'■*^"''l^Si'x/> #^- -:>"^. ii ■J ■M>- L-/ias. .yi. kOavison, .9^.7 9). f, 3^ or 8. Digitized by tine Internet Arciiive in 2007 witii funding from IVIicrosoft Corporation littp://www.arcliive.org/details/dancingcompletegOOwilsricli P» nt»<^\ The First Position Dancing BY Marguerite Wilson A COMPLETE GUIDE TO ALL DANCES, WITH A FULL LIST OF CALLS, THE MUSIC FOR EACH FIGURE, ETIQUETTE OF THE DANCES. AND ONE HUNDRED FIGURES FOR THE GERMAN Philadelphia The Penn Publishing Company 1911 Copyright 1899 by The Penn PuBLi^HiNG Comfan* CONTENTS PAOB Introducttion 9 Positions and Motions 11 Change 14 Slide 16 Step 16 Leap 16 Hop 19 Halt 19 Salute 19 The Grand March 21 Square Dances, or Quadrilles, with Calls 28 Plain Quadrille 31 Waltz Quadrilles 38 Additional Quadrille Figures 44 Basket Figure 44 Cheat Figure 45 Minuet Figure 46 Sociable 47 Jig Figure 49 Nine-Pin Figure 49 Star Figure 50 f/25862 6 6 CONTENTS PAOV The Lancers 51 Waltz Lancers 56 Saratoga Lancers 59 The Caledonians 63 Waltz Caledonians 68 The Cally Polka Quadrille 69 Prince Imperial Quadrille 77 Parisian Varieties . 84 National Guard Quadrille 88 Contra Dances 95 Virginia Reel 95 Pop Goes the Weasel 98 Lft Temp6te 100 Spanish Dance 102 Sicilian Circle . - 104 Round Dances 107 Waltz 109 Two Step 114 Galop 115 Polka 116 Three Slide Polka 119 Berlin 119 Heel-and-Toe Polka 120 Military Schottische 121 Five Step 122 Yorke 123 Caprice Waltz 124 CONTENTS 7 PAOB Christmas Polka .126 Racket 126 Highland Schottische 127 The German or Cotillion, 100 Figures 131 Figures Beginning with one Couple 135 Figures Beginning with two Couples 153 Figures Beginning with three Couples 163 Figures Beginning with four or more Couples . . 167 The Minuet 198 The Quadrille Minuet 195 La Pavane 198 Etiquette of Balls and Parties . 203 INTRODUCTION This volume does not claim to be an exhaustive treatise on the subject of dancing. It is designed to furnish practical assistance to those who, lacking an opportunity for instruction in this direction, desire to qualify themselves for participation in this most delightful and popular recreation. To this end, ob- solete dances have been omitted, as well as certain others, which, though generally taught in dancing academies and valuable enough in themselves, have yet failed to attain that popularity which insures a place on our social programmes. A knowledge of a very few dances is sufficient, at the present time, for all practical purposes. The majority of programmes are made of Waltzes and Two-steps, with an occa- sional set of Lancers or a Waltz Quadrille thrown in to vary the monotony. The Polka, Schottische, Galop, Yorke and Contra-Dance, though not strictly fashionable at present, are occasionally danced. Beginners should master, first of all, the positions and steps described on pages 7 to 20, practicing them diligently until change from one to another can be easily and gracefully made. 9 10 Introduction In the Square Dances, the Plain Quadrille and the Plain Lancers should be thoroughly understood before any of the more elaborate figures are at- tempted. In learning the round dances, begin with the Waltz, following with the Deux-Temps, Polka and Schottische. When these are mastered all other steps will be easily learned. DANCING I PRELIMINARY DIRECTIONS POSITIONS AND MOTIONS Wh Je the directions for each dance refer specifi- cally to positions and motions of the feet and lower limbs, it must not be forgotten that a graceful and easy carriage of the entire body is an essential of good dancing. A course in physical training, particularly in that department included in the term "Esthetic Gymnastics," is invaluable to one who wishes to be- come expert in this art. The head and body should be held erect, without stiffness, the shoulders straight, and the chest lifted. The carriage of the arms will be referred to more particularly hereafter. There are five positions of the feet recognized in dancing. 11 12 • :S)'ancln0 FtRST POSITION Stand with the heels together, the feet forming a right angle, with the weight of the body thrown principally upon the balls of the feet. Let the arms hang easily at the sides. The tcrso should incline vei^ slightly forward. This jjosition is the key to all the others. (See Frontispiece.) SECOND POSITION Stand with the weight upon one foot and extend the free foot straight to the side, with the heel lifted and the toe touch- ing the floor. Second Position of THE Right, when the right foot is extended. Second Position of THE Left, when the left £oot is extended. THIRD POSITION Stand with the weight upon both feet, with the heel of one touching the hollow of the other, the feet forming an angle of aboui sixty degrees. Iprcltmtnars Dkections IS Third Position of the Right, when the right foot is in front. Third Position of the Left, when the left foot is in front. FOURTH POSITION Stand on one foot with the free foot extended for- ward at an angle of sixty degrees, the heel lifted and the toe touching the floor. Fourth Position Be- hind. — Stand on one foot and extend the free foot backward with the heel lifted and the toe touch- ing the floor. Fourth Position of THE Right, when the right foot is extended. Fourth Position of the Left, when the left foot id extended. FIFTH POSITION Stand on both feet, with the heel of one foot touching the toe of the other, the feet form- ing a right angle. 14 ' Dancfng Fifth Position of the Right, when the right is in front. Fifth Position of the Left, when the left is in front. These positions should all be practiced until one can pass quickly and smoothly from one to another. Keep the head erect and the arms easily relaxed. In all standing positions avoid sagging at the hip and knee. Energy and firmness without rigidity, and flexibility without limpness, are characteristics of all correct and graceful muscular action. Every dance is made up of two or more of the following six radical motions: Change, Slide, Step, Leap, Hop, and Halt. In practicing these move- ments remember that they are executed entirely by the lower limbs and feet, and sedulously avoid stiff- ness or contortion of the upper part of the body. THE CHANGE In each form of this movement the weight is trans- ferred from one foot to the other, and a slight spring is made just as the change is effected. Sideways Change. — Stand with the left foot in second position. Bring the heel of the left foot to the heel of the right, transferring the weight to the left foot. At the same time relax and slightly raise the right foot, which is thus prepared for the execu- preliminary directions 15 tion of the next step required. Practice also starting with the right foot in second position. Forward Change. — Stand with left foot in fourth position behind. Bring the heel of left foot to the heel of the right, transferring the weight to the left foot and slightly lifting the right in preparation for the next step. Practice also starting with right foot in fourth position behind. Backward Change. — Starting with left foot in fourth position in front, bring left heel back to right heel, transfer weight to left foot and slightly raise right, ready for the next step. Practice also starting with right foot in fourth position in front. THE SLIDE This movement consists simply in sliding the foot sideways, forward or back, without lifting the toes from the floor. Sideways Slide. — Starting with left in second position, slide the foot several inches farther to the left and transfer weight to that foot, at the same time drawing right to second position. Slide to the right in the same manner. Forward Slides. — Start with left in fourth posi- tion. Slide forward several inches on the left, trans- ferring the weight to that foot, and bring right to fourth position. Repeat, sliding forward on the right. 16 Pancfttfl Backward Slides. — Start with left in the fourth position behind. Slide backward several inches on the left and bring the right to fourth position behind. Repeat, sliding backward on the right. Two OR MORE SUCCESSIVE SLIDES WITH THE SAME FOOT REQUIRE A CHANGE BETWEEN EACH SLIDE Aj^D THE SUCCEEDING ONE. THE STEP This is the ordinary movement made in walking, and is subject to the same rules, except that in dancing the feet are scarcely lifted at all but are slipped easily along the floor. The weight should be poised on the balls of the feet, the toes turned out and the steps taken on a straight line forward or backward. THE LEAP This movement requires great elasticity and light- ness, but is by no means so vigorous as the name implies, having been greatly modified in modern dancing. As now executed it is simply a light, springy step from one foot to the other, the spring being imparted to the movement by slightly bending and then straightening the knee from which the step is made. It should be practiced sideways, for- ward and backward. As in the case of the Slide, •^'^^ yl^^Tii^ ff The CouBTEaY ptcUmlnarB directions 19 two successive leaps, with the same foot leading, require a change between them. THE HOP This movement has also undergone considerable modification. As now executed it consists in rising lightly as high as possible on the toes of one foot and sinking again to the ordinary position. This must be done smoothly. The free foot may be extended or its heel may lightly touch the heel of the foot on which the hop is made. THE HALT This motion consists simply in bringing the feet to first position and stopping. THE SALUTE The salutations used in dancing are the bow for the gentleman and the courtesy for the lady. The Bow. — The bow is very simple and is exe- cuted in the following movements : 1. Take a short step sideways. 