Chapter 9

The Lancers Quadrille is perhaps the most graceful and animated of any. Within the last few years it has become a great favourite in fashionable circles, probably owing to its revival at the state balls of Her Majesty. It admits of much skill and elegance in executing its quick and varied figures, a correct acquaintance with which is absolutely requisite to all who take part in it. Unlike the common quadrille, the Lancers must be danced by four couples only in each set; though of course there can be many sets dancing at the same time. The number being so limited, one awkward or ignorant person confuses the whole set; therefore, it is indispensable that every one who dances in this quadrille should have a thorough mastery of its graceful intricacies. We have observed that of late it has become the fashion to substitute new tunes for the old well-known music of the Lancers Quadrille. We cannot consider this an improvement. The old simple melodies are peculiarly fitted to the sprightly, joyous character of the dance; which is more than can be said for any of the modern substitutes. When these are used, the Lancers, in our opinion, loses its individuality and spirit, becoming almost like a common quadrille. We should be heartily glad to see the old tunes restored once for all to their rightful supremacy.

The sets of four couples, top, opposite and sides, having been arranged, the dance begins as follows:--_1st Figure_.--First lady and opposite gentleman advance and retreat; advance again, joining their hands; pass round each other and back to places. (1st eight bars.) Top couple join hands, and cross, opposite couple crossing at the same time, separately, outside them; the same reversed, back to places. (2nd eight bars.) All the couples _balancez_ to corners; each gentleman turns his neighbour's partner back to places. (3rd eight bars.) Second couple repeat figure from beginning; after them side couples, those who stand to the right of top couple having always the priority, as in the common quadrille.

_2nd Figure_.--First couple advance and retreat, gentleman holding lady's left hand; advance again; gentleman leaves his partner in the centre of the quadrille, and retires to place. (1st eight bars.) _Balancez_ to each other and turn to places. (2nd eight bars.) Side couples join first and second couples, forming a line of four on either side. Each line advances four steps, retreats ditto; then advances again, each gentleman reclaiming his partner, and all turn to places. Second and side couples repeat figure in succession.

_3rd Figure_.--First lady advances four steps alone, and stops; _vis-à-vis_ gentleman does the same; first lady retires, facing gentleman, to whom she makes a slow profound courtesy. (The courtesy must occupy a bar or two of the music; and as, if made with grace and dignity, it is most effective, we would recommend ladies to practise it carefully beforehand.) The gentleman at the same time bows and retires. (1st eight bars.) All four ladies advance to centre, give right hands across to each other (which is called the _double chain_), and left hand to _vis-à-vis_ gentleman; then back again, left hands across in the middle, and right hands to partners, back to places. (2nd eight bars.) Second and side couples repeat figure from commencement.

A more recent fashion for dancing this figure is as follows:--Instead of one lady advancing at first, all four advance, and courtesy to each other; then turn and courtesy to their partners. Ladies do the _moulinet_ in the centre; that is, give right hands across to each other, and half round; left hands back again, and return to places. Gentlemen meantime all move round outside the ladies, till each has regained his place. Figure, as usual, repeated four times; but the second and fourth time the gentlemen advance instead of the ladies, and bow, first to each other, then to their partners; continuing as before through the rest of the figure.

_4th Figure_.--Top gentleman, taking partner's left hand, leads her to the couple on their right, to whom they bow and courtesy (which civility must be met with the like acknowledgment), then cross quickly to fourth couple, and do the same, (1st eight bars.) All four couples _chassez croisez_ right and left (gentleman invariably passing behind his partner) then turn hands (_tour des mains_) back to places. (2nd eight bars.) First and opposite couples right and left across and back again to places. (3rd eight bars.) Second and sides repeat as usual.

