an equal number
of dancers of both sexes. Many private parties are spoiled by the
preponderance of young ladies, some of whom never get partners at all,
unless they dance with each other.

A room should in all cases be provided for the accommodation of the
ladies. In this room there ought to be several looking-glasses;
attendants to assist the fair visitors in the arrangement of their
hair and dress; and some place in which the cloaks and shawls can be
laid in order, and found at a moment's notice. It is well to affix
tickets to the cloaks, giving a duplicate at the same time to each
lady, as at the public theatres and concert-rooms. Needles and thread
should also be at hand, to repair any little accident incurred in
dancing.

Another room should be devoted to refreshments, and kept amply
supplied with coffee, lemonade, ices, wine, and biscuits during the
evening. Where this cannot be arranged, the refreshments should be
handed round between the dances.

[Footnote 1: It will be understood that we use the word "ball" to
signify a private party where there is dancing, as well as a public
ball.]

The question of supper is one which so entirely depends on the means
of those who give a ball or evening party, that very little can be
said upon it in a treaties of this description. Where money is no
object, it is of course always preferable to have the whole supper,
"with all appliances and means to boot," sent in from some first-rate
house. It spares all trouble whether to the entertainers or their
servants, and relieves the hostess of every anxiety. Where
circumstances render such a course imprudent, we would only observe
that a home-provided supper, however simple, should be good of its
kind, and abundant in quantity. Dancers are generally hungry people,
and feel themselves much aggrieved if the supply of sandwiches proves
unequal to the demand.




BALL-ROOM TOILETTE.


LADIES.


The style of a lady's dress is a matter so entirely dependent on age,
means and fashion, that we can offer but little advice upon it.
Fashion is so variable, that statements which are true of it to-day
may be false a month hence. Respecting no institution of modern
society is it so difficult to pronounce half a dozen permanent rules.

We may perhaps be permitted to suggest the following leading
principles; but we do so with diffidence. Rich colors harmonize with
rich brunette complexions and dark hair. Delicate colors are the most
suitable for delicate and fragile styles of beauty. Very young ladies
are never so suitably attired as in white. Ladies who dance should
wear dresses of light and diaphanous materials, such as _tulle_,
gauze, crape, net, &c., over colored silk slips. Silk dresses are not
suitable for dancing. A married lady who dances only a few quadrilles
may wear a _decolletee_ silk dress with propriety.

Very stout persons should never wear white. It has the effect of
adding to the bulk of the figure.

Black and scarlet, or black and violet, are worn in mourning.

A lady in deep mourning should not dance at all.

However fashionable it may be to wear very long dresses, those ladies
who go to a ball with the intention of dancing and enjoying the dance,
should cause their dresses to be made short enough to clear the
ground. We would ask them whether it is not better to accept this
slight deviation from an absurd fashion, than to appear for three
parts of the evening in a torn and pinned-up skirt?

Well-made shoes, whatever their color or material, and faultless
gloves, are indispensable to the effect of a ball-room toilette.

Much jewelry is out of place in a ball-room. Beautiful flowers,
whether natural or artificial, are the loveliest ornaments that a
lady can wear on these occasions.


GENTLEMEN.

A black suit, thin enamelled boots, a white neck-cloth, and white or
delicate grey gloves, are the chief points of a gentleman's ball-room
toilette. He may wear an embroidered shirt; and his waistcoat may be
of silk. White waistcoats are no longer fashionable. Much display of
jewelry is no proof of good taste. A handsome watch-chain, with,
perhaps, the addition of a few costly trifles suspended to it, and a
set of shirt-studs, are the only adornments of this kind that a
gentleman should wear. The studs should be small but good.

A gentleman's dress is necessarily so simple that it admits of no
compromise in point of quality and style. The material should be the
best that money can procure, and the fashion unexceptionable. So much
of the outward man depends on his tailor, that we would urge no
gentleman to economize in this matter.




ETIQUETTE OF THE BALL-ROOM.


On entering the ball-room, the visitor should at once seek the lady of
the house, and pay his respects to her. Having done this he may
exchange salutations with such friends and acquaintances as may be in
the room.

If the ball be a public one, and a gentleman desires to dance with any
lady to whom he is a stranger, he must apply to the master of the
ceremonies for an introduction.

Even in private balls, no gentleman can invite a lady to dance without
a previous introduction. This introduction should be effected through
the lady of the house, or a member of her family.

No lady should accept an invitation to dance from a gentleman to whom
she has not been introduced. In case any gentleman should commit the
error of so inviting her, she should not excuse herself on the plea of
a previous engagement, or of fatigue, as to do so would imply that she
did not herself attach due importance to the necessary ceremony of
introduction. Her best reply would be to the effect that she would
have much pleasure in accepting his invitation, if he would procure an
introduction to her. This observation may be taken as applying only to
public balls. At a private party the host and hostess are sufficient
guarantees for the respectability of their guests; and although a
gentleman would show a singular want of knowledge of the laws of
society in acting as we have supposed, the lady who should reply to
him as if he were merely an impertinent stranger in a public
assembly-room, would be implying an affront to her entertainers. The
mere fact of being assembled together under the roof of a mutual
friend, is in itself a kind of general introduction of the guests to
each other.

An introduction given for the mere purpose of enabling a lady and
gentleman to go through a dance together, does not constitute on
acquaintanceship. The lady is at liberty to pass the gentleman in the
park the next day without recognition.

No gentleman should venture to bow to a lady upon the strength of a
ball-room introduction, unless she does him the honor to recognize him
first. If he commits this solecism he must not be surprised to find
that she does not return his salutation.

No gentleman should accept an invitation to a ball if he does not
dance. When ladies are present who would be pleased to receive an
invitation, those gentlemen who hold themselves aloof are guilty, not
only of a negative, but a positive act of neglect.