2. Draw the free foot to first position. 3. Bend forward from the waist. At the com- mencement of this movement the eyes should be directed toward the person saluted, but at its con- 20 WnrxcirxQ elusion the head is slightly bowed and the eyes, con- sequently, lowered. Let the arms hang relaxetl. 4. Recover erect position, the eyes being again directed towards the person salulud. Practice these movements slowly and smoothly. The Courtesy. — Starting with the weight on the left foot, slide right foot to second position, transfer- ring the weight to it; pass the left foot back and transfer the weight to it. Sink down by bending both knees, and at the same time bend forward at the waist. Recover erect position and draw the right foot back to the left. Practice also starting with the weight on the right foot, sliding to the left, and passing the right foot back. All these movements should be executed witi great deliberation and smoothness. n THE GRAND MARCH The Grand March is a feature of all formal balls. It generally marks the beginning of the evening's festivities, but may, for special reasons, be deferred to a later point in the programme. It is led by the master of ceremonies, or by some specially honored guest. Each lady marches at her partner's right. Care should be taken to keep all the couples equi- distant from each other, and all those in line should strive to exactly follow the movements of the leader and his partner. The leader first marches around the room in straight lines, following the direction of the walls and making the angles formed in turning the cor- ners sharply and clearly defined. By the time the circuit of the room has been made two or three times, all are supposed to be in line and in step, and the leader may then begin to introduce evolutions of various kinds at his discretion, always returning to the plain march after each special figure, that there may be no confusion. One who is original and 21 22 Dancfno skillful can plan and carry out many fanciful and intricate evolutions, but as a rule it is safer to limit one's self to the simpler movements which can be readily understood and followed by those less ex- perienced. The following are some of the most popular figures employed. The accompanying di- agram may assist in rendering the explanations clear. X represents the centre of the room ; A, B, C, and 1), the four corners. 1 indicates the head of the room, and 2 the opposite end. In the plain march the line is supposed to march from A to B to C to D to A, etc., though the direction may be re- versed at the option of the leader. After march- ing around the room two or three times the leading couple, followed Iby the others, turn at 1 and march down the centre. At 2 they separate, the ladies passing to the right and the gentlemen to the left. At 1 the two lines pass each other, the gentlemen marching next to the wall. At 2 they again pass. At 1 the leader and his partner join hands and march down the The Bow XTbe ^ran& flRarc© 25 centre, followed by the other couples. At 2 the leading couple turns to the right, the next couple to the left, followed alternately by the other couples. The two columns meeting at 1, march down the centre in fours. At 2 the first four turns to the right and the next four to the left. Meeting at 1, march down the centre eight abreast. At 2, four turn to right and four to left. At 1, the first four march down the centre followed by the next four, and the other fours fall in line alternately. At 2, one couple turns to the right and the other to the left. Meeting at 1, faAl in by twos. The line has now regained its original form, and the plain march is resumed. When numbers permit, the Hour-Glass Figure ia pretty and effective. March from B to X to C to D to X to A to B. The lines must be perfectly straight, jnd the angles true and sharp. If there be not a large enough number to outline the figure when marching two abreast, it may be executed in single file, each gentleman stepping in front of his part- ner. The Arbor March is another favorite. March down the centre and separate at 2, the ladies passing to the right and the gentlemen to the left. When the leader and his partner meet at 1 they stop, join hands and raise their arms, thus forming an arch. Under this arch the next couple passes, and, stand* 26 2)atic(ng ing by the first couple, raise their arms also. This is repeated by the other couples, until all are in line. The first couple then lower their arms and pass under the arms of all the rest, followed by the other couples in turn, until the arch is dissolved, when the plain march is resumed. The March in Columns is shown by the following diagram. The line is supposed to have marched from D to A, at which point this figure begins. The Serpentine figure is executed in single file, each gentleman stepping in front of his partner. The leader then marches around in as large a circle as the line will form, and continues describing a series of concentric cir- cles, each smaller than the last, until the centre is reached. He then turns sharply in the opposite direction and retraces his way. Those in line must march quite close together, that the figure may be clearly defined, and great care must be taken to keep the coils of the spiral sufficiently separated to permit those- going out from the centre to pass through. When the spiral is dissolved and all are in line again, A D B C ITbe (5ran& /Barcb 2? each gentleman steps back to his partner's side and the march is resumed. When the leader wishes to bring the march to an end, he signals to the ^.rusicians and the music changes' ^o a waltz, in whicn all join. m SQUARE DANCES Sqa^rc dances are executed by sets of four couples- Bftch couple occupying one side of a square, as in the following diagram ; These couples are numbered, according to po- sition, first, second, third and fourth. The first and second couples are also designated as " head couples ;" the third and fourth as " sides." The second couple stands facing the first couple, the third couple stands to the right of the first, Lady X Gentleman ^^^^ ^-^^ f^^j.^^^ f^^^g ^j^^ third. The first couple faces the long way of the hall and towards the music, when, as is usually the case, the musicians are stationed at one end of the room. Under other circumstances the first couple faces towards the main entrance to the ball- 28 The Ladies* CnAtN to * I Sauare Dances 31 room, In private houses the side of the dancing room nearest the street is generally regarded as the head. Each lady stands at her partner's right. The Quadrille consists of five figures, each having its appropriate and distinctive music. Quadrille music is divided into regular periods of eight measures each, each measure containing two counts. Each movement of the dance requires eight counts or four measures of music. The first period (eight measures) of each figure is merely introductory, the dancing of the figure beginning with the second period. These introductory measures in the first figure are occupied by the salutations with which evety square dance commences. In joining hands the gentleman presents his hand with the palm up, and the lady lays her hand in it, palm down. PLAIN QUADRILLE CALLS FOR FIRST FIGURE Salutations 8 measurea Head Couples : Right and Left 8 Balance 8 *• Ladies' Chain .8 •' Balance 8 •• This figure may be danced twice by the Head Couples and twice by the Sides, or once by the Heads and once by the Sides. 32 ©ancfng EXPLANATION OF FIRST FIGURE Salutations — Each lady slides her right foot to« wards the centre of the set, turning at the same time to face her partner; then courtesies with the left foot behind and slides back to place with left foot, turning her back to her partner and facing the gen- tleman at her right. She then slides her right foo^ outward and again courtesies with her left foot b» hind. Each gentleman slides left foot straight for- ward and turns to face partner, draws right foot to third position and bows ; then slides back to place with left foot, turning his back to his partner and facing the lady at his left. He then slides his right foot outward, draws left to third position and bows, and slides back to place on right foot. Right and Left — Head couples cross over, each lady passmg between the opposite couple. ^ Each gentleman touches right hands with the opposite lady in passing, then takes his partner's left hand in his left hand and turns her half round, so that each couple stands in the other's original position. This occupies four measures. Repeat, ending with both couples in original position. When but half of this movement is executed, ending with each couple in the opposite couple's place, it is called Half Right and Left. square ©ances 3S Balance — Ea^cli gentleman takes his partner's lefi hand in his left and her right hand in his right, their arms being crossed, with the right above the left. Slide seven steps across the set (seven counts), and halt (one count) ; then slide back to place. Turn to the right, in passing the opposite couple. Ladies' Chain — Ladies cross over, touching right hands in passing and turning opposite gentlemen with left hands ; cross back to place, touching right hands in passing, and turning partners with left hand. Balance — As described above. CALLS FOR SECOND FIGURE "Wait 8 measureft Head couples — Forward Two Forward and Back 4 " Cross Over 4 " Pass Partners 4 " Cross to Places 4 " Balance 8 Repeated by Head Couples, and then danced rwiot by Sides. EXPLANATION OF SECOND FIGURE Forward Two — This call includes all the move- ments that follow. Forward and Back — Each irentleman takes h.U partner's left hand in his right, holding it a liitiv^ 34 Dancfttd forward and up. Starting with the right foot, walk forward three steps. On the fourth count bring the left foot up back ot the right, without transferring the weight to it. Starting with the left, walk back- ward three steps, and on the fourth count bring the right foot back to third position. Cross Over — Walk across set, each lady passing between opposite couples, without touching hands or turning around. Pass Partners. — Face partners, and walk four steps forward and four steps back, passing your partner on your right. Cross to Place. — As described above in " Cross Over." Balance. — As in First Figure. CALLS FOR THIRD FIGURE Wait 8 meaaurea Head Couples : Right Hands Across ... 