Enquire Within Upon Everything Part 23

In different companies the Quadrille varies slightly. For instance, in the last figure, sometimes called 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.

[Footnote 1: This or the Trenise must be omitted.]

140.--Lancers.

i. _LaRose_.--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 pa.s.sing 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 pa.s.s 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.

[COFFEE WAS FIRST BROUGHT TO ENGLAND IN 1641.]

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 first 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 hurries 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 four 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. La Galopade

is an extremely graceful and spirited dance, in a continual cha.s.sez.

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 Devons.h.i.+re, 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 a Deux Temps, executed to a peculiar measure, and which, by a change of the rhythm, a.s.sumes a new character. The middle of the floor must he 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 is 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, _coupe_ with the hind foot, and _jete_ 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, _jete_ with the front foot, and _coupe_ with the one behind. It is necessary to advance well upon the sliding 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--_jete_ of the left foot, pa.s.sing before the lady. _Glissade_ of the right foot behind to the fourth position aside--the left foot is brought to the third position behind--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 foot. To waltz a 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.

[PHOSPHORUS WAS DISCOVERED IN 1677.]

148. Valse Cellarius.