_5th Figure_.--This figure commences with the music. Each couple should stand ready, the gentleman facing his partner, his right hand holding hers. If every one does not start directly the music begins, and does not observe strict time throughout, this somewhat intricate figure becomes hopelessly embarrassed; but, when well danced, it is the prettiest of the set. It commences with the _grande chaine_ all round; each gentleman giving his right hand to his partner at starting, his left to the next lady, then his right again, and so all round, till all have returned to their places. (This occupies sixteen bars of the music.) First couple promenade inside figure, returning to places with their backs turned to opposite couple. The side couple on their right falls in immediately behind them; the fourth couple follows, the second couple remaining in their places. A double line is thus formed--ladies on one side and gentlemen on the other. (3rd eight bars.) All _chassez croisez_, ladies left, gentlemen right, behind partners. First lady leads off, turning sharply round to the right; first gentleman does the same to the left, meeting at the bottom of the quadrille, and promenade back to places. All the ladies follow first lady; all the gentlemen follow first gentleman; and as each meets his partner at the bottom of the figure, they touch hands, then fall back in two lines--ladies on one side, gentlemen on the other--facing each other. (4th eight bars.) Four ladies join hands, advance and retreat; four gentlemen ditto at the same time; then each turns his partner to places. (5th eight bars.) _Grande chaine_ again. Second and side couples repeat the whole figure in succession, each couple taking its turn to lead off, as the first had done. _Grande chaine_ between each figure and in conclusion.

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VII.--THE LANCERS FOR SIXTEEN, OR DOUBLE LANCERS.

_1st figure_.--Two first ladies and _vis-à-vis_ gentlemen begin at the same moment, and go through the figure as in Single Lancers. All _balancez_ to corners; in other words, each lady sets to gentleman at her right, who turns her to her place. Second couples and sides repeat as usual.

_2nd Figure_.--First couples advance, retreat, advance again, leaving ladies in centre; set to partners and turn to places. Two side couples nearest first couples join them; two side couples nearest second couples do the same, thus forming eight in each line. They all advance and retreat, holding hands, then turn partners to places. Repeated by second and side couples as usual.

_3rd Figure_.--First ladies advance and stop; _vis-à-vis_ gentlemen ditto; courtesy profoundly, bow, and back to places. Ladies do the _moulinet_, gentlemen go round outside, and back to places. Or, ladies advance and courtesy to each other and then to partners; gentlemen, doing the same when the second and fourth couples begin the figure, as in Single Lancers.

_4th Figure_.--First couples advance to couples on their right; bow and courtesy; cross to opposite side, bow and courtesy, _chassez croisez_, and return to places. Right and left to opposite places, and back again. Second couples and sides repeat figure.

_5th Figure_.--_Grande chaine_ all round, pausing at the end of every eight bars to bow and courtesy; continue _chaine_ back to places, which will occupy altogether thirty-two bars of the music. Figure almost the same as in Single Lancers. Both first couples lead round, side couples falling in behind, thus forming four sets of lines. Figure repeated by second and side couples; _grande chaine_ between each figure and at the conclusion.

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VIII.--COULON'S DOUBLE QUADRILLE.

This quadrille contains the same figures as the common quadrille, but so arranged that they are danced by four instead of two couples. All quadrille music suits it; and it occupies just half the time of the old quadrille. It makes an agreeable variety in the movements of the dance, and is easily learnt. It requires four couples.

First Figure.--Pantalon.

First and second couples right and left, whilst side couples dance the _chaine Anglaise_ outside them. All four couples set to partners and turn them. Four ladies form ladies' chain, or hands across in the middle of the figure, giving first right hands, and then left, back to places. Half promenade, first and second couples do _chaine Anglaise_, while side couples do _grand chaine_ round them. This leaves all in their right places, and ends figure.

Second Figure.--L'Eté

First lady, and lady on her right hand, perform the figure with their _vis-à-vis_ gentlemen, as in common _L'Eté_; taking care, when they cross, to make a semicircle to the left. Second couple and second side couple repeat figure, as in common. _L'Eté_.

Third Figure.--La Poule.