4 Left Hands Back 4 Balance in Centre 4 Half Promenade to Opposite Places .... 4 Two Ladies Forward and Back 4 Two Gentlemen Forw^ard and Back .... 4 Forw^ard Four and Back 4 Half Right and Left to Places 4 Repeated by Head Couples and then danced twice by Sides. Square Dances 35 EXPLANATION OF THIRD FIGURE Right Hand Across — Head Couples cross over, 3ach lady passing between the opposite couple and touching right hands with opposite gentleman in passing. Do not turn partners, but simply turn facing the centre of the set. Left Hand Back — Returning, each lady gives her left hand to the opposite gentleman's left. Still retaining hold of hands, as soon as the two couples have passed each other all turn toward the centre and each lady gives her right hand to her partner's right, by crossing her right arm over her left. (The gentlemen's arms are not crossed.) Balance in Centre — All balance forward and back twice, as follows : Step forward on right foot (count one), bring left foot to second position (count two), step back on left foot (count three), bring right foot to second position (count four), and repeat. It is better to take the steps obliquely^ in- stead of straight forward and back. Half Promenade to Opposite Places — All drop- ping left hands, walk half way around the set, each couple stopping in the place originally occupied by the other. This should occupy just four measures (eight counts). Two Ladies Forward and Back; Two Gentle- 36 Danclnd MEN Forward and Back ; Forward Four and Back — As described in Second Figure. Half Right and Left to Places — As described in First Figure. CALLS FOR FOURTH FIGURE Wait 8 measurea Head Couples : Forward Four and Back . 4 ForTvard Four, First Lady Crosses Over . . 4 Forward Three and Back 4 Forward Again, Ladies Cross Over .... 4 Forw^ard Three 4 Forward Again 4 Four Hands Half Around 4 Half Right and Left to Place 4 Danced twice by Head Couples and twice by Sides. EXPLANATION OF FOURTH FIGURE Forward Four and Back — As described in second figure. Forward Again — Forward as before, and the first lady joins the opposite couple, her partner retiring to place alone. Forward Three and Back — Second gentleman and the two ladies advance and retire, the first gen- tleman remaining in his place. Forward Acain, Ladies Cross Over — ThG second gentleman and the two ladies again advance, and Square Dances 37 the first gentleman advances to meet them. Both ladies cross over to him and the second gentleman retires alone to place. Forward Three — The first gentleman and the two ladies forward and back, the second gentleman remaining in his place. Forward Again — The first gentleman and the two ladies again advance (four counts), and stop while the second gentleman advances to meet them (four counts). Four Hands Half Around— The four join hands and walk or slide around to the left until each couple arrives at the opposite couple's place. Half Right and Left to Places — As described in first figure. CALLS FOR FIFTH FIGURE Instead of the usual introductory eight measures of music, a single chord is generally struck as a sig- nal for beginning. Hands All Round 8 measures Head Couples. Forward Two 24 " Danced four times; twice by Head Couples and twice by Sides. After this the quadrille ends with All— Chasses 88 Dancing • EXPLANATION OF FIFTH FIGURE Hands All Round — All join hands and slide around to the left until original positions are again reached. Or slide eight steps to the left, and then reverse the direction of the movement and slide eight steps to the right, thus returning to original position. Forward Two — As in second figure. All Chassez — Face partners ; slide to the right four steps and return ; salute partners ; the gentle- man offers his arm to his partner, and the dance ends. It is very rarely that all the figures of the quadrille are danced. The first, second and fifth are generally called, and very often one of the additional figures described later is substituted for one of these. WALTZ QUADRILLES No. 1 Waltz Quadrilles are founded upon the figures of the Plain Quadrille. The change from Quadrille to Waltz music is indicated by several preparatory chords or measures, so that the dancers have ample time to take position for the waltz. Movements not especially described in this dance are identical with those of the Plain Quadrille, Square Dances 39 CALLS FOR FIRST FIGURE Head Couples : Right and Left 8 measures All : Waltz 16 Head Couples : Ladies' Chain 8 *• Ah : Waltz 16 Repeated by Side Couples. EXPLANATION All Waltz— The four couples waltz around once, keeping exactly within the limits of the space occu- pied by their own set. The movements of all should be so timed that each couple will remain at the same relative distance from the others, and all will arrive in original places at exactly the end of sixteen measures of music. It is, therefore, imperative that all should commence the waltz with the first note of the appropriate music. Avoid taking too long steps. CALLS FOR SECOND FIGURE Head Couples : For-ward Tw^o 16 measures All: Waltz 16 Repeated by Head Couples and danced twice by Sides. EXPLANATION Forward Two — This includes the first four move- ments of the second figure of the Plain Quadrille. 40 Danctng CALLS FOR THIRD FIGURE Head Couples: Forward and Back . . . 4 measarei Forward again. Change Partners 4 " All: Waltz 16 Repeated by Head Couples and danced twice by Sides, EXPLANATION Change Partners — Each lady crosses to oppositb gentleman. CALLS FOR FOURTH FIGURE All : Join Hands, Forward and Back . . 4 measures Turn Partners to Places 4 •• All : Waltz ... 16 Danced four times. • CALLS FOR FIFTH FIGURE All : Right and Left Half Round 8 measures All : W^altz 16 Head Couples : Forward Two 16 •• All : Waltz . . 16 •• Repeated by Side Couples. AH: Salute 8 EXPLANATION Right and Left Round— All face partners. Pass partners, touching right hands in passing, and con- Unue in the same direction around the set, .giving Square 2)ancc0 41 left and right hands alternately to those whom you meet. Partners are thus moving in opposite direc- tions, and will consequently meet at the side oppo- site from their original positions, where they stop. Forward Two — As in second figure. WALTZ QUADRILLE No. 2 CALLS FOR FIRST FIGURE Head Couples : Right and Left 8 measures Balance 8 " Ladies' Chain 8 " All : Waltz 16 Repeated by Head Couples and danced twice by Sides. CALLS FOR SECOND FIGURE Head Couples: Forward Two 16 measures All : Waltz 16 Repeated by Head Couples and danced twice by Sides. CALLS FOR THIRD FIGURE Head Couples : Right Hands Across ... 4 measuiea Left Hands to Centre 4 •• Balance in Centre 4 •* Half Promenade to Opposite Places ... 4 ** All : Waltz 16 Repeated by Head Couples and danced twice by Side?. 42 Dancfnd CALLS FOR FOURTH FIGURE Head Couples : Balance to the Right . . 4 measure! Exchange Partners 4 " Ladies: Grand Chain 8 *' All : Forward and Back 4 " Turn nevr partners to places 4 * AU : Waltz 16 The repetition of this figure by the Head Couples brinies original partners together again. It is then danced twice by the Sides. EXPLANATION Ladies' Grand Chain — This is the Ladies' Chain executed by the four ladies simultaneously. They cross right arms in the centre of the set, each lady tak- ing the hand of the opposite lady, and walk around to opposite gentleman. Turn opposite gentleman with left hand, and return to place, crossing right arms in centre as before and turning partner with left hand. Sometimes, instead of the Ladies' Grand Chain, the •' Ladies' Chain " is executed by the first and third and by the second and fourth couples simultane- ously. The Grand Chain is preferred when space is limited. Square HJances 43 CALLS FOR FIFTH FIGURE A.11 : Right and Left Half Round 8 measoret Reverse to Places 8 •* Head Couples : Forward and Back .... 4 *' For-ward and Salute 4 '* All Ladies: To the Right 8 " All : Waltz 16 Danced twice by Head Couples and twice by Sides, after which the dance ends with All : Right and Left Half Round 8 measurea Reverse to Places and Salute . .... 