Chapter 11

The Galop, as its name implies, is the quintessence of all the "fast" dances. At the time of the Polka mania it was very much in vogue, and was almost as great a favourite as the _Deux Temps_. Although its popularity has greatly declined of late, it generally occurs twice or thrice in the programme of every ball-room; and the music of the Galop is, like the dance itself, so gay and spirited, that we should regret to see it wholly laid aside. The step is similar to that of the _Deux Temps_ Valse, but the time is 2/4, and as quick as possible. Two _chassez_ steps are made in each bar. The figure can be varied by taking four or eight steps in the same direction, or by turning with every two steps, as in the _Deux Temps_. Like all round dances, it admits of an unlimited number of couples. Being, perhaps, the most easy of any, every one takes part in it, and the room is generally crowded during its continuance. A special amount of care is therefore necessary on the part of the gentleman to protect his partner from accidents.

We have now described all the round dances at present in vogue.

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XXI.--THE COTILLON.

The Cotillon is rarely seen in English ball-rooms, but on the Continent, especially in Italy, it is a great favourite. It occupies a somewhat similar position to our own Sir Roger de Coverley, being generally the concluding dance of the evening, in which every one joins. It can be prolonged at pleasure by the introduction of more figures, for it has no definite beginning or end. It is, in fact, more like a long game performed to the accompaniment of valse music than a dance.

We shall describe the Cotillon as we have seen it in the palaces of Italy, where it is danced with enthusiasm, and diversified by an innumerable variety of figures, only a few of which we can undertake to remember. It is never commenced till towards the close of the ball, at so advanced an hour that all the sober portion of the assembly have retired, and only the real lovers of dancing remain, who sometimes prolong this their favourite amusement till a late hour in the morning.

It is customary for gentlemen to select their partners for the Cotillon early in the evening, while the other dances are in progress; for, as it lasts so long a time, it is necessary to know beforehand how many ladies feel inclined to remain during its continuance.

A circle of chairs is arranged round the room, the centre being left clear; the spectators stand behind the chairs, so as not to interfere with the dancers. Each gentleman leads his partner to a seat, taking another beside her. To these same seats they return after every figure, it being the etiquette of the dance that no couple should appropriate any chairs but their own, taken at the commencement. When the dancers are arranged round the room, the orchestra strikes up the spirited music of the Cotillon, which consists of a long series of valse movements at the usual _tempo_ of the _Deux Temps_. There are generally several leaders of the Cotillon, who decide upon the succession of the figures. If there are many couples dancing, one leader attends upon a group of six or eight couples, to ensure that all shall take part. We are aware of no fixed rule for the succession of the figures, which depends upon the caprice of the leaders. A good leader will invent new combinations, or diversify old figures; thus securing an almost endless variety. One of the most popular is the following:--

Several gentlemen assume the names of flowers or plants, such as the honeysuckle, woodbine, ivy, &c. A lady is then requested to name her favourite flower; and the fortunate swain who bears its name springs forward and valses off with her in triumph. It is usual to make one, or at most two, turns round the room, and then restore the lady to her own partner, who in the meantime has perhaps been the chosen one of another lady. All having regained their places, each gentleman valses with his own partner once round the room, or remains sitting by her side, as she may feel inclined.

Baskets filled with small bouquets are brought in. Each gentleman provides himself with a bouquet, and presents it to the lady with whom he wishes to valse.

Sometimes a light pole or staff is introduced, to the top of which are attached long streamers of different coloured ribbons. A lady takes one of these to several of her fair companions in turn, each of whom chooses a ribbon, and, holding it firmly in her hand, follows the leading lady to the room. Here they are met by an equal number of gentlemen, likewise grouped around a leader who carries the pole, while each holds a streamer of his favourite colour, or that which he imagines would be selected by the _dame de ses pensées_. The merry groups compare notes: those who possess streamers of the same colour pair off in couples, and valse gaily round the room, returning to places as before.

Six or eight ladies and the same number of gentlemen form in two lines, facing each other. The leading lady throws a soft worsted ball of bright colours at the gentleman with whom she wishes to dance. He catches it, throws it back to the fair group, and valses off with his partner. Whoever catches the returning ball, has the right to throw next; and the same ceremony is repeated until all have chosen their partners, with whom they valse round the room, returning to places as usual. Sometimes a handkerchief is substituted for the ball; but the latter is better, being more easily thrown and caught.

Six or eight chairs are placed in a circle, the backs turned inwards. Ladies seat themselves in the chairs, gentlemen move slowly round in front of them. Each lady throws her handkerchief or bouquet at the gentleman with whom she wishes to dance as he passes before her. Valse round as usual and return to places.

Sometimes a gentleman is blindfolded, and placed in a chair. Two ladies take a seat on either side of him; and he is bound to make his selection without seeing the face of his partner. Having done so, he pulls the covering from his eyes, and valses off with her. It is a curious circumstance that mistakes seldom occur, the gentleman being generally sufficiently _clairvoyant_ to secure the partner he desires.

