139. Quadrilles.--The First Set. First Figure, Le Pantalon. Right and left. Balancez to partners; turn partners. Ladies' chain. Half promenade; half right and left. (Four times.)--Second Figure, L'Eté.--Leading lady and opposite gentlemen advance and retire; chassez to right and left: 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, 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.) Fourth Figure, Trenise.--The first couple advance and retire twice, the lady remaining on the opposite side; the two ladies go round the first gentleman, who advances up the centre; balancez and turn hands. (Four times.) Fifth Figure, La Pastorale.-- The leading couple advance twice, leaving the lady opposite the second time. The three advance and retire twice. The leading gentleman advance and set. Hands four half round; half right and left. [This or the Trenise must be omitted.] (Four times.) Sixth Figure, Galop Finale.--Top and bottom couples galopade quite round each other. Advance and retire; four advance again, and change the gentleman. 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 galopade 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.
In different companies the Quadrille varies slightly. For example, in the last figure, sometimes called a Flirtation, the four couples set in a circle, the gentlemen turn their partners, the ladies advance to the centre and retire, the gentlemen advance and retire; the gentlemen turn the ladies to the left and promenade: the whole figure being repeated four times.
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 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. iv. L'Etoile.--First couple set to 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.--The grand chain. The first couple advance and turn facing the top; then the couple at right advance behind the top couple; then the couple at left and the opposite couple do the same, forming two lines. All change places with partners and back again. The ladies turn in a line on the right, the gentlemen in a line on the left. Each couple meet up the centre. Set in two lines, the ladies in one line, the gentlemen in the other. Turn partners to places. Finish with the grand chain.141. The Caledonians.--First 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 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 retire--then 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.
142. 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 fiest 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 harries and inconveniences the dancers, but also ill accords with the music.
143. 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.
144. The Galopade is an extremely graceful and spirited dance, in a continual chassez. An unlimited number may join; it is danced in couples, as waltzing.
145. 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.
146. 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.
147. 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 promenade, called the pursuit, while those who dance the waltz turn in a circle about the room. The position of the gentleman in 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 advance well upon the siding 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 described. 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 behins--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 foor. To waltz à deux temps to the measure of the Redowa, we should make each step upon each beat of the bar, and find ourselves 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.
148. 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--moving three bars to his left--at the 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.
149. Circular Waltz.--The dancers form a circle, then promenade during the introduction--all waltz sixteen bars--set, holding partner's right hand, and turn--waltz thirty-two bars--rest, and turn partners slowly--face 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.
150. 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. The lady performs the same steps, beginning with the right foot. Second. The gentleman, 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.
151. 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.
152. Circassian Circle.--The company is arranged in couples round the room--the ladies being placed on the riht 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.
153. 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 hopped with, 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.--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 opposite 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 around the room. Fourth Figure. The same step as figures two and three, but turning as in a waltz.
154. The Gorlitza is similar to the polka, the figures being walked through.
155. The Schottische.--The gentleman holds the lady precisely as in the polka. Beginning with the left foot, he slides it forward, then brings up the right foot to the place of the left, slides the left foot forward, and springs or hops on this foot. This movement is repeated to the right. He begins with the right foot, slides it forward, brings up the left foot to the place of the right foot, slides the right foot forward again, and hops upon it. The gentleman springs twice on the left foot, turning half round; twice on the right foot; twice encore on the left foot, turning half round; and again twice on the right foot, turning half round. Beginning again, he proceeds 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 fine 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.
156. 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.
157. La Polka Country Dances.--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 place--second 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 again--two first couples polka waltz. First couple repeat with the third couple, then with fourth, and so on to the end of the dance.
158. The Highland Reel.--This dance is performed by the company arranged in parties of three, along the room in the following manner: a lady between two gentlemen, in double rows. All advance and retire--each lady then performs the reel with the gentleman on her right hand, and retires with the opposite gentleman to places--hands three round and back again--all six advance and retire--then lead through to the next trio, and continue the figure to the end of the room. Adopt the Highland step, and music of three-part tune.