8 ** EXPLANATION Right and Left Half Round — As in the Fi'fth Figure of Waltz Quadrille No. 1. Reverse to Places — When partners meet at the side of the set opposite to their original positions, they salute, join right hands and swing half round. This brings each one facing in the opposite direction from that in which he has been moving. Pass part- ners and walk back to place, giving left and right hands alternately to those whom j^ou meet. All Ladies to the Right — Each lady balances to the gentleman on her right, taking four steps to the right and four to the left, and turns him with both hands. In the last movement the gentleman extends both hands, palm up, and the lady lays hers 44 H)anc!na in them. The arms are held a few inches from the sides, but not lifted high. Turn toward the left. The fourth time this figure is danced, each lady is restored to her own partner. ADDITIONAL QUADRILLE FIGURES Some one of the following figures is frequently substituted for the second or fifth figure of the reg' ular quadrille : CALLS FOR BASKET FIGURE Head Couples : Forward and Back ... 4 measure! Cross over 4 Pass Partners 4 Cross to Places 4 Balance 8 All Ladies : Forward and Back 4 Forward and join hands 4 All Gentlemen : Hands Around 8 All : Form Basket Music stops All : Balance 4 measures Turn Partners to Places 4 Repeated by Head Couples and danced twice by Sides. The third and fourth times this figure is danced, " Forward and Back " and " Forward and join Hands " is executed by the Gentlemen, and " Hands Square H)ance0 45 A.round " by the Ladies, the ladies being on the out* side wlien the basket is formed. A\ ith tlie exception of the basket, this figure is .identical with the second figure of the Plain Quad- rille. When the ladies join hands in the centre, they stand close together. The gentlemen join hands and slide sixteen steps to the left (or eight steps to left and then, reversing direction, eight steps to right), stopping when each is at his partner's left. The music then stops, and the basket is formed in the following manner : The gentlemen raise their arms and bring them down in front of the ladies, who step back at the same moment, all keeping hold of hands. The two circles are thus intertwined. The music then begins again, and the dance contines. CALLS FOR CHEAT FIGURE First Couple : Balance to Third Couple and turn ... 8 measures Balance to Second Couple and turn ... 8 Balance to Fourth Couple and turn . . 8 " Balance to Partners and turn 8 " Repeated by the second, third, and fourth couples in turn, each balancing to the couple at the right and continuing thus around the set. The first couple turn facing the right-hand couple and balance by taking four steps forward and four 46 H>anc(n0 steps back, then turn with both hands, and pass on to the next couple. This figure derives its name from the fact that just as a lady and gentleman are about to turn each other after the Balance, either may suddenly desert the other and turn alone or with any one else in the set whom he or she may select. A great deal of good-natured mischief may be indulged in, to which fact, doubtless, the figure owes its great popularity. CALLS FOR MINUET FIGURE Head Couples : Forward and Back .... 4 measures Dos a Dos 4 Sides Four : Forward and Back 4 Forward and exchange partners 4 All : Ladies' Chain 8 Sides Four : Forward and Back 4 Turn Partners to Places 4 Danced twice with Head Couples leading and twice with Sides leading. EXPLANATION Dos A Dos — Head Couples forward and pass each other ; then each gentleman and opposite lady pass round each other back to back, without turning round, and go backward to places. Sides Four — The first couple jbins the third and Square Dances 47 the second couple joins the fourth, thus forming two diagonal lines facing each other. Both lines forward and back ; forward and turn opposite partners, with gentlemen exchanging places with each other, the ladies remaining where they were. This brings each gentleman to the other line, racing his own partner. THE SOCIABLE This lively figure keeps all the couples in motion and calls for a continual change of partners. Each time the ladies balance to the right they remain with their new partners, the last repetition of the movement bringing them back to their original partners. CALLS Head Couples: Right and Left 8 measures Side Couples : Right and Left 8 " Ladies: To the Right (balance, turn, and change partners) 8 •• All: Promenade 8 •• Head Couples : Ladies' Chain 8 •• Side Couples: Ladies' Chain 8 Ladies : To the Right 8 " All : Promenade 8 •' Head Couples : Four Hands Round to Left and Reverse 8 ** 48 Dancing Side Couples : Pour Hands Round to Left and Reverse 8 measures Ladies : To the Right 8 All: Promenade 8 Head Couples: Right hands across, Half Round and Reverse 8 " Side Couples : Right hands across, Half Round and Reverse 8 " Ladies : To the Right 8 •• AH: Promenade 8 " Danced twice ; after which, All : Chassez 8 •• EXPLANATION Four Hands Round to Left and Reverse — Two couples join hands and walk or slide eight steps to the left, then reverse the direction and take eight steps to the right, thus returning to place. Four Hands Across, Half Round and Reverse — Two couples cross right hands, each gentleman tak- ing the right hand of the gentleman in the opposite couple and the two ladies joining hands, the gentle- men's hands being above the ladies. In this position walk eight steps around to the left, keeping the form of a cross. Drop right hands, turn quickly, cross left hands and walk back to place. Promenade — Partners join hands and walk or slide all around the set, passing to the right. Square Dances 49 CALLS FOR JIG FIGURE All : Hands Round 8 measures Ladies: To the Right (four times) . . . . 32 " All : Hands Round 8 Gentlemen : To the Right (four times) . . 32 All : Hands Round 8 Chassez 8 " EXPLANATION Ladies to the Right — The gentlemen remain in place, and each lady balances and turns with the gentleman at her right, and so continues round the set, ending by balancing and turning with her own partner. Gentlemen to the Right — The ladies remain in place, and the gentlemen balance to the right, as described above, turning each of the ladies in suc- cession. All Hands Round — All join hands and slide around in a circle until original position is reached. NINE-PIN FIGURE This figure is not generally introduced into the regular quadrille, but is danced separately. It requires four couples and one extra gentleman who is designated as the Nine-Pin. The set is formed in the usual way, and the Nine-Pin takes his place in the centre. The figures are entirely optional with 50 Dancing the leader. It is best to select those which require all the dancers, or, at least, one from each couple ; as, "All Forward and Back," " Ladies' Grand Chain," " Ladies to the Centre," " Gentlemen to the Centre," *' Grand Right and Left," etc. At the most unex- pected moment, usually at some point when partners are separated from each other, the music suddenly stops, and each gentleman makes haste to secure a partner. But the Nine-Pin is also watching his opportunity, and if, in the general confusion, he succeeds in securing a lady, one of the other gentle- men is left without a partner, and is forced to take the place of the Nine-Pin. This figure is repeated as often as desired. " All Chassez " is sometimes called to close the dance. CALLS FOR STAR FIGURE Four Ladies : Forvrard and Back 4 measures Four Gentlemen : For-ward and Back ... 4 " Four Ladies : Cross right Hands, half turn to the left 4 Turn, Cross Left Hands, back again .... 4 " Gentlemen : Right Hands to Partners All: Balance 4 " Tarn Partners to places 4 •* EXPLANATION Ladies Cross Right Hands, half turn to Left — Ladies step quickly to centre, cross right hands Square 2)ancc0 51 and wheel around to left in form of a cross, until each reaches the opposite side of set; then drop- ping right hands, turn, cross left hands and wheel back until each is opposite her own partner. Just as each lady wheels into this position she extends her right hand to her partner, who takes it in his right. This forms the star. Balance — Retaining the form of the star, all balance two short steps to the right, raising right arms slightly, then two short steps to left, raising left arms, and repeat. Turn Partners to Places — All drop left hands, and turn partners to place with right hands. This figure is danced four times. The third and fourth times the gentlemen lead and cross hands in the centre, the ladies forming the outer points of the star. THE LANCERS CALLS FOR FIRST FIGURE "Wait 8 measures Head Couples : Forward and Back .... 4 For-ward and turn Opposite Partners ... 4 " Cross Over 4 " Cross Back to Places 4 " Balance to Corners 8 •• Danced twice by Head Couples and twice by Sides. 52 JB)ancing EXPLANATION OF FIRST FIGURE Forward and Back — ^As described in Seconr. Pigure of Plain Quadrille (eight counts). Forward and Turn Opposite Partners— First and second couples forward again, and each gentle- man turns the opposite lady with both hands. Turn once around, and then, letting go of hands, step back to original position (eight counts). Cross Over — First and second couples cross over, the first ccuple joining hands and the second couple separating to allow the first couple to pass between them. Returning to place, the second couple join hands and the first couple separate. The second time this figure is executed the second couj^le take the lead, passing between the first couple in " Cross Over," and separating in " Cross Back to Places." The third and fourth times the figure is danced the lead is taken by the third and fourth couples respectively. Balance to Corners — All face corner partners, take four steps forward and four steps backward, and turn corner partner once around with both hands, and step back to original place. CALLS FOR SECOND FIGURE "Wait 8 measures Head Couples : For-w^ard and Back .... 