We have here described a few of the most striking figures of the Cotillon. We might multiply them to an extent which would equally tax the patience of our readers and our own powers of remembrance; but we forbear. Enough has been told to show the graceful, coquettish character of the dance, which adapts itself admirably to the Italian nature, and is as much beloved by them as the Valse by the Germans or the Cachucha by the dark-eyed maidens of Spain. We should rejoice to see this charming stranger naturalised in English ball-rooms. It is especially adapted to sociable gatherings, where most of the guests are friends or acquaintances.

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XXII.--THE SPANISH DANCE.

This pretty though now somewhat old-fashioned dance was, before the introduction of the _Deux Temps_ and Polka, a principal feature in every ball-room. It is danced with the step and music of the Old _Valse à Trois Temps_, played slower than the music of the _Deux Temps_.

Sometimes the couples stand in two long parallel lines, as in a country dance; sometimes they are arranged in a circle. The leading gentleman must be on the ladies' side, and his partner on the gentleman's side. Every fourth lady and gentleman exchange places, to avoid the necessity of keeping the other couples waiting. The whole set can thus begin at the same moment.

Leading gentleman and _second_ lady advance and retreat with Valse step, and change places. Leading lady and second gentleman do the same at the same time.

Leading gentleman and his partner advance and retreat, and change places. Second lady and gentleman do the same at same time. Leading gentleman and second lady repeat this figure; first lady and second gentleman likewise, at same time.

Leading gentleman and first lady repeat same figure; second gentleman and lady repeat at same time.

All four, joining hands, advance to centre, and retreat. Ladies pass to the left. Repeat three times. Each gentleman takes his partner, and the two couples valse round each other once or twice at pleasure; the second lady and gentleman being left at the top of the figure, as in a country dance. Leading gentleman and partner repeat same figure with succeeding couple to end of dance.

It is obvious that there must be an equal number of couples; and that they must be arranged in sets of four, eight, sixteen, twenty, twenty-four, and so on.

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XXIII.--LA TEMPÊTE.

La Tempête was brought over to this country from Paris some years ago. It speedily became a favourite, and for several seasons was much danced in London and the provinces. It unites the cheerfulness of the quadrille with the sociability of the country dance; and when its lively figures are correctly performed, it is both amusing and animated.

It is divided into parties of four couples, like the quadrille; but their arrangement is different. Two couples stand side by side, facing their respective _vis-à-vis_; there are not any side couples. As many sets of four couples can be thus arranged as the room will accommodate. Each new set turns its back upon the second line of the preceding set. Thus the dance can be the whole length of the room, but is only the breadth of two couples. The figure is as follows:--

Place two couples side by side, the lady standing at the right hand of the gentleman. Place two other couples as their _vis-à-vis_. Next place two couples with their backs turned to the first set; two couples opposite them for their _vis-à-vis_; and continue arranging more sets of four couples according to the number of the dancers and the size of the room.

_First part_.--All the couples begin at the same moment, by advancing and retreating twice, with joined hands. First couples (that is, all whose backs are turned to the top of the room) cross, with hands joined, to the places of their _vis-à-vis_. The latter cross at the same time, but, separating, pass outside top couples to the top, where they join hands, return to own places, and back again to the top without separating; the top couples crossing separately at the same time outside the second couples. Top couples then join hands, and all return to their own places, second couples separating to allow the others to pass between them.

Lady and gentleman in the centre of each line join hands, giving their disengaged hands to their two _vis-à-vis_. All four half round to the left, then half round back again to places. Meantime, the outside lady and gentleman perform the same with their respective _vis-à-vis_, making a circle of two instead of four. Circle of four give hands across round; change hands; round once more, and back to places. Outside couples perform same figure in twos. All the sets perform the figure at the same moment.

_Second part_.--All advance, retreat, and advance again; all the top couples passing the second couples into the next line, where they re-commence the same figure, their former _vis-à-vis_ having passed to the top, and turned round to wait for a fresh _vis-à-vis_; gentleman always keeping lady at his right hand. An entire change of places is thus effected, which is continued throughout this figure, until all the top lines have passed to the bottom, the bottom lines at the same time passing to the top; and then turning round, all go back again by the same method reversed, till all have regained their original places. The dance may terminate here, or the last figure may be repeated, at pleasure. When the first exchange of _vis-à-vis_ takes place, the new lines at the top and bottom find themselves for a moment without a _vis-à-vis_; but, at the next move forward, they are provided, and can continue the figure as above described. We extract from a contemporary the following graceful variation in the first half of this dance:--"All advance and retire twice (hands joined). All _vis-à-vis_ couples _chassez croisez en double_, each gentleman retaining his partner's left hand; eight _galop_ steps (four bars); _déchassez_ eight steps (four steps), the couple on the right of the top line passing in front of the couple on the left the first time, returning to place, passing behind. Thus, two couples are moving to the right, and two to the left. This is repeated. The _vis-à-vis_ couples do likewise at the same time. This of course applies to all the couples, as all commence at the same time."

La Tempête is danced to quick music, in 2/4 time. The steps are the same as in quadrilles; varied sometimes by the introduction of the _galop_ step, when the couples cross to each others' places or advance into the lines of the next set.

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XXIV.--SIR ROGER DE COVERLEY.

