Part 6

The leader’s partner takes an umbrella, opens it, and hands it to any gentleman in the circle. The gentleman with the umbrella will hold it up and walk around the circle until some lady takes him out of the rain by arising and waltzing once around with him. The lady then hands umbrella to another gentleman in the circle, who in turn walks around until relieved.

8.--THE SIGNAL OF DISTRESS.

A tin horn is placed in center of circle. The leader selects one gentleman and requests him to take the horn and walk around blowing it until one of the ladies relieves him. She dances with him, then hands the tin horn to a gentleman she may select from the circle.

9.--THE CHAIR.

The leader places a chair in the center of the room, and upon it seats his partner, to whom he next presents two gentlemen. The lady dances with one of the gentlemen, and the other gentleman seats himself in the chair just vacated by the lady. The leader then presents to the gentleman two ladies; he dances with one of them, and the other takes the chair.

10.--FORFEITS.

The leader hands his lady a hat or basket, with which she proceeds to receive forfeits from the other ladies present, such as rings, handkerchiefs, fans, etc.; she then takes the hat or basket around to the gentlemen, who each select, at random, one of the articles, and dance with the lady owning it.

11.--PUSS IN THE CORNER.

Four chairs are placed in the center of the room, separated so as to make four corners. The leader places his partner upon one of the chairs, and brings forward three ladies and places them upon the three remaining chairs, and takes up a position in the center. The ladies then endeavor to change seats, using the two-step when passing from one chair to another; when the gentleman can seize a chair left vacant by the movement of the ladies, he dances with the lady who is deposed. The next gentleman places himself in the center and another lady takes the vacant chair.

12.--THREAD-THE-NEEDLE ARCHWAY.

The first lady selects another lady, and the two stand in the center of the room with their hands joined and raised as high as possible. The gentleman then calls up other gentlemen, who pass under in couples, until two are accepted as partners by the two ladies, who lower their arms, thus capturing the favored ones. The rejected gentlemen either seek other partners or return to seats.

13.--THE KNEELING KNIGHT.

The first gentleman presents to his lady a cushion, which she offers to several gentlemen, inviting them to kneel upon it. She may cheat the gentlemen or bestow the cushion at will. She withdraws it from those she desires to cheat, and places it before the gentleman with whom she desires to dance.

14.--THE MASK.

The gentlemen mask themselves. They then arrange themselves behind a screen, and raise their heads above it. The ladies then select partners from the group, and waltz. The gentlemen keep their masks on until the finish. Repeated by the others.

15.--BLIND MAN’S BUFF.

Three chairs are placed in the center of the room. First couple lead off. The conductor takes another gentleman, whom he blindfolds and seats on the center chair. The lady selects another gentleman, whom she leads (walking on tiptoe) to one of the chairs next to the “blind” man, while she seats herself on the other chair. The first gentleman then asks the blindfolded man with whom he will dance, the person on his right or the one on his left? If fortunate enough to select the lady, he dances with her. If he indicates the gentleman, he must waltz with him, while the lady dances with her partner.

16.--THE AUCTION.

The leader selects a gentleman and places him on a chair in the center of the room, and proceeds either to auction him off himself, or selects a good humorist from the circle to play “auctioneer.” The ladies must then enter into a spirited competition, and the one offering the highest bid dances with him. The auctioneering is continued until all the gentlemen have been “sold.”

17.--THE GAY DECEIVER.

The first gentleman leads his lady by the hand round the circle, and approaches several ladies, feigning to solicit them to dance. The moment the lady rises to accept him, he suddenly turns round and addresses another, and plays the same game till he has made his selection. The first lady dances with the partner of the lady on whom the choice has fallen.

18.--THE ROPE.

Three gentlemen choose partners, and their partners select other gentlemen. The ladies retire to one end of the room and the gentlemen to the other, while the leader and his partner stretch a rope across the room, over which the gentlemen must jump to regain their partners. As the rope is managed so as to trip the gentlemen as much as possible, a great deal of amusement is afforded.