Top lady and _vis-à-vis_ gentleman, lady at her right, and her opposite gentleman, perform figure at the same time, setting to each other in two cross lines. Other couples follow as usual.

Fourth Figure.--La Pastorale.

The first and opposite couples dance the figure, not with each other, but with the couples to their right. The latter do the same with first and second couples.

Fifth Figure.--Finale.

Galopade all round. Top and opposite couples galopade forwards, and retreat. As they retreat side couples advance; and, as they retreat in their turn, first and second couples galopade to each others place. Side couples the same. First and second couples advance again; side couples the same as the others retreat; first and second back to places as side couples retreat. Side couples back to places. Double _chaine des dames_, and galopade all round. Then side couples repeat figure as usual, and _galop_ all round in conclusion.

It is requisite to keep correct time and step in this quadrille, which would otherwise become much confused.

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IX.--THE POLKA.

The origin of this once celebrated dance is difficult to ascertain. It is believed by some to be of great antiquity, and to have been brought into Germany from the East. Others affirm that its origin is of more recent date, and its birthplace considerably nearer home. An authority on these matters remarks; "In spite of what those professors say who proclaim themselves to have learnt the Polka in Germany, or as being indebted for it to a Hungarian nobleman, we are far from placing confidence in their assertions. In our opinion Paris is its birthplace, and its true author, undoubtedly, the now far-famed Monsieur Cellarius, for whom this offspring of his genius has gained a European celebrity."

Whatever we may be inclined to believe with regard to this disputed question, there can be no doubt of the wide-spread popularity which for many years was enjoyed by the Polka. When first introduced, in 1843, it was received with enthusiasm by every capital in Europe; and it effected a complete revolution in the style of dancing which had prevailed up to that period. A brisk, lively character was imparted even to the steady-going quadrille; the old _Valse à Trois Temps_ was pronounced insufferably "slow;" and its brilliant rival, the _Valse à Deux Temps_, which had been recently introduced, at once established the supremacy which it has ever since maintained. The _galop_, which had been until this period only an occasional dance, now assumed a prominent post in every ball-room, dividing the honours with the _valse_.

But all these dances, though modified in character by the introduction of the Polka, were for a time thrown into the shade by this new claimant upon public favour. Its popularity was unrivalled in the annals of dancing. Rich and poor, young and old, grave and gay, all were alike smitten by the universal Polka mania. All flocked to take lessons in this new and fascinating dance; and the professors of its mysteries fairly divided public attention with the members of the Anti-Corn-Law League, then holding their meetings at Drury Lane Theatre. We will even go so far as to say that Messrs. Bright and Cobden were scarcely more anxious to destroy the vexatious Corn Laws than were these worthy Polka-maniacs to create _corn_ laws of their own, which, if more innocent, were equally undesirable.

For many years the Polka maintained its position as the universal favourite; but, during the last five or six seasons, its popularity has slowly but surely declined. It is never danced now in the ball-rooms of the aristocracy, but the middle classes have not yet quite discarded their old friend, though even amongst their programmes its name rarely occurs.

Perhaps no dance affords greater facilities for the display of ignorance or skill, elegance or vulgarity, than the Polka. The step is simple and easily acquired, but the method of dancing it varies _ad infinitum_. Some persons race and romp through the dance in a manner fatiguing to themselves and dangerous to their fellow-dancers. Others (though this is more rare) drag their partner listlessly along, with a sovereign contempt alike for the requirements of the time and the spirit of the music. Some gentlemen hold their partner so tight that she is half suffocated; others hold her so loosely that she continually slips away from them. All these extremes are equally objectionable, and defeat the graceful intention of the dance. It should be performed quietly, but with spirit, and _always in strict time_. The head and shoulders should be kept still, not jerked and turned at every step, as is the manner of some. The feet should glide swiftly along the floor--not hopping or jumping as if the boards were red-hot.

You should clasp your partner lightly but firmly round the waist with your right arm.

