Chapter 10

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XI.--THE MAZOURKA QUADRILLE.

Those who have mastered the steps of the Cellarius will find little trouble in dancing this elegant quadrille. It has five figures, and can be performed by any even number of couples.

The music, like the step, is that of the Mazourka. The couples are arranged as in the ordinary quadrille.

Join hands all round; _grand rond_ to the left (four bars), then back again to the right (four bars), employing the _second_ step of the Cellarius. Each couple does the _petit tour_ forwards, and backwards, still using the second step, and repeating it three times to the right--then resting a bar; three times to the left--then resting another bar; which occupies eight bars of the music. These figures may be considered as preliminary. We find the quadrille itself so well described in the work of a contemporary, that we cannot do better than extract the account in full, for the benefit of our readers.

_1st Figure_.--Top and bottom couples right and left (eight bars), with Redowa steps;[A] then they advance, the ladies cross over, the gentleman meanwhile pass quickly round each other, and return to own places (four bars); _petit tour_ forward with opposite ladies (four bars); right and left (eight bars); advance again; the ladies return to own places, and the gentlemen pass again round each other to their own ladies (four bars); _petit tour_ backward (four bars). Side couples do likewise.

_2nd Figure_.--(Eight bars rest.) Top and bottom couples advance and retire, hands joined (four bars). All cross over into opposite places, each going to each other's left (four bars); _petit tour_ forward (four bars); advance and retire (four bars), and return to places (four bars); _petit tour_ (four bars). Side couples do likewise.

_3rd Figure_.--(Eight bars rest.) Top and bottom ladies cross over into opposite places (four bars); return, presenting left hands to each other, and right hands to partners, as in _La Poule_ (four bars); pass round with partners into opposite places (four bars); _petit tour_ backward (four bars); _vis-à-vis_ couples hands across, round (six bars); retire (two bars); top and bottom ladies cross over (four bars); ladies cross again, giving each other left hands, and right to partners (four bars). All pass round to own places (four bars); _petit tour_ backward (four bars).

_4th Figure_.--(Eight bars rest.) Top couple lead round inside the figure (eight bars); _petit tour_ forward and backward (eight bars); advance to opposite couple; the gentleman turns half round without quitting his partner, and gives his left hand to opposite lady; the two ladies join hands behind gentleman (four bars); in this position the three advance and retire (eight bars). The gentleman passes under the ladies' arms; all three pass round to the left, with second step of Cellarius, the opposite lady finishing in her own place (four bars). The top couple return to places (four bars); _petit tour_ forward (four bars). Opposite couple and side couples do likewise.

_5th Figure_.--(Eight bars rest.) Top and bottom couples half right and left (four bars); _petit tour_ backward (four bars); half right and left to places (four bars); _petit tour_ backward (four bars); _vis-à-vis_ couples hands round to opposite places (four bars); _petit tour_ forward (four bars); hands round to own places (four bars); _petit tour_ (four bars); right and left (eight bars).

Side couples do likewise.

_Finale_. Grand round all to the left, and then to the right (sixteen bars); grand chain, as in the Lancers, with first step of Cellarius (sixteen bars). But if there are more than eight in the quadrille, the music must be continued until all have regained their places.

N.B.--Music continues during rest.

[Footnote A: This step will be found farther on in the book, under the head of the Redowa Valse.]

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XII.--THE POLKA MAZOURKA.

The step of this dance is, as its implies, a mixture of the steps of the Polka and the Mazourka. It is a favourite dance with the Parisians, but has never been very popular in England, probably from the same reasons which prevented the success of the Cellarius. Yet it is a pretty dance, and the step is easily acquired. We recommend it to the attention of our readers. The time is 3/8, and quicker than that of the Cellarius.

Gentleman takes his partner as in the valse. _Figure en tournant_. We describe the steps for the gentleman; the lady simply reverses the order of the feet, using left foot for right throughout.

_1st beat_.--Rest on right foot, with left foot a little raised behind, and slide left foot to the left.

_2nd beat_.--Spring on the right foot, bringing it up to where the left foot is, and raising the latter in front.

_3rd beat_.--Spring once more on right foot, passing left foot behind without touching the ground with it; this ends first bar.

_2nd bar, 1st beat_.--Slide left foot to the left, as before.

_2nd beat_.--Spring on right foot, as before, and bring it up to the place of left foot, raising latter at same moment.