To attempt to dance without a knowledge of dancing is not only to make
one's self ridiculous, but one's partner also. No lady or gentleman
has the right to place a partner in this absurd position.

Never forget a ball-room engagement. To do so is to commit an
unpardonable offence against good breeding.

It is not necessary that a lady or gentleman should be acquainted with
the _steps_, in order to walk gracefully and easily through a
quadrille. An easy carriage and a knowledge of the figure is all that
is requisite. A round dance, however, should on no account be
attempted without a thorough knowledge of the steps, and some previous
practice.

No person who has not a good ear for time and tone need hope to dance
well.

At the conclusion of a dance, the gentleman bows to his partner, and
either promenades with her round the room, or takes her to a seat.
Where a room is set apart for refreshments, he offers to conduct her
thither. At a public ball no gentleman would, of course, permit a lady
to pay for refreshments.

No lady should accept refreshments from a stranger at a public ball;
for she would thereby lay herself under a pecuniary obligation. For
these she must rely on her father, brothers, or old friends.

Good taste forbids that a lady and gentleman should dance too
frequently together at either a public or private ball. Engaged
persons should be careful not to commit this conspicuous solecism.

Engagements for one dance should not be made while the present dance
is yet in progress.

If a lady happens to forget a previous engagement, and stand up with
another partner, the gentleman whom she has thus slighted is bound to
believe that she has acted from mere inadvertance, and should by no
means suffer his pride to master his good temper. To cause a
disagreeable scene in a private ball-room is to affront your host and
hostess, and to make yourself absurd. In a public room it is no less
reprehensible.

Always remember that good breeding and good temper (or the appearance
of good temper) are inseparably connected.

Young gentlemen are earnestly advised not to limit their conversation
to remarks on the weather and the heat of the room. It is, to a
certain extent, incumbent on them to do something more than dance when
they invite a lady to join a quadrille. If it be only upon the news of
the day, a gentleman should be able to offer at least three or four
observations to his partner in the course of a long half-hour.

Gentlemen who dance cannot be too careful not to injure the dresses of
the ladies who do them the honor to stand up with them. The young men
of the present day are singularly careless in this respect; and when
they have torn a lady's delicate skirt, appear to think the mischief
they have done scarcely worth the trouble of an apology.

A gentleman conducts his last partner to the supper-room, and having
waited upon her while there, re-conducts her to the ball-room.

Never attempt to take a place in a dance which has been previously
engaged.

Withdraw from a private ball-room as quietly as possible, so that your
departure may not be observed by others, and cause the party to break
up. If you meet the lady of the house on her way out, take your leave
of her in such a manner that her other guests may not suppose you are
doing so; but do not seek her out for that purpose.

From eighteen to twenty-one dances is a convenient number to arrange
for. Supper causes a convenient break after, say, the twelfth dance,
and if, at the end of the ball-list, there is still a desire to
prolong the ball, one or two extra dances are easily improvised.

A ball should commence with a quadrille, followed by a waltz.
Quadrilles and waltzes, including galops, indeed form the chief
features of the modern ball. A polka, a schottische, a polka mazourka,
or even a varsoviana, may be thrown in as an occasional relief, just
as a country-dance is often tolerated as a finale; but these dances
are only tolerated.

As a guide, we append a copy of a _programme du bal_, as used at Her
Majesty's balls, given at Buckingham Palace, and, of course, followed
as a guide in good society.


            Programme.                    Engagements.

     1 QUADRILLE...............    1......................

     2 WALTZ...................    2......................

     3 QUADRILLE...............    3......................

     4 WALTZ...................    4......................

     5 LANCERS.................    5......................

     6 GALOP...................    6......................

     7 QUADRILLE...............    7......................

     8 WALTZ...................    8......................

     9 QUADRILLE...............    9......................

    10 WALTZ...................   10......................

    11 QUADRILLE...............   11......................

    12 WALTZ...................   12......................

    13 LANCERS.................   13......................

    14 GALOP...................   14......................

    15 QUADRILLE...............   15......................

    16 WALTZ...................   16......................

    17 QUADRILLE...............   17......................

    18 WALTZ...................   18......................

    19 LANCERS.................   19......................

    20 GALOP...................   20......................


Formerly at public balls a Master of the Ceremonies was considered
indispensable; but this custom is going out, and his duties are
performed by the stewards, who are often distinguished by a tiny
rosette, or arrangement of a single flower and a ribbon in the
button-hole. These superintend the dances, and gentlemen desiring to
dance with ladies apply to them for introductions.




THE QUADRILLE.


The quadrille is the most universal, as it is most certainly the most
sociable of all fashionable dances. It admits of pleasant
conversation, frequent interchange of partners, and is adapted to
every age. The young or old, the ponderous _pater familias_, or his
sylph-like daughter, may with equal propriety take part in its easy
and elegant figures. Even an occasional blunder is of less consequence
in this dance than in many others; for each personage is in some
degree free as to his own movements, not being compelled by the
continual embrace of his partner to dance either better or worse than
he may find convenient.

People now generally walk through a quadrille. Nothing more than a
perfect knowledge of the figure, a graceful demeanor, and a correct
ear for the time of the music are requisite to enable any one to take
a creditable part in this dance. Steps are quite gone out of fashion:
even the _chasse_ has been given up for some time past.

A quadrille must always consist of five parts. If a variation be made
in the fourth figure, by the substitution of _Pastorale_ for
_Trenise_, the latter must then be omitted; or _vice versa_. As soon
as a gentleman has engaged his partner for the quadrille, he should
endeavor to secure as his _vis--vis_ some friend or acquaintance; and
should then lead his partner to the top of the quadrille, provided
that post of honor be still vacant. He will place the lady always at
his right hand.