19.--THE FAN.

The leader places his lady in the center of the room, and gives her a fan. He then presents two gentlemen to her. She presents the fan to one and dances with the other. The gentleman receiving the fan hops around and fans the couple while they waltz.

20.--THE BASKET, RING AND FLOWER.

The first couple advance. The gentleman gives to his partner a basket containing a flower and a ring. He then presents to her three gentlemen. To one she gives the flower, to another the ring, and to the third the basket. The gentleman who receives the basket must dance alone, holding the basket in his hand; the one who has the ring may choose a lady to dance with him, and the one who has the flower dances with the lady who presented it to him. When they have danced around the room two or three times they all resume seats, and the next couple do same until end of circle.

21.--THE INSCRIPTIONS.

Several plain cards are prepared; upon one side of each is a number, and upon the other side a ludicrous inscription; a gentleman and lady waltz; the lady then takes her place by the table, upon which are the cards; the gentleman presents a basket containing corresponding numbers with those on the cards to another gentleman, who after drawing one presents it to the lady; she then selects the card having that number, and attaches it to the gentleman’s back, with the inscription exposed to view; they then waltz together.

22.--THE BASKET.

Three or four couples waltz; the gentlemen then choose another lady, and the ladies another gentleman. All join hands in a circle, and take four steps forward and four back, again four steps forward, when the gentlemen take each other’s hands above and the ladies below, as in the “Quadrille Basket.” Then all balance in place; the leader then drops the hand of the gentleman on his left, and his partner drops the hand of the lady on her right, then all array themselves in a straight line. The gentlemen then lift their arms and disengage the ladies, who pass under and waltz forward, followed by the gentlemen. At a signal, the ladies turn round and dance with the opposite gentlemen.

23.--THE INCONSTANTS.

The first four couples waltz and then range themselves in a column, the first couple at the head. The first gentleman turns round and gives the left arm, crossed at the elbow, to the left arm of the gentleman behind him, with whom he changes place. He continues this movement until he reaches the front of the column, where he stops. The second gentleman (now at the head) performs the same figure, and each of the other gentlemen in turn does the same, until, finally, all have regained their own partners. Then all dance.

24.--THE COLUMNS.

The conductor leads off with a _tour de valse_, and leaves his lady in the middle of the room. He takes a gentleman, whom he places back to back with his partner; he then brings another lady, whom he places facing the gentleman, and in the same manner with the others, until a column of five or six couples is formed, which must terminate with a lady, the leader himself standing back to back with the last lady. At a signal by leader, all turn about and waltz with his or her _vis-à-vis_. Two or three lines can be formed by starting two or three couples. The columns can also be used as a final figure.

25.--THE CARNIVAL.

All the couples are divided, the ladies being arranged in one circle, and the gentlemen in another, both circles facing outwards. A sufficient number of paper costumes, packed as “favors,” being in readiness, the leader takes one of the ladies’ “favors” and presents it to one of the ladies, whom he leads inside the ladies’ circle, where costumes are put on, and then leads her to her seat. The leader’s partner at the same time hands a gentleman’s “favor” to one of the gentlemen, and leads him into his ring to be robed or decorated, and then is in turn led by him to her seat. The second couple proceed in like manner, until all have been accommodated.

The conductor then can organize some short figures for dancing, forming also groups and tableaux appropriate to the decorations.

26.--THE HANDKERCHIEF CHASE.

The first three or four couples waltz; the gentlemen leave their ladies in the center of the room; each lady holds a handkerchief in her hand. The leader then selects one more gentleman, who, with the others, form a circle about the ladies, presenting their backs, and turn rapidly to the left. The ladies throw their handkerchiefs in the air, and waltz with those gentlemen who have been fortunate enough to catch them. The unfortunate gentleman who does not get a handkerchief selects a lady from the company. The figure is performed successively by all the other couples.