4 Corward and leave ladies in Centre . . . . 4r ** Square Dances V. Chassez right and left - . .4 measure* Turn Partners to Places 4 Side Couples, Separate, joining Head Couples, in linB AH: Forward and Back in Two Lines . 4 measures Forward and turn Partners to Place .... 4 " Danced twice by Head Couples and then twice by Sides. EXPLANATION OF SECOND FIGURE Forward and Back — As before described. Forward and Leave Ladies in the Centre — Two couples forward, ladies remaining in the cer.tre and turning to face partners as the gentlemen retire to place. Salute partners. Chassez — Slide four steps to right and four steps back to left. Turn Partners to Places, with both hands. Just at the conclusion of this movement the Side Couples separate, the third gentleman and fourth lady joining the first couple and the fourth gentle- man and third lady joining the second couple, thus forming two lines facing each other. The third and fourth times this figure is danced the Head Coupley separate and join the Sides. Forward and back in two lines. Forward again and turn partners to place with both hands. 54 Bancfng CALLS FOR THIRD FIGURE "Wait 8 measarea Head Couples: Forward and Back .... 4 Forward, Salute, and Back 4 '• Ladies' Chain 4 *' Danced twice by Head Couples and twice by Sides. There is a ritardando and hold in the music to give time for the " Salute." CALLS FOR FOURTH FIGURE Wait 8 measures Head Couples : To the Right and Salute . 4 •• To the Left and Salute 4 •• To Place and Salute Partners 4 " Right and Left 8 " Danced twice by Head Couples and twice by Sides. EXPLANATION OF FOURTH FIGURE Head Couples walk to position facing the Side Couples at the right, and salute. Continuing in the same direction, walk around the set and face the opposite Side Couples, and salute. Continue to place, face partners and salute. Right and Left, as described in the Plain Quadrille, completes the figure. The second time the figure is danced the Head Couples lead first to the Side Couples at the left, and continue in this direction to place. The third time, square Dances 55 the Side Couples lead to the right, and the fourth time the Side Couples lead to the left. CALLS FOR FIFTH FIGURE All : Right and Left all Round 16 measuiea Fiist Couple : Face Outward 8 All : Chassez Across 8 •• First Couple : Down the Centre and Back 8 •• All : Forward and Back 4 •• Forward again and turn Partners to Places 4 •' Danced four times, each couple leading in turn, after which All : Right and Left all Round 16 measures EXPLANATION OF FIFTH FIGURE Right and Left all Round — Partners face each other, salute, and join right hands. Pass partners and walk around the set, continuing to move in the same direction^ and giving left and right hands alternately to those whom you meet. Partners mov- ing thus in opposite directions will meet at the side of the set opposite to their original positions. Here they pause to salute, then give "ight hands and con- tinue as before until all have returned to origi< nal places. Face Outward — First Couple join hands and walk or Polka entirely around the inside of the setj 56 Bancins ending in original place, but facing outward with their backs to the second couple. The Third Couple now fall in line back of the first and the Fourth back of the third. This brings all four couples into line, all facing the same way. All Chassez — The gentlemen slide four steps to the right and the ladies four steps to the left, the gentlemen passing behind their partners. Then reverse, the gentlemen sliding to the left and th- ladies to the right. At the conclusion of this move- ment the ladies and the gentlemen each take a step away from each other, and turn facing partners. This brings the four ladies in line facing the four gentlemen in line. Down the Centre and Back — First couple join hands and walk or slide down between the lines and back to place. All Forward and Back, in two lines and then turn to place. The Fifth Figure of the Saratoga Lancers is often substituted for the Fifth Figure of the Plain Lancers. WALTZ LANCERS The Figures of the Waltz Lancers correspond to those of the Plain Lancers, but are somewhat abbre- viated to admit of the introduction of the Walta Square Baitcca 67 movement.. No special explanation will be given of movements already described, as they will be readily understood by referring to the corresponding figure of the Plain Lancers. CALLS FOR FIRST FIGURE Wait 8 measurea riead Couples : Forward and Back .... 4 '• Forward and turn Opposite Partner ... 4 " Cross Over, First Couple Inside 4 *• Return to Place, Second couple Inside . 4 •• Waltz .16 All : Balance Corners and turn to Place . 8 •* Repeated by Side Couples. CALLS FOR SECOND FIGURE Wait 8 measures Head Couples : Forward and Back ... 4 •• Forward, leaving ladies in Centre .... 4 ** Chassez and turn Partners to Place ... 8 •• All : Ladies balance to right, turn and re- main with new partners • . 8 '* "Waltz 16 Danced twice by Head Couples and twice by Sides, CALLS FOR THIRD FIGURE "Wait 8 measurea Head Couples : Forward and Back ... 4 ** Forward and Salute 4 " 58 2>ancin(;i "Waltz 16 measures Ladies' Chain 8 Danced twice by Head Couples and twice by Sides. CALLS FOR FOURTH FIGURE "Wait 8 measures Head Couples : To the Right and Salute 4 To the Left and Salute 4 Waltz 16 Right and Left Across 8 " Danced twice by Head Couples and twice by Sides. CALLS FOR FIFTH FIGURE All: Right and Left all Round 16 measures First Couple : W^altz 8 March 8 •• All : Forward and Back . 4 •• Forward and turn Partners to Place ... 4 •• Danced twice by Head Couples and twice by Sides, each couple taking the lead in turn, after which Right and Left All Round 16 measures After waltzing around, the leading couple prom- enade up and down the set. All then join hands and go forward and back (eight counts), forward again (four counts), and turn partners to place (four counts). Sauare Dances 59 SARATOGA LANCERS CALLS FOR FIRST FIGURE Wait 8 measareB Head Couples with | poi ward and Back 4 " Right Hand Couples: ) Forward and Turn Opposite Partners . . 4 •• Cross Over 4 •* Back to Places 4 •• Balance to Corners 8 *• Head Couples with 1 ^he Same 24 •• I>eft Hand Couples : i Danced entirely through twice. This figure corresponds to the first figure of tho regular Lancers, except that the Head Couples exe- cute the movements in connection with the right and left Side Couples alternately, instead of with each other. CALLS FOR SECOND FIGURE ■^ait 3 measures All: Forward and Back, hands joined . . 4 Forward, Ladies remaining in Centre and joining hands ...» 4 •• Pour Gentlemen : Hands All Round to Place 8 All : Form Basket ; All Round to Place . 8 Forward and Back, Hands joined ... 4 Forward, Gentlemen remaining in Centre 4 •• Pour Ladies : Hands All Round to Place 8 All : Form Basket, All Round to Place .8 Danced twice. For description of the Basket see " Basket Figure," Page 44. 60 2)ancfnd CALLS FOR THIRD FIGURE Wait 8 measuxet All: Forward and Back, Hands joined .4 Porw^ard and Salute 4 Four Ladies : Ladies' Grand Chain, cross- ing right hands in the Centre .... 8 *• All : Forward and Back, Hands joined . . 4 " Forw^ard and Salute 4 '• Four Gentlemen : Ladies' Grand Chain, crossing left hands in centre 8 ** Danced twice. For description of Ladies' Grand Chain, see Fourth Figure of Waltz Quadrille No. 2, Page 42. CALLS FOR FOURTH FIGURE Wait 8 measui .« Head Couples: To the Right and Salute Right Side Couples 4 *• To the left Side Couple and Salute, tak- 1 ing lady of right Side Couple and ! leaving her with gentleman of left Side Couple Turn Partners to Places ..»..• .... 4 Right and Left 8 To Left Side Couple and Salute 4 To Right Side Couple and Salute, re- turning Ladies in Side Couples to their partners ..... Turn Partners to Places ". 4 Right and Left 8 Repeated by Side Couples. Square Dances 63 CALLS FOR FIFTH FIGURE A.U : Right and Left Half Round, Salute . 8 measurea Swing Partners Half Round, Right and Left to Places 8 •• First Couple : Join hands and face out- 1 ward ; Third, Fourth and Second I 8 •• Couples fall in column behind First J All : Chassez Across 8 • March around, Single file, Ladies to Right, Gentlemen to Left, and form • 8 *' two lines facing each other .... Forward and Back 4 Forward and turn Partners to Place . . 4 " Danced four times, each couple leading in turn Finish with Right and Left, or Hands all Round. THE CALEDONIANS CALLS FOR FIRST FIGURE Wait 8 measarec Head Couples: Cross Right hands half round 4 '* Left hands back 4 * Balance to partners and turn 8 *' Ladies' Chain 8 " Half Promenade 4 *• Half Right and Left 4 Danced twice by Head Couples and twice by Sidee. 64 Dancfna EXPLANATION OF FIRST FIGURE Head Couples Cross Right Hands, etc. — Head couples advance and cross right hands, the two gentlemen joining hands above the ladies' hands. All take eight- steps to the left, thus arriving at opposite sides of the set. Drop right hands, turn, cross left hands and take eight steps back to place. Balance to Partners — Partners face each other, take four steps to right and four steps to left, and turn with both hands. Ladies' Chain — As in Plain Quadrille. Pag^e 29. Half Promenade — Partners join hands and cross to opposite side of set, turning to right in passing the opposite couple. Half Right and Left — As described in Plain Quadrille. Page 34. CALLS FOR SECOND FIGURE Wait 8 measaies Head Couples : Forward and Back .... 