_3rd beat_.--Fall on the left foot, and raise the right foot behind; end of second bar.

Begin third bar with right foot, and continue as before. You turn half round in the first three beats, and complete the circle in the second three.

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XIII.--THE REDOWA, OR REDOVA.

The step of this valse somewhat resembles that of the Cellarius, and is used, as we have seen, in dancing the Mazourka Quadrille. It is an elegant valse, not so lively as the Polka Mazourka, but, if danced in correct time, not too slowly, is very graceful and pleasing. The step is not so difficult as that of the Cellarius; it is almost a _Pas de Basque_, with the addition of the hop. In all these dances, which partake of the nature of the Mazourka, it is requisite to mark distinctly the first and third beats of every bar, otherwise the peculiar character of the movement is completely lost. We describe the step for the lady as it is employed in the forward movement.

_1st beat_.--Stand with right foot slightly forward; spring upon it, bringing it behind left foot, which is raised at same moment.

_2nd beat_.--Slide your left foot forward, bending the knee.

_3rd beat_.--Bring your right foot, with a slight hop, up behind your left foot, raising the latter and keeping it in front. (One bar.)

_1st beat_.--Spring Upon your left foot, passing it behind your right, and raising latter.

_2nd beat_.--Slide right foot forward, bending the knee.

_3rd beat_.--Bring left foot up to right, with slight hop, and raise right foot at same moment, keeping it in front as before.

When the _figure en tournant_ (circular movement) is employed, the lady begins by sliding the left foot forward, and the right foot backward. Gentleman always does the same, with order of feet reversed.

This dance has been very popular in Paris; in England it is now seldom seen.

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XIV.--THE SCHOTTISCHE.

The Schottische was introduced amongst us about the same time as the Polka Mazourka, but it received a much more cordial welcome, and has always been popular in England. Its origin is as uncertain as that of the Polka, and it is believed to be a very ancient national dance. It is a great favourite with the German peasantry; and although its name, _Schottische_, would seem to imply that it came from Scotland, there is no doubt that it is essentially German alike in character and in music.

The step, although easy to learn, requires great precision. We would recommend our readers to adhere throughout to the circular movement. Some dancers begin by four steps to the right, then back again, not turning until they commence the second half of the figure. But when many couples are dancing this practice involves a risk of collisions, and it is safer to begin at once with the _figure en tournant_. The second part of the step consists of a series of slight hops, which must be made exactly at the same moment by both parties, otherwise a break-down is inevitable. They should be executed as quickly as possible, so as to avoid the _jigging_ effect which bad dancers impart to the Schottische. When well performed it is a very animated and elegant dance, forming an agreeable variety to the Polka and Valse.

The time is 2/4; it should be played a good deal slower than the Polka; when hurried it becomes ungraceful and vulgar. The first and third beat in each bar should be slightly marked.

We proceed to describe the step as danced by the gentleman.

Slide the left foot forward; bring right foot close up behind left foot. Slide left foot forward a second time. Spring upon left foot. Then do the same with right foot.

Having completed four steps, first with the left foot, and then with the right, you come to the second part, which consists of a series of double hops, two on each foot alternately. Hop twice on the left foot (one hop for each beat of the time), and half turn round; then twice on the right, completing the circular movement. Repeat the same through another four beats; then resume first step through the next two bars, and continue to alternate them every second bar. You can also vary the dance at pleasure, by continuing the first step without changing it for the hops; or you can likewise continue these throughout several bars in succession; taking care, of course, to apprise your partner of your intention. Even when well and quietly danced, there is something undignified in the hopping movement of the second step; and we have observed with satisfaction that for some time past it has been replaced by the step of the _Valse à Deux Temps_, which is now generally used instead of the double hops.

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XV.--LA VARSOVIENNE.

This is a round dance for two, which, like the Polka Mazourka, is a combination of the steps of one or two other dances. Since the introduction of the Polka and the Cellarius, several dances have been invented which partake largely of the character of both. La Varsovienne is very graceful, and was popular in England a few years ago. It is not often danced now.

Take your partner as for the Valse. Count three in each bar. Time much the same as in Polka Mazourka. The music is generally divided into parts of sixteen bars each. The steps for the gentleman is as follows in the first part:--

Slide left foot to the left; slightly spring forward with right foot, twice, leaving the left foot raised behind, in readiness for next step, (1st bar.) Repeat the same. (2nd bar.) One polka step, during which turn. (3rd bar.) Bring your right foot to the second position, and wait a whole bar. (4th bar.) Resume first step with right foot, and repeat throughout, reversing order of feet. Lady, as usual, begins with her right foot, doing the same step.