Quadrille music is divided into eight bars for each part of the
figure; two steps should be taken in every bar; every movement thus
invariably consists of eight or of four steps.

It is well not to learn too many new figures: the memory is liable to
become confused amongst them; besides which, it is doubtful whether
your partner, or your _vis--vis_, is as learned in the matter as
yourself. Masters are extremely fond of inventing and teaching new
figures; but you will do well to confine your attention to a few
simple and universally received sets, which you will find quite sufficient
for your purpose. We begin with the oldest and most common, the

FIRST SET OF QUADRILLES.

[Illustration: Fig. 1.]

The set is composed of eight persons--four ladies and four gentlemen.
Two couples to form the top and bottom, and two to form the sides. The
gentlemen place themselves on the left of their partners. (_See Fig._
1.)

Before commencing a description of the Quadrilles or square dances, in
order to save a repetition of terms, I would wish the readers of this
book to bear in mind the following instructions:

In all cases where you have to cross the opposite side, turn your
partner, or make use of the ladies' chain, use seven walking steps,
and bring the left foot up behind for the eighth.

When you have to advance and retire, or set to your partner, use three
walking steps forward, and bring the left foot up behind, and retire
by walking back, first with the left then with the right--with the
left again, and bring your right foot up to the left to finish.

FIRST FIGURE--_La Pantalon._--The first part of this figure is called
half right and left, because you pass on the right hand side of the
first person you meet in crossing, and the left hand side of your own
partner; when you get across, repeat the same to your place [taking
the course indicated in Fig. 2], turn facing your partner. Set--taking
care to pass on the right hand side of each other, give the right hand
and turn.

The black dots represent the gentlemen, the rings the ladies. 1 takes
the course indicated to arrive at 4; 2 takes the course indicated to
arrive at 3; 3 takes the course indicated to arrive at 2; 4 takes the
course indicated to arrive at 1.

[Illustration: Fig. 2]

LADIES' CHAIN.--The ladies cross, giving their right hands to each
other, and the left to the opposite gentleman--the same back to place.
The gentlemen move round behind their partners, giving the opposite
lady their left hand, and the same movement is repeated to meet their
partners (_see Fig._ 3). Keep the hands--cross over to opposite
side--then half right and left to finish. The side couples repeat this
figure.

The ladies' course is indicated by Fig. 4, the gentlemen by Fig. 5.

[Illustration: Fig. 3.]

SECOND FIGURE--_L'Et._--Top lady and opposite gentleman advance and
retire, then cross over, in a semi-circle; repeat these two movements
to get to your places. Set to partners and turn. The side couples
repeat the figure.

[Illustration: Fig. 4.]

[Illustration: Fig. 5.]

THIRD FIGURE--_La Poule._--The top lady and opposite gentleman cross
over, lightly touching the right hand as they pass, return again, this
time retain the left hand, all four form a chain, make one small step
forward, and one back, do this twice, then cross over to the opposite
couples' place, the couple who are dancing the figure advance and
retire twice, give the nearest hand to your partner, all four advance
and retire, then half right and left, the same as in the first figure,
to finish.

FOURTH FIGURE--_La Pastorale._--Top lady and her partner advance and
retire, the lady now crosses, the gentleman leaving her half way,
retires alone; the opposite gentleman now advances with the two
ladies, taking their outside hands. The two ladies now cross to the
other gentleman. The gentleman who leads them retires alone. The three
advance and retire from the other side, then all three cross over,
give hands round, cross over to opposite sides. Half right and left
to finish. The side couples repeat the figure.

TRENISE.--The top lady and her partner advance and retire, they then
advance again, the gentleman leaving the lady opposite him. The two
ladies cross to the opposite side. The top gentleman advances to meet
his partner, the bottom lady returns to her place; set to partners and
turn.

FINALE.--All join hands round, advance and retire twice. The top and
bottom couples advance and retire, then cross over. Repeat the same
again. Ladies chain, and hands round. In crossing do not alter the
side on which you stand, but go straight across.




CHEAT FIGURE.


Begin with first couple balancing to the right, turning opposite
persons with both hands. Balance to next couple, then to fourth, and
then balance and turn partners. The third, second and fourth couples
follow the same order. You have the privilege of turning with the
person who presents hands or not, and any one can step in between you
while balancing, thus cheating you in turning, or you can appear to
turn to one person and then suddenly turn to another.




JIG FIGURE.


Opens with hands all round. The ladies then leave their partners and
balance to the next gentleman on their right, and turn. Upon reaching
her partner all balance to partners and turn. Hands all round again,
gentlemen balance to the right and repeat the same movement.




BASKET FIGURE.


Head couples forward and balance. The ladies join hands round in the
centre, the gentlemen forming a circle outside. Gentlemen stop on the
left hand side of their partners and pass their hands, joined, over
the heads of the ladies, allowing the ladies to pass backward and rise
on the outside, thus forming a basket. Balance and turn partners.
Sides repeat.




DOUBLE QUADRILLE.


There is a variation of the First Set, known as Coulon's Double
Quadrille, which is sometimes danced to secure an agreeable variety
during a ball. It requires the ordinary quadrille music, but only half
that usually played to each figure.

1. _Le Pantalon._--The peculiarity is, that all the couples, sides as
well as top and bottom, start at once. Double _chaine Anglaise_; sides
outside first and second couples. All couples set and turn. Ladies'
hands across, first right hand and then left, and back to places. Half
promenade. First and second couples, _chaine Anglaise_; third and
fourth, _grande chaine_ round them to places.

2. _L'Et._--Common single _L'Et_, with this difference, that the
first lady and first side lady commence at the same time to perform
the figure with their gentlemen _vis--vis_. Lady of second couple and
second side repeat, with gentlemen opposite.