4 '* Forward and Salute 4 ** All Ladies : Balance to the Right 8 '< All : Promenade 8 Danced twice by Head Couples and twice hj Sides, square 2)aucc0 65 EXPLANATION OF SECOND FIGURE All Ladies Balance to the Right — Each lady turns to the gentleman at her right and balances, taking four steps to right and four to left. They then join hands and turn, the ladies remaining with their new partners. The fourth time the figure is danced each lady is restored to her original partner. All Promenade — The four couples then prom- enade all around the set CALLS FOR THIRD FIGURE Wait c . . 8 measures Head Couples : Forward and Back .... 4 Forward and Dos-a-Dos 4 Cross over, First Couple inside 4 Back to Place, Second Couple inside ... 4 Balance to Corners 8 All: Forward to Centre 4 Forward and turn Partners 4 Danced twice by Head Couples and twice by Hides. The second time the figure is danced, in '* Cross Over," the second couple passes between the first, and in " Back to Place " the first couple passes inside. The third time the third couple leads, and the fourth time the fourth coupi^i. 66 Bancfti^ SXPJ^NATION Dos-A-Dos — Head Couples advance, and each gen- tleman and opposite lady pass around each othet back to back, and retire to place without turning around. All Forward to Centre — All join hands, thua forming a circle, and take four steps toward centre and four steps back to place. Forward four steps again and turn partners to places. CALLS FOR FOURTH FIGURE Wait 8 measurei Head Couples : Forward and Back . . . Forward and Turn Partners to Place . Four Ladies : To the Right Four Gentlemen : To the Left Four Ladies : To the Right Four Gentlemen : To the Left All : Promenade ... 8 •• Danced twice by Head Couples a»d twice by Sides. EXPLANATION Four Ladies to the Right, etc, — Each lady ad- vances to the gentleman at her right, turns with him, and assumes his former partner's place. Each gentleman then advances to the lady at his left, turns with her and assumes her partner's place. This movement repeated by both ladies and gentle- Square 2)anced 67 men, brings original partners together, but at the elide of the set opposite to their original position. All then promenade entirely around the set. Thancfn(| THE WALTZ CALEDONIANS CALLS FOR FIRST FIGURE Cntrodaction 8 measaret Head Couples : Right Hands Across . 4 " Left Hands Back to Place 4 ** Balance and Turn Partners 8 '• All: Waltz 16 Danced twice by Head Couples and twice by 8ides. CALLS FOR SECOND FIGURE Introduction 8 measures Head Couples : Forward and Back ... 4 " Forward and Salute 4 •• All : Ladies to the Right (remaining with new partners) 8 •* All: Waltz 16 Danced twice by Head Couples and twice by Sides. CALLS FOR THIRD FIGURE Introduction 8 measure& Head Couples : Fotw^ard and Back .... 4 Forward and Dos-a-Dos 4 '• All : Balance at Corners (exchanging part- ners) .... 8 •• Waltz 16 Danced twice by Head Couples and twice by Sides. Square S)ance0 69 CALLS FOR FOURTH FIGURE Introduction 8 measures Head Couples: Forward and Back. . . 4 Forward and Turn Partners to Place ... 4 •' All : Ladies to the Right 4 Gentlemen to the Left 4 " Ladies to the Right . 4 " Oentlemen to the Left 4 ** "Walt* 16 CALLS FOR FIFTH FIGURE Introduction 8 measuret All: Hands All Round 8 '• Ladies Forward and Back 4 •* Gentlemen Forw^ard and Back 4 •• Balance' to Partners 8 " AU Waltz 16 THE CALLY POLKA QUADRILLE This dance is the most elaborate of its kind, in- troducing the Polka, Polka Redowa, Heel and Toe, Polka and Three . Side Polka steps. No attempt should be made to learn this Quadrille until the above-mentioned round dances are thoroughly mas« 70 2>anctnfl CALLS FOR FIRST FIGURE Introduction: Salutations to Partners and Corners 8 measures Head Couples: Half Right and Left .... 4 Side Couples: Half Right and Left. . . .4 *' AH: Balance to Partners 8 " Head Couples : Half Ladies' Chain .... 4 " Side Couples : Half Ladies' Chain 4 ** All: Polka 8 - Danced twice through. EXPLANATION OF FIRST FIGURE Half Right and Left — Partners join hands and walk two steps forward. Then unclasp hands and continue with Polka step, each lady passing between the opposite couple. When the two couples have passed each other, each gentleman takes his partner's left hand in his left, and they continue with Polka step, turn, and stop in the opposite couple's place. Here they remain until the repetition of the figure brings them back to place. Balance with Partners — Partners face each other and join hands, extending the arms a little toward the side. They then dance the Heel and Toe Polka to the centre of the set and back again (four measures), and then dance the Plain Polka in % very small circle around their position in the se^ ^four measures). Square Dancec 71 Half Ladies' Chain — Two ladies croes over, using Plain Polka step and joining right hands in passing. Each gentleman advances to meet the opposite lady as she polkas toward him, and, taking her left hand in his left, turns her to his partner's place. The repetition of the figure returns each lady to her own partner. All Polka — All dance the Three-Slide Polka once around the set. CALLS FOR SECOND FIGURE "Wait 8 measures Head Couples: Forward and Back .... 4 Cross Over 4 Forward and Back 4 Cross to Places 4 All : Polka 8 Danced twice by Head Couples and twice by Sides. EXPLANATION Forward and Back — Partners join hands and walk four steps to centre. Then face and dance the Three-Slide Polka, once, back to place. Cross Over — Head Couples pass each other (four steps), each lady passing between opposite couple. Partners then face each other and dance Three-Slide Polka, once, to opposite couple's place. 72 Dancfng The repetition of these two movements brings each couple back to original position, after which all dance the Three-Slide Polka around the set once. CALLS FOR THIRD FIGURE • W^ait 8 measurea Head Couples, with Sides: Forward and Back 4 " Forw^ard and Change Partners 4 " All Chassez . . . . , 2 •• All Cross Over 2 •• All Chassez 2 •• All Cross to Places 2 •• All : Ladies Forward 4 " Gentlemen Forw^ard 4 •• Polka in Circle 8 This figure is danced four times. The first and third times the Head Couples dance with the Side Couples at their right, and the second and fourth times with the Side Couples at their left. After the exchange of partners at the commencement of the figure the gentlemen do not regain their partners until the fourth time the figure is danced. In the following explanations the terms " First Couple," " Second Couple," etc., refer to positions in the set, and not to the individual dancers. It is essential to bear this in mind, as owing to the frequent chansje of partners each dancer makes an entire tour of the set in the course of the figure. Square Dances 73 EXPLANATION The First Couple faces the Third and the Second Couple faces the Fourth. All forward and back, using Three-Slide Polka, as directed in Second Figure. Forward again, and each gentleman pre- sents both hands to opposite lady and turns with her, taking her partner's place. The gentlemen have now exchanged partners, and the rest of the figure is executed with their new partners. The fourth time the figure is repeated each gentleman has his original partner again. All Chassez — The Side Couples chassez to the right and the Head Couples to the left, using the Three-Slide Polka, thus exchanging places. All Cross Over — All the couples walk forward four steps, the Heads going to the right and the Sides to the left. Opposite couples pass each other and stop back to back. All Chassez — All using Three-Slide Polka, chas- sez and change places. This brings each gentleman back to his original position, though he still has the partner whom he secured by the exchange at the commencement of the figure. All Cross to Places — Heads to the right and Sides to the left, cross over, each lady passing between opposite couple, and stop in opposite couple's place. Use Three-Slide Polka. 74 Bancfnfl Ladies Forward — All the ladies forward, courtcex and join hands in centre of set. All the gentlemen forward and form circle outside that Ibrmed by the ladies, and phice their joined hands over the ladies in front, thus forming a basket. Polka in Circle — Retaining the position just described, all dance Three-Slide Polka to the left (two measures), to the right (two measures), and again to the left (two measures). The circles then dissolve and partners join hands and return to place (two measures). CALLS FOR FOURTH FIGURE Wait 8 measuref Forward, Right Hands Across 4 " Left Hands Back 4 - Balance and Cross 8 •* Ttvo Ladies Forward and Back 4 " Two Gentlemen Forw^ard and Back .... 4 " Four Forw^ard and Back 4 •* Return to Places 4 •• All Round with the Yorke 8 •• Danced four times. EXPLANATION Forward, Right Hands Across — ^The first lady and opposite gentleman cross over, touching right hands in passing, and turn opposite lady and gep^tle- man, respectively. Square Dancea *jt Left Hands Back — ^Returning, they join left hands, pass each other and halt, at the same time joining right hands with partners. This forms a zig-zag line across the set, partners facing each other. Balance and Cross — Retaining the position just described, with the hands w^ell raised, balance for- ward with the right foot and backward with the left, using Polka Redowa step (four measures). Then swing around in line and separate, each couple tak- ing opposite couple's place. The execution of the other movements of the figure, which have been explained and are very sim- ple, brings each couple back to place, after which all dance the Yorke once around the set. The second time the figure is danced, the first two inovements are executed by the second lady and first gentleman ; the third time, by the third lady and fourth gentleman ; the fourth time, by the fourth lady and third gentleman. CALLS FOR FIFTH FIGURE Introductory Chord. AH : Chassez 2 measures Change Places 2 #' These movements are executed four times, which brings all couples back to original places. 