27.--THE CARDS.

First couple leads off. Leader presents four ladies the four queens of a deck of cards; the leader’s lady presents four gentlemen with four kings of the same deck. The gentlemen seek the ladies of their suit and dance with them.

28.--SCISSORS TO GRIND.

Leader and partner waltz once around. Leading lady, who has been provided with a tin horn, hands this horn to one of the gentlemen. He begins to walk around the circle blowing his horn and calling out “Scissors to grind,” until some lady has scissors to grind. Then, taking from him the tin horn, hands it to another gentleman, who in turn imitates a “Scissors to grind” character. Gentleman waltzes once around with the lady who has rescued him from his honored position of “Scissors to grind.”

29.--THE SKATERS.

Two chairs are placed in the room about eight feet apart. First couple lead off and waltz around the chairs, describing the figure eight as skaters do. Each couple in succession repeats the same skating movement.

30.--THE SPIRAL.

Form in line, one couple behind another, all facing the same way. The first couple turns and passes beneath the joined hands of the second couple; then separate, passing outside of the third couple; then separate, passing under the hands of the fourth couple, and so continue to the end of the line. Each couple repeats the figure in turn. Partners then face each other, stepping back so as to form two lines, one of gentlemen and one of ladies. The two lines forward, and all dance with partners.

31.--THE PYRAMID.

o o o o o o o o o o

Ladies form pyramid, equal number of gentlemen join hands in line and wind around first lady, next two, etc.; then reverse the movement until conductor arrives in front of first lady, with whom he waltzes; other gentlemen waltz with nearest ladies.

32.--THE GRAND ROUND.

Any number (four or more) lead off, then each lady selects another lady and each gentleman selects another gentleman. The dancers form a circle, the gentlemen forming one half of it and the ladies the other half, the leading gentleman being next to his partner. All join hands and circle around to the left. Still retaining hold of hands, the first lady and gentleman advance across the circle and pass under the raised arms of the opposite lady and gentleman. When outside the circle, the leading couple unclasp hands and the gentleman, drawing the other gentlemen after him, turns to the left and passes around outside the circle, the lady at the same time turning to the right and drawing the other ladies after her. When the leading couple again meet, they dance together to place, and each successive couple does the same.

33.--THE STAR AND CIRCLE.

Four couples waltz around, then each lady selects another gentleman, and each gentleman another lady. The eight couples are arranged in two lines, the four couples in one line facing the four in the other line. The four ladies belonging to the middle couples cross right hands forming a _moulinet_, and swing entirely round to the left, returning with left hands across to the right. The gentlemen all join hands and form a circle around these four ladies. The remaining four ladies now advance, giving their left hands to the right hands of the ladies composing the _moulinet_, forming a _star_ of ladies, and a circle of gentlemen. The gentlemen swing round to the right under the uplifted arms of the ladies, who move around to the left. At a signal, the gentlemen regain their partners and waltz to places. This figure may be varied, the gentlemen forming the star and the ladies the circle.

34.--THE DOUBLE PASTOURELLE.

The first four couples lead off with a _tour de valse_, and place themselves as for a quadrille. The first and second gentlemen retaining their partners’ hands, take with their left hands the side ladies on their left, who leave their partners, thus forming two threes at the head; they forward and back four bars; the gentlemen pass the ladies to the side gentlemen, the lady on the left passing under their right arms; the three forward and back four bars, the ladies going to the gentlemen at the head. This figure is repeated four times, when all dance.

35.--THE LABYRINTH.

In this figure all form a general round, going to the left. At a given signal the conductor releases the hand of his lady, who is on his left, and while continuing to turn in the same direction, enters the circle, making a _colimaçon_, while his lady turns to the right to wind about the other circles, that go on narrowing. A circular space should be contrived to be able to extend themselves in waltzing. In this position the conducting couple set out waltzing, and follow the passes of the labyrinth formed by the general chain rolling on itself till they have arrived at the last couple, to which the first lady gives her hand to renew the circle. As each new couple arrives it places itself behind the one previous. When all have arrived they conclude by a general waltz or mazourka. When this figure is executed in polka, you dance through the passes of the labyrinth with the waltz _à deux pas_, which requires less space; when the figure is executed in mazourka, you have recourse to the mazourka waltz. The Labyrinth is one of the final figures of the cotillion.