We conclude our account of the dances now most in vogue with an old-fashioned favourite, whose popularity dates from a bygone age, and bids fair to survive the present one. Long may its cheerful rustic strains be heard in our ball-rooms, and prove we have not grown too fine or too foolish to take pleasure in the simple dances of our ancestors. Sir Roger de Coverley is always introduced at the end of the evening; and no dance could be so well fitted to send the guests home in good humour with each other and with their hosts. We describe it as it is danced in the present day, slightly modernised to suit the taste of our time. Like the quadrille, it can be danced with equal propriety by old or young; and is so easy, that the most inexperienced dancer may fearlessly venture to take part in it.

Form in two parallel lines; ladies on the left, gentlemen on the right, facing their partners. All advance; retreat (which occupies the first four bars); cross to opposite places (four bars more); advance and retreat (four bars); re-cross to places (four bars).

The lady who stands at the top, and the gentleman who stands at the bottom, of each line, advance towards each other, courtesy and bow, and retire to places. The gentleman at the top and the lady at the bottom do the same. Lady at top and gentleman at bottom advance again, give right hands, and swing quickly round each other back to places. Gentleman at top and lady at bottom do the same. Top lady advances, gives right hand to partner opposite, and passes behind the two gentlemen standing next to him. Then through the line and across it, giving left hand to partner, who meets her half way between the two lines, having in the meantime passed behind the two ladies who stood next his partner. Lady then passes behind the two ladies next lowest; gentleman at same time behind the two gentlemen next lowest; and so on all down the line. At the bottom, lady gives left hand to her partner, and they promenade back to places at the top of the line. (This figure is frequently omitted.) Top couple advance, courtesy and bow, then lady turns off to the right, gentleman to the left, each followed by the rest of her or his line. Top couple meet at the bottom of figure, join hands, and, raising their arms, let all the other couples pass under them towards the top of the line, till all reach their own places, except the top, who have now become the bottom couple. Figure is repeated from the beginning, until the top couple have once more worked their way back to their original places at the top of the line.

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Glossary

Throughout the Ball-room Guide we have endeavoured to avoid as much as possible the rise 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.

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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_.

Chaine 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_ chassé _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 versâ_.

Chassez croisez et déchassez, _change places with partners, ladies passing in front, first to the right, then to the left, back to places. It may be either_ à quatre _four couples--or_ les huit--_eight couples_.

Chassez à droite--à 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_.

Changez 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 à quatre, _four hands half round_.

Dos-à-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--à leurs cavaliers, _ladies give the right--left--hands to partners_.

En avant deux et en arrière; _first lady and_ vis-à-vis _gentleman advance and retire. To secure brevity_, en avant _is always understood to imply_ en arrière _when the latter is not expressed_.

En avant deux fois, _advance and retreat twice_.

En avant quatre, _first couple and their_ vis-à-vis _advance and retire_.

En avant trois, _three advance and retire, as in La Pastorale_.

Figurez devant, _dance before_.

Figurez à droite--à 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 meme 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 d'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 nearest his left hand, and immediately returning to his own place_.

Traversez, _cross over to opposite place_

Retraversez, _cross back again_.

Traversez deux, en dormant la main droite, _lady and_ vis-à-vis _gentleman cross, giving right hand, as in La Poule_.

Vis-à-vis, _opposite_.

Figure en tournant, _circular figure_.

Etiquette of Courtship and Matrimony

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I.--FIRST STEPS IN COURTSHIP.

It would be out of place in these pages to grapple with a subject so large as that of Love in its varied phases: a theme that must be left to poets, novelists, and moralists to dilate upon. It is sufficient for our purpose to recognize the existence of this the most universal--the most powerful--of human passions, when venturing to offer our counsel and guidance to those of both sexes who, under its promptings, have resolved to become votaries of Hymen, but who, from imperfect knowledge of conventional usages, are naturally apprehensive that at every step they take, they may render themselves liable to misconception, ridicule, or censure.

We will take it for granted, then, that a gentleman has in one way or another become fascinated by a fair lady--possibly a recent acquaintance--whom he is most anxious to know more particularly. His heart already feels "the inly touch of love," and his most ardent wish is to have that love returned.

At this point we venture to give him a word of serious advice. We urge him, before he ventures to take any step towards the pursuit of this object, to consider well his position and prospects in life, and reflect whether they are such as to justify him in deliberately seeking to win the young lady's affections, with the view of making her his wife at no distant period. Should he after such a review of his affairs feel satisfied that he can proceed honourably, he may then use fair opportunities to ascertain the estimation in which the young lady, as well as her family, is held by friends. It is perhaps needless to add, that all possible delicacy and caution must be observed in making such inquiries, so as to avoid compromising the lady herself in the slightest degree. When he has satisfied himself on this head, and found no insurmountable impediment in his way, his next endeavour will be, through the mediation of a common friend, to procure an introduction to the lady's family. Those who undertake such an office incur no slight responsibility, and are, of course, expected to be scrupulously careful in performing it, and to communicate all they happen to know affecting the character and circumstances of the individual they introduce.

We will now reverse the picture, and see how matters stand on the fair one's side.