76 Dancing Head Couples : Forward 2 measures Circle Round 2 " Separate and Join Sides 4 " All : Slide to the Right 2 Slide to the Left 2 Forward 2 " Join Partners 2 " Danced four times. EXPLANATION Chassez, Change Places — Ladies to the left ; gen- tlemen to the right. Each lady meets a gentleman at the corner of the set. They join hands and turn half round to the left, exchanging places. When this has been done four times each dancer will be in original position, having made a complete circuit of the set. Heads Forward, Circle Round — Heads forward, join hands, and circle round with Three-Slide Polka step. Separate and Join Sides — Partners separate and join the sides, thus forming two lines facing each other. Each lady joins the couple to the left and each gentleman the couple to the right of original position. Slide to the Right, Slide to the Left — The two lines dance Three-Slide Polka to the right (two measures), then to the left (two measures). Square Dancea 77 Forward, Join Partners — All forward and turn partners, the First and Second Couples exchanging places while the third and fourth return to original position. The entire figure is then repeated, which brings all to original positions. It is then danced twice with the Side Couples, instead of the Heads, leading. FINALE All forward to centre and salute each other. Re- turn to place and salute partners. The music for these movements is played slowly. Then a prepara- tojfy chord is given and all polka to seats. PRINCE IMPERIAL QUADRILLE CALLS FOR FIRST FIGURE Wait 8 measares Head Couples: To the Right and Salute . 4 •• Conduct Side Ladies to Opposite Places . 4 ** Ladies : Grand Chain 8 ** All: Chassez to Right and Left 4 ** Turn Partners. Head Couples at opposite places 4 " Repeated by Head Couples and danced twice by Sides. 78 S)ancln(3 EXPLANATION Head Couples to the Right and Salute — The First Couple stops facing the Third, and the Second Couple stops facing the Fourth. All Salute. Conduct Side Ladies to Opposite Places — Re- taining his partner's hand in his right hand, the first gentleman takes the third lady's right hand in his left and conducts the two ladies to the Second Couple's place. In the same way the second gentle- man leads his partner and the fourth lady to the First Couple's place. Ladies' Grand Chain — The four ladies then cross from head to head of the set, touching right hands in passing. They then cross from side to side of the set, touching left hands. These two movements are repeated, ending with each lady standing in front of and facing her partner. All Chassez — All take four steps to the right and four to the left, and then turn partners. This leaves the First Couple in the Second Couple's place and the Second Couple in the First Couple's place. The repetition of the figure restores hoth couples to original positions. The figure is then danced twice with Side Couples leading. Square Dances 79 CALLS FOR SECOND FIGURE 77ait ... 8 measaieA First Gentleman and Second Lady : For- ward 2 " Turn with both hands and face First Lady 2 •• Cross over and turn with Left Hand ... 4 •• Head Couples : Forward and Back .... 4 •• Half Ladies' Chain 4 " All : Chassez and turn Corners with Right Hands 4 " Turn Partners to places with Left Hands 4 •• This figure is danced four times ; the second time the second gentleman and first hidy lead ; the third time the third gentleman and fourth lady, and the fourth time the fourth gentleman and third lady. EXPLANATION First Gentleman and Second Lady Forward — Meeting in the centre of the set, they turn with both hands and stop facing the first lady. Cross Over — The first lady passes between the couple in front of her, and crossing the set, turns the second gentleman with left hand. At the same time ^he first gentleman and second lady turn each other, with left hand, in the First Couple's place. Head Couples Forward and Back — Head Couplea walk four steps forward and four steps back to place. 80 S>ancfn0 Half Ladies' Chain — The first and second ladiei cross over, touching right hands in passing, and turn partners to place with left hand. All Chassez and Turn Corners — All take four steps to right and turn corner partners with right hand. Turn Partners to Places— All take four steps back to place and turn partners with left hand. CALLS FOR THIRD FIGURE Wait 8 zneaaarM First Couple : Forward 2 *• Gentleman retires to place, leaving lady in centre of set, facing him 2 ** Second Couple : The same Third Couple : The same Fourth Couple : The same Ladies : Hands Around Gentlemen : Forward and all Salute . . . All : Balance Turn Partners to places . Danced four times, the first, second, third, and fourth couples leading successively. EXPLANATION First Couple Forward — The First Couple walfe four steps forward. The lady then turns facing her partner, who retires, with a bow, to place. The same movement is performed by each of the other coupiec Square Dances 81 in succession. This leaves the four ladies standing in the centre, facing their partners and with their backs to each other. Ladies Hands Around — ^The ladies join hands and slide around in a circle to the left, ending facing partners as before, and letting go of hands. Gentlemen Forward and All Salute — The four gentlemen step forward, each giving his right hand to his partner and his left to the lady at the left and all salute. Balance and Turn Partners to Places — Balance in circle and turn partners to places. CALLS FOR FOURTH FIGURE Wait 8 measures Head Couples: Forward and Back 4 " First Lady and Second Gentleman : To Sides 4 Six : Forward and Back, Twice 8 " Two : Forward and Back 4 Forward, Salute, and face Partners .... 4 Fours: Hands Half Round 4 Head Couples : Half Right and Left .... 4 Danced twice by Head Couples and twice by Sides. EXPLANATION Head Couples Forward and Back, First Lady 4NEt Second Gentleman to Sides — The Head 82 Danctng Couples walk four steps forward and four steps bacK They then forward again, and the first lady steps t^ position at the left of the third gentleman, while tht second gentleman steps to position at the right ol the fourth lady ; the first gentleman and second lady retire at the same time to their respective places. Six Forward and Back — The six at the sides no^.' forward and back, twice. Forward Two and Back ; Forward, Salute, anl Face Partners — The first gentleman and second lady forward and back, forward again, and salute each other. Both then turn to face their own part- ners. Four Hands Half Round — Each four thus formed join hands and slide half round. Each gentleman then releases the hand of the lady at his left. The Side Couples remain in original position, while the First Couple goes to the place of the Second Couple, and the Second Couple to that of the First Couple. Half Right and Left — The Head Couples cross over to original places, touching right hands in pass- ing and turning partners to place with left hands. The second time ^his figure is danced, the first gentleman and the second lady join the Side Couples at their left ; the third time, the third lady and fourth gentlemen join the Head Couples at theii Square ©ances 83 right; the fourth time, the third gentleman and fourth lady join the Head Couples at their left. FIFTH FIGURE Commence -with the music. Four Ladies : To the Right, four times . . 16 measures First Gentleman and Opposite Lady : For- ward and Back 4 " Forward, and swing to face Partners ... 4 *• Head Couples : Chassez to Right and Left 4 ** Turn Partners to Places 4 " Danced four times, the gentlemen leading succes- sively, each with the opposite lady. EXPLANATION Four Ladies to the Right — Each lady takes four steps t o the right, and turns the gentleman at her right with the right hand. Continuing all around the set in the same direction, she turns the next gentleman with the left hand, the next with the right hand, and, finally, her partner with the left hand. First Gentleman and Opposite Lady, Forward AND Back — Forward and Swing to Face Part- ners — The two walk forward four steps, then back- ward four steps, forward again, join right hands and Bwing half round, so that each faces original partner. Head Couples Chassez — To the right (foul 84 ©ancing counts), to the left (four counts), and turn partners to place. After this figure has been danced four times, the ladies repeat the first movement a fifth time (16 measures). All then forward and back, and for- ward again. The gentlemen leave their partners in the centre, facing them, and retire to place. All salute partners, and promenade to seats. LES VARIETIES PARISIENNES (PARISIAN varieties) CALLS FOR FIRST FIGURE Wait 8 measures Head Couples : Lead to the Right, Salute, and Return to Place 4 •• Lead to the Left, Salute, and Return to Place 4 •• Right and Left 8 »^ All: Waltz 16 Danced four times, Heads and Sides leading alter- nately. EXPLANATION Head Couples Lead to Right — The Head Couples advance towards the Side Couple at the right, sahite, and step backward to place. Repeat, leading to tU€ lea Square Dances 85 Right and Left — The Head Couples cross over, each lady passing between the opposite couple. Touch right hands with opposite in passing, and turn partner with left hand in opposite couple's place (four meas- ures). Cross back to place in the same way (four measures). All Waltz — All four couples waltz around the set once. Avoid taking too long steps, and keep exactly within the limit of the space occupied by CALLS FOR SECOND FIGURE Wait 8 measarea Head Couples: Forward and Back . ... 