Your left hand takes her right hand; but beware of elevating your arm and hers in the air, or holding them out straight, which suggests the idea of windmills.

Above all, never place your left hand on your hip or behind you. In the first place, you thus drag your partner too much forward, which makes her look ungraceful; in the next, this attitude is _never used_ except in casinos, and it is almost an insult to introduce it in a respectable ball-room.

Let the hand which clasps your partner's fall easily by your side in a natural position, and keep it there. Your partner's left hand rests on your right shoulder; her right arm is thrown a little forward towards your left.

The Polka is danced in 2/4 time. There are three steps in each bar; the fourth beat is always a rest. The rhythm of the dance may be thus indicated:--

the three steps being performed on the three first beats of every bar. It is next to impossible to describe in words the step of the Polka, or of any circular dance: nothing but example can correctly teach it; and, although we shall do our best to be as clear as possible, we would earnestly recommend those of our readers who desire to excel, whether in this or the following dances, to take a few lessons from some competent instructor.

The gentleman starts with his left foot, the lady with her right. We shall describe the step as danced by the gentleman: the same directions, reversing the order of the feet, will apply to the lady.

_1st beat_.--Spring slightly on right foot, at the same time slide left foot forward.

_2nd beat_.--Bring right foot forward by _glissade_, at the same time rising left foot.

_3rd beat_.--Bring left foot slightly forward and _fall_ upon it, leaving right foot raised, and the knee slightly bent, ready to begin the step at the first beat of the next bar.

_4th beat_.--Remain on left foot. Begin next bar with the right foot, and repeat the step to end of third beat. Begin the following bar with left foot; and so on; commencing each bar with right or left foot alternately.

The Polka is danced with a circular movement, like the Valse; in each bar you half turn, so that, by the end of the second bar, you have brought your partner completely round.

It was at first customary to promenade your partner round the room, doing a kind of _balancez_ to each other in the Polka step before commencing the valse figure. But this fashion soon became antiquated, and has fallen into complete disuse.

The circular movement of the Polka admits of two directions--from right or left or from left to right. The ordinary direction is from right to left. The opposite one is known as the _reverse_ step. It is more difficult to execute, but is a pleasant change for skilled dancers, if they have become giddy from turning too long in one direction.

In dancing the Polka, or any circular dance where a large number of couples are performing at the same time, the gentleman must be careful to steer his fair burden safely through the mazes of the crowded ball-room. A little watchfulness can almost always avoid collisions, and a good dancer would consider himself disgraced if any mishap occurred to a lady under his care. Keep a sharp look out, and avoid crowded corners. Should so many couples be dancing as to render such caution impossible, stop at once, and do not go on until the room has become somewhat cleared. In a few minutes others will have paused to rest, and you can then continue. Your partner will be grateful that your consideration has preserved her from the dismal plight in which we have seen some ladies emerge from this dance--their _coiffeurs_ disordered, their dresses torn, and their cheeks crimson with fatigue and mortification, while their indignant glances plainly showed the anger they did not care to express in words, and which their reckless partner had fully deserved. A torn dress is sometimes not the heaviest penalty incurred: we have known more than one instance where ladies have been lamed for weeks through the culpable carelessness of their partners, their tender feet having been half crushed beneath some heavy boot in one of these awkward collisions. This is a severe price to pay for an evening's amusement, and gentlemen are bound to be cautious how they inflict it, or anything approaching to it, upon their fair companions. Ladies, on the other hand, will do well to remember that by leaning heavily upon their partner's shoulder, dragging back from his encircling arm or otherwise impeding the freedom of his movements, they materially add to his labour and take from his pleasure in the dance. They should endeavour to lean as lightly, and give as little trouble, as possible; for, however flattering to the vanity of the nobler sex may be the idea of feminine dependence, we question whether the reality, in the shape of a dead weight upon their aching arms throughout a Polka or Valse of twenty minutes' duration, would be acceptable to even the most chivalrous amongst them.