3. _La Poule._--Similar arrangement to that in last figure; the two
couples setting in cross lines.

4. _La Pastorale._--The top couple dance with the right side couple;
the bottom with the left. The sides repeat, with top and bottom
couples in like manner.

5. _Finale._--Galopade round, top and bottom couple continuing it to
centre of figure and back, then sides advance to centre and back, and,
as they retreat, top and bottom couples galopade into each other's
places. Side couples do the same. Then repeat figure until all have
regained their own places. Double _chaine des dames_, and galopade
round. Figure repeated, sides commencing; the galop concluded.




THE POLKA.


The polka has had its day. It is just tolerated in the ball-room, but
should not be given more than once during an evening.

Brief directions will convey the manner of dancing the polka as now
practised; but no one should attempt it without previous instructions,
as everything depends on the grace with which it is executed.

Those who have learnt the dance will pardon our pointing out one or
two vulgarisms which it is easy to fall into. A hopping or jumping
movement is singularly ungraceful--so is the habit many have of
kicking out their heels to the endangerment of the shins of other
dancers. The feet should scarcely be lifted from the ground--the
dancers sliding rather than hopping--and the steps should be taken in
the smallest compass, and in the very neatest manner. Again, the
elbows should not be stuck out, nor the hands extended at arm's
length, or placed upon the hip.

After going through several mutations, the polka has come to be danced
with a circular movement only--in that respect resembling the valse.
This is the manner of it, supposing a gentleman to be the dancer:

You will clasp your partner lightly round the waist with your right
hand, and take her right hand in your left, holding it down by your
side, without stiffness or restraint. The lady places her left hand
on your shoulder, so that you may partially support her.

[Illustration: Fig. 6.]

[Illustration: Fig. 7.]

Although there are actually four quavers in each bar of music, in this
dance there are only three movements in the dance itself. Before
commencing the gentleman places his left foot behind the other,
resting it slightly on the toe. (_See Fig._ 6.) The lady commences
with the right foot.

FIRST MOVEMENT.--Slide the foot with which you commence to the side
[to the extent of the length of the foot]. (_See Fig._ 7.)

SECOND MOVEMENT.--Bring the heel of the other foot to the heel of the
first one, rising slightly on the toe. (_See Fig._ 8.)

THIRD MOVEMENT.--Spring lightly on the toe of the foot with which you
commenced; pass the other foot behind ready to commence on the other
side.

In practising the turn it is an excellent plan to place a chair in the
centre of the room and dance round it, going as close as possible
without touching.

[Illustration: Fig. 8.]




THE SCHOTTISCHE.


The difference between the time of this dance and that of the polka
is, that the four quavers in the bar are all marked in the step
itself, and the dance is played slower. The first, second, and third
movements are the same as the polka, and for the fourth, spring
lightly on the toe of the foot, with which you commenced; then, as in
the polka, make the step with the other foot. Having made the full
step from side to side, you make the half step, by springing lightly
on the toe of the first foot [left, gentlemen; right, lady]; pass the
other foot behind, resting it on the toe, and spring SLIGHTLY on the
first foot again. Then repeat the whole of the movement with the other
foot. The half step is used for turning.




THE REDOWA.


This is the most graceful of all Couple Dances; and in order to
execute it well, care must be taken to avoid stiffness in the
movements. The music is in three-quarter time.

[Illustration: Fig. 9.]

[Illustration: Fig. 10.]

The position in which the feet should be placed before commencing is
the _third_, which is made by placing the heel of the right foot to
the hollow of the left, the feet to be sufficiently turned, as not to
make the dancers uncomfortable. (_See Fig._ 9.)

FIRST MOVEMENT.--Spring lightly to the side with the right foot, point
the toe of left to second position. (_See Fig._ 10.)

SECOND MOVEMENT.--Slide the left foot forward, pointing the toe of the
right foot behind. (_See Fig._ 11.)

[Illustration: Fig. 11.]

THIRD MOVEMENT.--Bring the right foot up behind the left to the third
position, then commence the step with the left foot. Before attempting
the backward step, with which the gentleman always commences these
dances, practise well the forward step. To make the backward step,
spring upon the left foot, pass the right foot behind, then bring the
left foot up to the third position, in front of the right. This dance
should be well practised up and down the room before attempting to
turn.




POLKA MAZOURKA.


This dance is in three-quarter time, and commences from the same
position as the Polka.

FIRST MOVEMENT.--Slide the foot to the side, as in the Polka.

SECOND MOVEMENT.--Same as Polka.

THIRD MOVEMENT.--Instead of springing upon the first foot, and passing
the other behind, pass the first foot behind the other, upon which you
spring lightly.




SPANISH WALTZ.


The old Valse step is used in this dance, which is performed in the
following manner:

FIRST STEP.--Pass your left foot backward in the direction of the
left.

SECOND STEP.--Pass your right foot past your left in the same
direction, care being taken to keep the right foot behind the left.

THIRD STEP.--Bring the left up behind the right, completing one bar,
then pass right foot forward toward the right. Pass left foot forward
still toward the right, then bring right foot up to right, turning at
the same time on both feet and completing the turn. Always finish with
the right foot in front. This description is intended for the
gentlemen: for a lady, "right" is substituted for "left."

Arrange the couples in long parallel lines, as if standing up for a
country dance. If the top gentleman stands on the lady's side, and the
top lady on that of the gentleman, and every fourth lady and gentleman
exchange places in like manner, the dance can commence simultaneously.

The first gentleman and second lady of each set of four, set to each
other with the Valse step and change places: the first lady and second
gentleman do the same at the same time.

