Routledge's Manual of Etiquette Part 17

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:--

[Ill.u.s.tration]

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 fas.h.i.+on 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 amus.e.m.e.nt, 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 n.o.bler s.e.x 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 pa.s.s on to the

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 att.i.tude.

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.

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 _pet.i.t 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 pa.s.s quickly round each other, and return to own places (four bars); _pet.i.t tour_ forward with opposite ladies (four bars); right and left (eight bars); advance again; the ladies return to own places, and the gentlemen pa.s.s again round each other to their own ladies (four bars); _pet.i.t tour_ backward (four bars). Side couples do likewise.