We have been thus minute in our instructions, because they not only apply to the Polka, but equally to all circular dances where a great number stand up to dance at the same time.

We now pass on to the

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X.--CELLARIUS VALSE.

Sometimes called the Mazourka, though generally best known by the name of its inventor, M. Cellarius, of Paris. It was imported to England in 1845, two years after the introduction of the Polka; and, although it never attained so great a popularity as its predecessor, it was favourably received, and much danced in the best circles. Still it failed to achieve the decided success which might have been reasonably expected from its elegance and beauty. Perhaps one reason of this disappointing result was that many inefficient performers attempted to dance it before they had mastered its somewhat difficult step, and brought it into disrepute by their ungraceful exhibitions. But the grand secret of its partial failure lay in the mania for rapid whirling dances, introduced by the Polka. While the rage for "fast dancing" continued, the measured grace of the Cellarius stood no chance. Now that it has at last happily abated, people are better prepared to appreciate the refined and quiet charm of this really beautiful valse. To dance it well requires some practice; and particular attention must be paid to the carriage and position of the figure, since no dance is more thoroughly spoiled by an awkward, stiff, or stooping attitude.

We proceed to describe the step, so far as it may be possible to do so in words; but we have an uneasy consciousness that all such descriptions bear a close resemblance to those contained in certain little volumes designed to instruct our fair readers in the mysteries of knitting, netting, and crochet. "Slip two, miss one, bring one forward," &c., may convey to the mind of the initiated a distinct idea of the pattern of a collar; but are hardly satisfactory guides to the step of a valse. We must, however, do our best; though again we would impress upon the reader the necessity of seeking further instruction from a professor or experienced friend.

The time of the Cellarius Valse is 3/4, like the common valse; but it should be played much more slowly; if danced quickly, it becomes an unmeaning succession of hops, and its graceful character is destroyed.

We describe the step as danced by the lady; for the gentleman it will be the same, with the feet reversed; that is, for right foot read left, and so on.

First Step.

_1st and 2nd beat_.--Spring on left foot, sliding forward right foot at the same time, and immediately let your weight rest on the forward foot. This occupies two beats.

_3rd beat_.--Spring on right foot; this ends the bar.

_2nd bar, 1st and 2nd beat_.--Spring again on right foot, and slide forward left at same time. Rest on it a moment as before during second beat; at third beat spring on it; which ends second bar. Continue same step throughout. You will perceive that, at the first and third beat of the time, you hop slightly, resting, during the second beat, on the foremost foot.

Second Step.

_1st beat_.--Spring on left foot, slightly striking both heels together.

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

_3rd beat_.--Bring left foot up to right foot with a slight spring, raising right foot; which ends the first bar.

_2nd bar, 1st beat_.--Spring again on left foot, striking it with heel of right.

_2nd beat_.--Slide right foot to the right.

_3rd beat_.--Fall on right foot, raising left foot behind it, which ends the second bar. Reverse the step by springing first on the right foot, and sliding the left, &c. The music generally indicates that this step should be repeated three times to the right, which occupies three bars; then _rest_, during the fourth bar, and return with reverse step to the left during the three bars which follow, resting again at the eighth bar.

Third Step

_1st beat_.--Spring on left foot, and slide right foot to the right.

_2nd beat_.--Rest on right foot.

_3rd beat_.--Spring on right foot, bringing left up behind it.

_2nd bar, 1st beat_.--Spring on right foot, sliding left foot to the left.

_2nd beat_.--Rest on left foot.

_3rd beat_.--Hop on left foot, bringing right behind it as before. Continue at pleasure.

The first of these three steps is most commonly used in the valse; but the second is an agreeable change for those who may have grown giddy or weary in doing the _figure en tournant_ (circular movement).

Be careful not to exaggerate the slight hop at the first and third beats of each bar; and to _slide_ the foot gracefully forward, not merely to make a step, as some bad dancers do.