First gentleman and his partner set and change places, second
gentleman and partner do the same.

First gentleman and second lady set and change as before, first lady
and second gentleman ditto.

Then first gentleman and second lady set to their respective partners,
as before, and change, each resuming their original position.

All four join hands in the centre, advance, retire, and change places
as before--ladies passing to the left. This is done as in the
preceding figure, four times.

Next, each gentleman takes his partner, and the two couples valse
round each other two or three times, ending by the second lady and
gentleman taking their places at the top of the line, while the top
couple go through the same figures with the third lady and
gentlemen's, with the fourth, and so proceed to the end of the line,
where they remain.




THE VALSE  DEUX TEMPS.


This dance is at present more in use than any other "Couple Dance;"
the music is written in three-quarter time, _i. e._, three crotchets
in a bar. Commence from the same position as in the Redowa. (_See
Fig._ 9.)

[Illustration: Fig. 12.]

[Illustration: Fig. 13.]

FIRST MOVEMENT.--Slide the right foot forward. (_See Fig._ 12.)

SECOND MOVEMENT.--Bring the left foot up to the third position, close
behind the right. (_See Fig._ 13.)

THIRD MOVEMENT.--Slide the right foot again forward. (_See Fig._ 14.)

[Illustration: Fig. 14.]

[Illustration: Fig. 15.]

Having completed the step with the right foot, commence with the left.
In the backward step commence by sliding the left foot back. (_See
Fig._ 15)

In practising the step up and down the room, the gentleman commences
with the left foot, and makes the step backward.




THE GALOP.


Although the time of this dance is totally different from the Valse,
the portion of it used in turning is exactly the same. In going
straight down the room, one foot only is continually in front [left
foot, gentleman; right foot, lady]. Slide the front foot forward,
bring the other foot up quickly behind, and slide the front again.
Continue this movement till you wish to turn, then use the Valse
step.




THE MAZOURKA VALSE.

The time of this dance is the old Valse played slower.

The gentleman commences from the Valse position (_see Figure_) with
the left foot and the lady with the right.

FIRST MOVEMENT.--Slide the foot forward and spring lightly on it
twice.

SECOND MOVEMENT.--Repeat the first movement with the other foot;
having practised this portion of the step well from side to side, you
may turn with it.

THIRD MOVEMENT.--Spring on each foot in succession, striking the heels
together, then slide to the side. This portion of the step is seldom
if ever used now, the dancers generally finish with the old Valse step
after using the first and second movements as described.




THE WALTZ COTILLION.


In this dance the couples form the same as for a Quadrille. The old
Valse step or (trois temps) is used (for a description of which see
page 31). Top couple walk round inside the set till sixteen bars of
the music has been played; then the top and bottom ladies advance,
retire, advance again, and cross over, turning. (This occupies eight
bars of the music.) The top and bottom gentlemen do the same. This is
repeated by the ladies and gentlemen at the side. The top and bottom
couples walk to their places, and the side couples to theirs. All set
to partners with the Valse step, and turn half round with right hands,
finishing opposite the next lady or gentleman at your side. Repeat
this till all in places again.

Form two lines, all advance twice, then cross over--the same to get to
places.

All walk round. It is usual to perform the whole of the figures four
times, but of course it will be left to the discretion of the dancers
to continue the figures if they wish. Two or three chords are usually
struck before commencing the dance.




LANCERS.


[Illustration: Fig. 16.]

FIRST FIGURE.--Top lady and opposite gentleman advance and retire,
then advance and swing quite round, top lady and gentleman change
places with opposite couple, passing in the centre and return to
places (_see Fig._ 16) passing outside; set to corners and turn (_see
Fig._ 17). The other six do the same.

[Illustration: Fig. 17.]

SECOND FIGURE.--Top lady and gentleman advance and retire, advance
again, this time the gentleman leaves his partner in the centre,
facing him, and retires alone, both advance, retire, advance and turn.
Form two lines at top and bottom, the side couples joining the couples
on their right. When the side couples dance this figure, the lines are
formed at the side.

THIRD FIGURE.--Top lady advances alone, then the opposite gentleman
does the same, lady curtseys, gentleman bows, both retire. The four
ladies give the right hands across, and dance round to the left--then
change hands, and dance round to the right, the gentlemen dance round
singly, the reverse way to the ladies, changing as they change.

There is another way of dancing this figure, thus: Instead of the
ladies giving hands across, they join hands and dance round in one
direction. The gentlemen join hands and dance round the ladies in the
opposite direction.

FOURTH FIGURE.--Top lady and gentleman advance to the couple on their
right, bow, then to the opposite side couple, and bow to them, all the
four face partners, advance, retire, and advance into places; the top
and bottom couple half right and left, the same as in the first figure
of the first set of quadrilles. The other couples do the same.

[Illustration: Fig. 18.]

FIFTH FIGURE.--Grande Chaine, giving right and left hands all round,
till all in places (_see Fig._ 18). Top lady and gentleman advance to
the top, standing with their backs to the bottom couple: the second
lady and gentleman on their right place themselves behind them, the
couple on their left behind the second couple, and, finally, the
bottom couple place themselves behind the other three couples, advance
and retire, across and back, the gentlemen turn off to the left, and
the ladies to the right (_see Fig._ 19), gentlemen following first
gentleman, and the ladies following first lady; when all are returned
to the former situation they form two lines (_see Fig._ 19), each
gentleman facing his partner and chasse forward and back, each
gentleman turns his partner into her own place. The other six do the
same.

[Illustration: _Starting Point_. Fig. 19.]




THE TEMPTE.


The set is generally formed with eight persons, four ladies and four
gentlemen. Stand as for a Quadrille (without side couples); as many
sets as the room can accommodate may stand up at one time.