_Second step in second part. 1st bar_.--Gentleman, beginning with his left foot, does one polka step to the left, turning partner.

_2nd bar_.--Bring right foot to the second position, and bend towards it; wait a whole bar.

_3rd bar_.--One polka step with right foot to the right, turning partner.

_4th bar_.--Left foot to second position; bend towards it, and wait as before.

_Third part_.--Take three polka steps to the left. (This occupies three bars.) Bring right foot to second position, and wait one bar. Repeat the same, beginning with right foot to the right.

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XVI.--THE GORLITZA.

This is a Polish round dance for two, which was brought over to London from Paris in 1851. Like the Varsovienne, it is now seldom seen beyond the walls of the dancing academy. Perhaps one reason of its short-lived popularity is to be found in the fact that it is rather troublesome to learn, the steps being changed continually. 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.

_2nd 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.

_3rd bar_.--Spring on your right foot, raising your left in front. Fall on your left foot, passing it behind your right foot. _Glissade_ to 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 Mazurka 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 Mazurka, 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.

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XVII.--THE VALSE A TROIS TEMPS

Twenty years ago, the Valse (or, as it was then pronounced, _Waltz_) was a stately measure, danced with gravity and deliberation. Each couple wheeled round and round with dignified composure, never interrupting the monotony of the dance by any movements forward or backward. They consequently soon became giddy, although the music was not played above half as fast as the valse music of our day. We are bound to admit that this stately fashion of waltzing was infinitely more graceful than the style which has superseded it. But, having confessed so much, we may venture to add that the Valse, as danced by the present generation, possesses a spirit, lightness, and variety quite unknown to its stately predecessor.

The old Waltz was introduced into this country from Germany, where it has always been the favourite dance of the people in all ranks and conditions. But, although we adopted the step of their national waltz, we so entirely altered the time, that it became in our hands a totally different dance, which the Germans themselves would have found it difficult to recognize. At that period, "fast dancing" was unknown in England, and would have been regarded as highly indecorous.

At its first introduction, the Waltz was received with great mistrust by the older portion of the community. If it was to be tolerated at all in correct society, it must at least be danced in a deliberate manner, consonant with the dignity of the English character. It was, therefore, taken at half its original _temps_; it ceased to be the giddy, intoxicating whirl in which the Germans delight, and subsided into the comparatively insipid and spiritless affair known thirty years ago as the "German Waltz."

We have already seen how complete was the revolution effected by the Polka in these old-fashioned ideas. But, although we cannot regret the introduction of a more animated style of dancing, we are sorry that the old Waltz has been so entirely given up. When restored to its original _temps_, the _Valse à Trois Temps_ is nearly as spirited as the _Valse à Deux_; and twice as graceful. It has the additional advantage over the latter, that it contains in each bar three steps to three beats of the time; whereas the _Deux Temps_, as its name implies, numbers only two steps in a bar of three notes; and is thus incorrect in time. We venture to predict that the old Waltz will, at no distant day, be restored to public favour. We shall be heartily glad to welcome it once more, but on the condition that it shall be danced in the only manner which does justice to all its attractions; that is, as it is danced by the German peasants under the wide-spreading oaks of its own fatherland. We proceed to describe the step for the gentleman: the same, beginning with right foot instead of left, will apply to the lady.

Gentleman takes his partner round the waist with his right arm; his left hand holds hers, as in the Polka. Lady places left hand on his shoulder, and right hand in his left hand. Begin at once with the _figure en tournant_. Time 3/4; one step to each beat. First beat in each bar should be slightly marked by the dancers.

_1st beat_.--Slide left foot backwards, towards the left.

_2nd beat_.--Slide your right foot past your left in same direction, keeping right foot behind left, and turning slightly to the right.

_3rd beat_.--Bring left foot up behind right (one bar).

_1st beat_.--Slide right foot forward towards the right.

_2nd beat_.--Slide left foot forward, still turning towards right.

_3rd beat_.--Bring right foot up to right, turning on both feet, so as to complete the circle (two bars). Remember to finish with right foot in front. Repeat from first beat of first bar. Gentleman always turns from left to right; lady from right to left.