36.--LETTER CARRIER FIGURE.

Boy or girl in uniform of letter carrier with bag and whistle. Ladies inclose their cards in envelopes (each separately); they are then collected by the carrier. Gents form in line, carrier then hands letters, one by one, to leader, who calls the names as they are handed to him. First lady called dances with first gentleman and so on until five couples have waltzed around, when, from a signal from carrier’s whistle, they find seats and so on with each succeeding five couples.

37.--THE SERPENT.

First couple leads off. The gentleman leaves his lady in a corner of room facing the wall; then he brings forward four or five more ladies and places them in a line behind his partner singly, leaving about two feet space between each one. He then selects as many gentlemen (including himself) as there are ladies, with whom he forms a loose chain and conducts them rapidly in a course between the ladies (commencing with the last lady) until he reaches his partner; he then claps his hands and each gentleman dances with the lady nearest him.

38.--THE PURSUIT.

Three or four couples waltz, and the leader, who is not dancing, calls other gentlemen to the floor, to act as rovers and rob the dancing gentlemen of their partners. A rover gets in front of a dancing couple and claps his hands, when the gentleman must relinquish his partner. He immediately seeks to indemnify himself, however, by securing one of the other ladies in a similar manner. This figure continues until each gentleman has again got possession of his lady to conduct her to her place. To execute this figure with all the animation required, it is necessary that as fast as each gentleman possesses himself of a lady another should replace him. The Pursuit is one of the final figures of the cotillion.

39.--THE CHANGING STAR.

Each lady selects a gentleman and each gentleman selects a lady. The second, fourth and sixth gentlemen, holding their partner’s left hands in their right, form a _moulinet_ by joining left hands, and all six revolve slowly to the left. At the same time the first, third and fifth gentlemen, with their partners, waltz around to the right in the space between each of the gentlemen in the _moulinet_ and his partner and under their raised arms. At a signal, those who have been waltzing form the _moulinet_, and the others waltz.

40.--THE VIRGINIA REEL.

Four couples proceed to place themselves in the middle of the room, as for a Virginia Reel. The first couple lead off by waltzing around the couple on their right, and in the same manner make a turn around the other couples. The other three couples repeat the same figure. When all the four have done so, they return to their places, waltzing.

41.--THE DOUBLE QUADRILLE.

Four couples waltz, and then form a quadrille. Four other couples take up positions so that a new couple stand exactly behind each one of the couples that form the quadrille. The figure commences by the four inside ladies crossing right hands; they move entirely round, giving left hands to partners and swinging round to places. While the inner couples are thus engaged, the four outer couples waltz half round, outside the quadrille, to opposite places. Then the inner couples waltz entirely round, resuming their places, but facing outwards. All chassez at places; turn at corners with right hands, and turn partners with left hands to places. All the gentlemen then waltz to seats with the ladies standing opposite them.

42.--THE FINAL ROUND.

All form a large circle by joining hands. The leader and his lady separate from the circle, which must be at once reconnected, and waltz around inside the circle. He stops at a signal, and the lady passes through the circle and takes her seat. He then selects another lady, with whom he dances. At a signal, he retires from the circle, and the lady with whom he has just danced selects a new partner from the circle, and so on for the others.

THE END.

THE 20TH CENTURY

GUIDE TO ETIQUETTE

BY L. W. SHELDON

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[Transcriber’s Note:

Obvious printer errors corrected silently.

Inconsistent spelling and hyphenation are as in the original.]

End of Project Gutenberg's Dancing Without an Instructor, by Wilkinson