FIRST PART OF THE DANCE.--After eight bars of the music have been
played, commence by all the couples joining hands, advance and retire
twice, using the same step as in the Quadrille. The top couples (in
each set) cross with hands joined and take the place of the bottom
couples; the bottom couples cross at the same time, but, instead of
keeping the hands joined they separate and pass outside the others to
the top, they then join hands and return to their places and back
again. The top couples of course separate in their turn and pass
outside; the _second_ couples join hands, and all return to their own
places. The lady and gentleman in the middle of each line give their
hands to their _vis--vis_, and dance half round to their left and
half round to their places again. While this is being done the outside
lady and gentleman in each line give their hands to the lady or
gentleman opposite, then half left and half right to places. Now all
form circles, right hands across, dance round, change hands and dance,
back to place.

SECOND PART.--All lines advance, retire, and advance again. Top line
pass through the line formed by their _vis--vis_, and so get into the
next set. Then repeat all the movements described in the first part
with your new _vis--vis_. The original _vis--vis_ will have taken
your place, and turn round waiting till they are faced--continue the
dance till all have arrived at the place from which they originally
started.




THE CALEDONIANS.


FIRST FIGURE.--Top and opposite couples,--hand across and back again,
eight bars; set and turn partners, eight bars; ladies' chain, eight
bars; half-promenade, four bars; half right and left, four bars.

SECOND FIGURE.--The first gentleman advances and retires twice. The
four ladies set to gentlemen on their right, and turn with both hands,
each lady taking the next lady's place, all promenade round.

THIRD FIGURE.--Top lady and opposite gentleman advance and retire,
four bars; back to back, four bars; top couple lead between the
opposite couple, return, leading outside, eight bars; set at the
corners, and turn with both hands to places, eight bars; all round,
eight bars.

FOURTH FIGURE.--First lady and opposite gentleman advance and stop,
then their partners advance, four bars; turn partners to places, four
bars; the four ladies move to the right, into next ladies' places, and
stop, four bars; the four gentlemen move to the left into next
gentlemen's places, and stop, four bars; ladies repeat the same to
right, four bars; gentlemen repeat, the same to left, four bars; all
join hands and lead round to places, four bars; all turn partners,
four bars.

FIFTH FIGURE.--_Finale._--First gentleman leads his partner round,
inside the figure, eight bars; the four ladies advance, join right
hands, and retire, four bars; then the gentlemen do the same, four
bars; all set and turn partners, eight bars; all chain figure half
round, eight bars; promenade to places, eight bars; all change sides,
join right hands at corners and set, four bars; back again to places,
four bars; all promenade.




COUPLE DANCES.


[Illustration: Fig. 20.]

In all Couple Dances, before commencing, the gentleman places his
right hand to the lady's waist, so as to form a perfect support--the
lady places her right hand in the gentleman's left. Raise the arms to
a level with the shoulders. Both shoulders should be parallel. The
lady's head turned to the left. (_See Fig._ 20.)




THE NEW VALSE COTILLION.


This dance is an importation from Paris, and has been used in the
upper circles during the last three or four seasons. The figures are
very numerous, as additions have been made since its introduction into
this country, but the _original_ six figures will be here described.

All who wish to join in this dance seat themselves round the room; of
course an equal number of ladies and gentlemen is required, and
certainly not less than ten couples should be present to make the
dance enjoyable. One gentleman should be selected from the company to
act as director.

FIRST FIGURE.--The first lady at the top of the room takes a seat in
the centre (which the gentleman who has been selected to conduct the
Cotillion places for her). He presents her with a cushion, which she
rests on the floor, still retaining hold of it. The gentleman who
conducts the dance then introduces another gentleman to her, who
attempts to kneel on the cushion; if the lady does not wish to dance
with him, she pulls the cushion away, and he takes his place behind
her chair. The next gentleman is then introduced, who makes the
attempt to kneel, and unless the lady wishes to dance with him, she
serves him in the some manner as the former gentleman; the second
gentleman in that case takes the place behind the first. Another and
another is introduced, until the lady selects one to dance with. In
that case she allows the cushion to remain whilst the gentleman kneels
upon it. He having knelt on the cushion, the lady rises, presents her
hand to the gentleman, with whom she valses. This is a signal for all
the couples to follow their example and valse once or twice round the
room. The gentleman who conducts the dance claps his hands as a signal
for all to resume their seats. He then selects another lady to take
the place of the first one in the centre, and the figure is repeated
until he wished to change it.

SECOND FIGURE.--The director of the dance leads the first lady again
to her seat and presents her with a small hand mirror, into which she
gazes. The director then introduces a gentleman behind her chair. Of
course his image will be reflected in the mirror, and if the lady does
not wish to dance with him, she rubs the surface of the mirror with
her pocket handkerchief; this is continued until she has selected a
gentleman to dance with, then she presents her hand, which, as in the
former and all figures, is a signal for all to valse round the room,
till the gentleman who conducts the dance claps his hands.

THIRD FIGURE.--The conductor of the dance takes a small basket
containing various kinds of flowers (an equal number of each kind
should be provided), and presents one of each kind to a lady and
gentleman. (Care should be taken not to present flowers of the same
kind to ladies and gentlemen sitting next to each other, because the
figure loses its interest.) The gentleman on having a flower presented
to him, rises, and walks round the circle until he finds the lady who
has a corresponding flower. Having found the lady, she rises and
valses with him. (Care should be taken to keep in the centre of the
room, as in this figure, dancers and gentlemen seeking partners, shall
keep clear of each other.)