The step of the old Waltz is simple enough; nevertheless some practice is required to dance it really well. Remember always to _slide_, not to _step_, forward; for the beauty of this valse consists in its gliding motion. It is not at first easy to dance swiftly and quietly at the same time; but a little patience will soon enable you to conquer that difficulty, and to do full justice to what is, in our opinion, the most perfectly graceful of all the round dances, without a single exception.

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XVIII.--THE VALSE À DEUX TEMPS.

We are indebted to the mirth-loving capital of Austria for this brilliant Valse, which was, as we have observed elsewhere, introduced to our notice shortly before the Polka appeared in England, and owed its popularity to the revolution in public taste effected by that dance.

Although the Polka has gone out of fashion, the _Valse à Deux Temps_ still reigns supreme; but within the last two years a dangerous rival has arisen, which may perhaps drive it in its turn from the prominent position which, for more than twenty seasons, it has maintained. This rival is the New Valse, of which we shall speak in its place; but we must now describe the step of the _Valse à Deux Temps_.

We have already remarked that this Valse is incorrect in time. Two steps can never properly be made to occupy the space of three beats in the music. The ear requires that each beat shall have its step; unless, as in the Cellarius, an express pause be made on one beat. This inaccuracy in the measure has exposed the _Valse à Deux Temps_ to the just censure of musicians, but has never interfered with its success among dancers. We must caution our readers, however, against one mistake often made by the inexperienced. They imagine that it is unnecessary to observe any rule of time in this dance, and are perfectly careless whether they begin the step at the beginning, end, or middle of the bar. This is quite inadmissible. Every bar must contain within its three beats two steps. These steps must begin and end strictly with the beginning and end of each bar; otherwise a hopeless confusion of the measure will ensue. Precision in this matter is the more requisite, because of the peculiarity in the measure. If the first step in each bar be not strongly marked, the valse measure has no chance of making itself apparent; and the dance becomes a meaningless _galop_.

The step contains two movements, a _glissade_ and a _chassez_, following each other quickly in the same direction. Gentleman begins as usual with his left foot; lady with her right.

_1st beat_.--_Glissade_ to the left with left foot.

_2nd and 3rd beats_.--_Chassez_ in the same direction with right foot; do not turn in this first bar.

_2nd bar, 1st beat_.--Slide right foot backwards, turning half round.

_2nd and 3rd beat_.--Pass left foot behind right, and _chassez_ forward with it, turning half round to complete the _figure en tournant_. Finish with right foot in front, and begin over again with left foot.

There is no variation in this step; but you can vary the movement by going backwards or forwards at pleasure, instead of continuing the rotatory motion. The _Valse à Deux Temps_, like the Polka, admits of a reverse step; but it is difficult, and looks awkward unless executed to perfection. The first requisite in this Valse is to avoid all jumping movements. The feet must glide smoothly and swiftly over the floor, and be raised from it as little as possible. Being so very quick a dance, it must be performed quietly, otherwise it is liable to become ungraceful and vulgar. The steps should be short, and the knees slightly bent.

As the movement is necessarily very rapid, the danger of collisions is proportionately increased; and gentlemen will do well to remember and act upon the cautions contained in the previous pages of this book, under the head of "The Polka".

They should also be scrupulous not to attempt to conduct a lady through this Valse until they have thoroughly mastered the step and well practised the _figure en tournant_. Awkwardness or inexperience doubles the risks of a collision; which, in this extremely rapid dance, might be attended with serious consequences.

The _Deux Temps_ is a somewhat fatiguing valse, and after two or three turns round the room, the gentleman should pause to allow his partner to rest. He should be careful to select a lady whose height does not present too striking a contrast to his own; for it looks ridiculous to see a tall man dancing with a short woman, or _vice versâ_. This observation applies to all round dances, but especially to the valse, in any of its forms.

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XIX.--THE NEW VALSE.

This graceful variation of the valse movement has not long been introduced into England, and is not yet so universally popular as it promises to become. It was, however, much danced in London last year, and there is reason to believe that it will be the favourite dance this season. It is more elegant than the _Valse à 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 à Deux Temps_. Fall on the left foot, and make two _glissades_ with the right (1st bar). Repeat, reversing order of feet (2nd 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 be properly 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.

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XX.--LE GALOP.