FOURTH FIGURE.--The first lady is led into the centre of the room by
the conductor of the dance, who presents her with an orange (sometimes
an apple or a ball is substituted); he then selects two or three
gentlemen and places them opposite the lady in a line. The lady throws
the ball up, and the gentleman who is successful in catching it valses
with her; another lady is then selected, and the successful
gentleman's place is filled by another. This is continued until all
the ladies have occupied the position of the first lady. The director
then gives the signal and all valse round.

FIFTH FIGURE.--For this figure two, three, or more white aprons with
long strings attached, must be provided. The director leads a lady
into the centre of the room, and hands her a chair. He then introduces
two or three gentlemen to her, and presents them with an apron each,
nicely folded. At a given signal they all unfold their aprons, and the
first who succeeds in tying it on (having wound the string twice
around his body and tied it in a bow in front) claims the privilege of
dancing with the lady. This figure is repeated in the same manner as
No. 4.

SIXTH FIGURE.--All form the same as for the Lancers last figure. The
music and step is changed from Valse to Polka time. Give right and
left hands alternately, till all in places; then, still keeping the
Polka step, form the same as for Sir Roger de Coverley. The two lines
advance and retire; advance again, take partners, and finish with a
Galop _ad lib_.

_Note.--The music for the new Cotillion is the Valse  deux temps.
Change to Polka and Galop when necessary._




VIRGINIA REEL,
OR
Sir Roger de Coverley.


It is customary to conclude the evening with some simple, jovial,
spirit-stirring dance, in which all, young and old, slim and obese,
may take a part. Any _contre danse_ (country dance) answers this
purpose; but the prime favorite is Sir Roger de Coverley, which has
held its own, in spite of the lapse of time and the mutations of
fashion, since the beginning of the last century, at the very least.

As many couples as wish to join in this dance, form two lines down the
room. Ladies on the left, gentlemen on the right--partners face each
other. Commence after a chord is struck by the band.

The lady at the top of her line and the gentleman at the bottom
advance to each other half way, curtsey and bow, then retire to their
respective positions. The gentleman at the top and the lady at the
bottom do the same. The top lady and bottom gentleman advance, give
both hands, swing round, and return to places. Of course the gentleman
at the top and the lady at the bottom do the same.

The top couple join hands, and run down to the bottom of the dance;
the bottom couple join hands and raise them for the whole of the
couples (led by the top couple) to go under, all pass to their places
except the original top couple, who remain at the bottom.




THE VARSOVIANA.


This dance is seldom danced now, though it formerly had a sort of
ephemeral popularity. We always considered it a rather boisterous sort
of performance, and more suitable for the casino than the private
ball-room. The following, however, will convey a distinct idea of the
step:


_First Part._

Pass the left foot towards the left followed by the right foot in the
rear, twice (first bar). Repeat (second bar). During the turn execute
one polka step (third bar) and bring your right foot to the front, and
wait one bar (fourth bar). Begin as above with right foot,
consequently reversing the order of feet throughout the step.


_Second Part._

Commence with left foot, one polka step to the left turning partner
(first bar). Right foot to the front, and wait a bar (second bar).
Polka step, right foot toward the right, and turn partner (third bar).
Left foot to front, wait one bar (fourth bar).


_Third Part._

Three polka steps, commencing with left foot, toward the left (three
bars). Right foot to the front and wait one bar (four bars). Repeat,
beginning with right foot (eight bars)--making, in all, sixteen bars,
into which the music for this dance is always divided.




THE CORLITZA.


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.

_2d 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.

_3d bar._--Spring on your right foot, raising your left in front. Fall
on your left foot, passing it behind your right foot. _Glissade_ 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 Mazourka, 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 Mazourka 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.




THE NEW VALSE.


This graceful variation of the valse movement has not long been
introduced, and is not yet so universally popular as it promises to
become. It is more elegant than the _Valse a 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 a Deux Temps_. Fall on
the left foot, and make two glissades with the right (1st bar).
Repeat, reversing order of feet (2d 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
properly be 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.




POP GOES THE WEASEL.


Performed the same as the Country Dance, the ladies and gentlemen
being placed opposite each other.

First couple down the outside, back--down the centre, back--swing
three hands once and a half round with second lady (first couple raise
their hands) second lady passes under them to place--first couple
swing three hands with second gentleman (first couple raise their
hands), second gentleman passes under to place.




MERRIE ENGLAND.


Four lines of sixes--three ladies and three gentlemen; the ladies on
the right of the gentlemen; three sets of four, hands across and back
again, balancing to partners, and turn to places. Right and left and
back again; ladies chain and back again; all advance and retire,
advance a second time, and the leading couples pass through to face
the third line; than begin again until first couple arrive at the
bottom of the dance.




POLKA COUNTRY DANCE.


Dancers form two lines--ladies on the right, gentlemen on the left.
Top lady and second gentleman set a Polka step, and cross into each
other's places; second lady and top gentleman repeat same to places.
The two couples polka down the middle and back again. Same repeated
till bottom couple are at top, and so on at pleasure.




THE TRIUMPH.


This good old-fashioned country dance is at once graceful and
attractive.

The dancers stand in two rows--ladies on one side, gentlemen on the
other. First lady and gentleman dance down the middle and up again;
then the lady passes down the dance with the next gentleman followed
by her partner. The two gentlemen lead the lady up between them, each
taking her up by one hand, and holding their other hands above her
head; pousette all round, and repeat the figure till all the ladies
have been taken in triumph through the dance.




HIGHLAND REEL.


This, more or less, is the general reel of the English, Irish and
Scots; except that the latter adopt the Highland step, which cannot be
taught on paper. The dancers in parties of three or four--a lady, or
two ladies back to back, between two gentlemen in line to form one
reel--chasse and form the figure eight, the gentlemen changing places
at each turn of the figure eight, and dance to partners; and continue
the figure according to the time of the music.




ARKANSAS TRAVELLER.


Balance first six, chasse half round--balance again, chasse round to
place--first four cross hands half round, swing partners--cross hands
round to place, first couple swing quite round--down the centre, back
and cast off--right and left.




PORTLAND FANCY FIGURE, "TEMPEST."


Join hands and swing eight--head couple (gentleman and opposite lady)
down the middle, and foot couple up the outside, back to places--head
couple down the outside, and the foot couple up the middle, back to
places--ladies chain at the head, and right and left at the
foot--right and left at head, and ladies chain at foot--all forward
and back, forward and cross by opposite couples and face the next
four.




CAMPTOWN HORNPIPE.


First couple down the outside, back--down the centre (swing at the
foot half round), up the centre (lady on the gentleman's side) and
cast off--ladies chain--first couple balance and swing to place.




JORDAN AM A HARD ROAD.

_Six couples in a set._


First couple balance, cross over and down the outside--balance at the
foot, cross over up the outside, down the centre, back and cast
off--right and left.




SOLDIER'S JOY.

_Form as for a Spanish Dance._


All forward and back, swing the opposite--all balance to partners, and
turn--ladies chain--forward and back, forward again and pass to next
couple.




LONDON POLKA QUADRILLE.


FIRST FIGURE--(4 strains).--Forward four, change hands, return to
places, polka waltz figure once round--balance and turn partners half
round with right hand, ditto to places with left hand, promenade
forward, turn without quitting hands, promenade to places, sides the
same.

SECOND FIGURE--(3 strains).--The first couple waltz back to couple on
their right, ending with the hands across--cross hands half round with
the right hand, ditto, back with left hand, first couple waltz to
their places; half promenade with opposite couple, waltz back to
places, next couple, &c.

THIRD FIGURE--(2 strains).--First couple lead or waltz up to opposite
couple, turn the opposite couple half round with the right hand, turn
back with the left hand, first couple waltz to their places; next
couple, &c.

FOURTH FIGURE--(3 strains).--The first couple forward in waltz
position, changing the lady from the right to the left hand four
times; four take hands round, pass the ladies from the left to the
right hand four times, reforming the round after each pass; first
couple waltz back to their places; next couple, &c.

FIFTH FIGURE--(4 strains).--The grand round; all balance en carre; the
first lady cross over, followed by her partner, the gentleman dances
back to his place, followed by the lady. N. B.--The arms placed
akimbo after the round. First couple waltz once round, others the
same, &c.

SIXTH FIGURE--(3 strains).--The first couple waltz back to the couple
on their right, ending with the hands across; cross hands half round
with the right hand, ditto, back with the left hand, first couple
waltz to their places; half promenade with opposite couple, waltz back
to places; next couple, &c.




FLOWER GIRL'S DANCE.

_Form as for the Spanish Dance._


All chasse to the right; half balance; chasse back, swing four half
round; swing four half round and back; half promenade, half right and
left; forward and back all, forward and pass to next couple.




CIRCASSIAN CIRCLE.

_Form as for the Spanish Dance._


All balance, swing four hands; ladies chain; balance and turn
partners; right and left; all forward and back, forward again and pass
to next couple.




TEMPEST.

_Form in two lines of six or eight couples on a side._


First two couples down the centre (one couple from each line) four
abreast, couples part at the foot and up abreast and each turn around
opposite the next couple that was below them on starting; four on each
side right and left; ladies chain with the same couple; balance, four
hands round (on each side), same four down the centre, &c.




RUSTIC REEL.

_Each gentleman has two partners; form as for the Spanish Dance._


Each gentleman chasse with right hand lady, opposite and back;
chasse out with the left hand lady opposite and back; all forward and
back, pass through to the next couples.




DEVIL'S DREAM.

_Form in Sets of Six Couples._


First couple down the outside (foot couple up the centre same time)
back first couple down the centre back and cast off (foot couple up
the outside and back at the same time); ladies chain first four; right
and left.




FRENCH TERMS USED IN DANCING.


Throughout this work we have endeavored to avoid as much as possible
the use 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.

_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.

_Chains 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 _chass_ 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 versa.

_Chassez croisez et dchassez_, change places with partners, ladies
passing in front, first to the right, then to the left, back to
places. It may be either  _quatre_--four couples--or _les
huit_--eight couples.

_Chassez  droite-- 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.

_Changes 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  quatre_, four hands half round.

_Dos--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-- leurs cavaliers_, ladies
give the right--left--hands to partners.

_En avant deux et en arrire_, first lady and vis--vis gentleman
advance and retire. To secure brevity, en avant is always understood
to imply _en arrire_ when the latter is not expressed.

_En avant deux fois_, advance and retire twice.

_En avant quatre_, first couple and their _vis--vis_ advance and
retire.

_En avant trois_, three advance and retire, as in La Pastorale.

_Figurez devant_, dance before.

_Figurez  droitee-- 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 mere 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 de 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 neatest his left hand, and
immediately returning to his own place.

_Traversez_, cross over to opposite place.

_Retraversez_, cross back again.

_Traversez deux, en donnant la main droite_, lady and _vis--vis_
gentleman cross, giving right hand, as in La Poule.

_Vis--vis_, opposite.

_Figure en tournant_, circular figure.




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THE
FORTUNE TELLER AND DREAM BOOK;
OR,
The Future Unfolded.

CONTAINING PLAIN, CORRECT AND CERTAIN RULES FOR FORETELLING WHAT
IS GOING TO HAPPEN.

BY THE CELEBRATED GABRIEL,
The Astrologer of the 19th Century.

A Complete Oracle of Destiny.


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Transcriber's Note: Several minor spelling and punctuation errors have
been corrected without comment.




[End of _Ball-Room Dancing Without a Master_ by Anonymous]