4 All : Ladies to the Riglit 4 Polka 8 Danced four times, the Side Couples leading the second and fourth times. EXPLANATION The Head Couples Valk forward four steps and backward four steps. The ladies then all pass to the gentlemen at their right, and all polka round the set with their new partners. The Side Couples, still with changed partners, then forward and back, four steps each way, and the ladies each pass on to the next gentleman at the right. Each lady now occupies a position opposite to her original place in the set. All polka round the set again. Head 86 S>ancfng Couples forward and back, and the ladies pass again to the right. All polka round the set. Side Couplea again forward and back, and the ladies pass on to the right, and are thus restored to their original partners, with whom they polka round the set. CALLS FOR THIRD FIGURE "Wait 8 measures First Gentleman : To Centre 2 " Ladies : Form Circle 2 •• Hands Round 4 ** All : "Waltz 16 EXPLANATION The first gentleman steps to the centre of the set. The four ladies step forward and join hands, thus forming a circle around him. They then circle around to the left until opposite their own partners, when they turn partners to places. Finish by all waltzing around the set. Danced four times, the four gentlemen leading successively. . CALLS FOR FOURTH FIGURE 'Wait .8 measures Head Couples : To Right and Salute ... 4 Hands Round 4 " All : Mazourka. Danced four times, the Heads and Sides leading alternately. Square Dances 87 EXPLANATION The Head Couples lead to the Side Couples at their right, salute, and join hands with the sides. The two circles of four each now slide around to the left twice (or once to left and once to right) and stop in original places. All then dance the Mazourka once around the set. FIFTH FIGURE Wait 8 measures Head Couples : Forward and Back ... 4 Separate to Sides 4 Six : Forward and Salute 4 Ladies : Cross Right Hands in Centre . . 8 All : "Waltz 16 Danced four times, Heads and Sides leading alter- nately. EXPLANATION The Head Couples forward four steps and back again to place. The first and second gentlemen then lead their partners to the Side Couples at their right, and, leaving them there, return to place. The three at each side then advance four steps, salute, and relturn to place. The four ladies cross right hands in the centre of the set, and walk around in a circle until they reach their original places in the set. At the same time their partners dance arounj 88 ©anclng the set in the opposite direction, thus meeting their partners in original position, and turning them to place. End with All Waltz. NATIONAL GUARD QUADRILLE The first four figures of this quadrille are dedi- cated to the National Guard, and the fifth figure tc the United States Army. CALLS FOR FIRST FIGURE "Wait 8 measures Head Couples: Forw^ard and Back ... 4 Lead to Right and Salute 4 Cross Right Hands and Turn 4 Cross Left Hands and Return 4 All : Balance to Partners 4 Turn to Places 4 Danced twice by Head Couples (leading to the left the second time), and twice by Sides (also leading to the left the second time). . EXPLANATION The Head Couples walk forward four steps and backward four steps. They then walk to position facing the Side Couples at their right, and salute. This brings the first couple facing the third, and the Second couple facing the fourth. The two ladies in each group join right hands and the two gentlemen Square 2>anced 89 do the same, their hands being above the ladies*. They then walk half way around in a circle, stop, release right hands, turn, join left hands, and walk back to the position from which they started (first couple facing third, second couple facing fourth). All now turn and form two lines, partners facing each other. The lines advance four steps towards each other, and the gentlemen turn their partners to original positions in the set. CALLS FOR SECOND FIGTT^E Wait ^ measures Head Couples : Forw^ard and Back .... 4 Turn Partners 4 Side Couples : Forward and Back .... 4 Turn Partners 4 Ladies : To the Centre 4 Hands Round to the Right 4 All: Balance to Partners and Turn ... 8 ** Danced four times, twice by Head Couples and twice by Sides. The second and fourth times the gentlemen, instead of the ladies, go to the centr). EXPLANATION Forward and Back — As in the first figure. Turn Partners — The gentlemen give both han<3U DO their partners, walk forward two steps, backwaiG two steps, and turn once. 90 Dancfnd Ladies to the Centre — The ladies advance foui steps and turn back to back. Hands Around — The ladies join hands and slid* around to the right until they reach again the place from which they started, facing their partners. Balance and Turn Partners — As in first figure. CALLS FOR THIRD FIGURE Wait 8 measures Head Couples: Ladies Forward and Back 4 Ladies Cross Over 4 Side Couples : Ladies Forward and Back 4 Ladies Cross Over 4 All : Salute Corners 2 Salute New^ Partners 2 Turn New Partners with Right Hand . . 4 Promenade 8 Danced four times. The second and fourth times the gentlemen, instead of the ladies, execute the " Forward and Back " and " Cross over." EXPLANATION The first and second ladies advance four steps and retire four steps, and then cross over, thus exchang- ing partners. The third and fourth ladies do the eame, so that all secure new partners. All salute corners, then salute new partners and turn new partners once with right hand. The Promenade i^ Square ©ances 91 executed by all the couples, dancing the Polka once around the set. CALLS FOR FOURTH FIGURE Wait . 8 measures Head Couples : ForT?vard and Back .... 4 " Lead to the Right and Salute 2 •• Form Two Lines by Joining Sides ... 2 •• All : Forward and Back 4 " Forward Again, and Side Couples Return to Place 4 •• €ead Couples : Forward and Back .... 4 •• Turn Partners to Places 4 •* Danced four times, twice by Heads and twice by Sides. EXPLANATION The first two movements are identical with those of the first figure. In formir^g lines, the Head Couples separate and join the Side Couples. The two lines walk forward four steps and backward four steps, then forward four steps again, and the Head Couples stop while the Sides retire to place. The first and second gentlemen give both hands to their partners, walk two steps forward and t^o steps backward, and turn to place. S)2 Dancing CALLS FOR FIFTH FIGURE Salute to the United States Army .... 4 measures Ladies : To the Right, four times 32 " Head Couples: Crossover and Back. . 8 " Side Couples: Cross Over and Back . . 8 '• All : Turn Corners 4 " Turn Partners 4 Danced four times. After the fourth time, All : Forward and Salute Opposite .... 4 measures Salute Partaers . . 4 " EXPLANATION The four ladies leave their partners, advance four steps to gentlemen at their right, salute, and turn with right hand. They then pass on to the next gentleman, and so on around the set, turning orig- inal partners last. The first couple then join hands, their arms crossed. The first and second couples then cross over, the second couple separating to let the first couple pass between them. They then return to place, the second couple joining hands and the first couple separating. This is repeated by the third and fourth couples. All advance four steps to corner partners and turn with right hands ; then take four steps back to original places and turn partners with left hands. Square 2)ancea 95 CONTRA-DANCES This class of dances derives its name from the fact faat partners, instead of standing side by side, as in the square dances, stand opposite and facing each other. Under this head have also been included, for convenience, a few dances which, though not con- forming to the description given above, are yet more nearly related to the Contra-Dance than to either the Square or the Round Dances. THE VIRGINIA REEL (sir ROGER DE COVERLY) This is the most popular of the Contra-Dances, and no informal programme is considered complete without it. Any number of couples may participate, but where the number of dancers is very large it is better to form several sets of six or eight couples each than one large set. Two parallel lines are tormed, one of gentlemen and one of ladies. These two lines stand facing, each gentleman opposite his partner. The space between the lines should be about four feet wide. The lady and gentleman occupying the ends of the lines towards the head of the room are called the top or First Couple ; the lady and gentleman at the opposite ends, the bottom or 96 Dancfni Last Couple. For the music, any hornpipe or reel may be used, the only requirements being that it shall be lively, in double time, and having a marked rhythm. DESCRIPTION OF THE DANCE First Gentleman and Last Lady : Forward and back 4 measures The two take four steps directly towards each other and four steps backward to place. First Lady and Last Gentleman : The same 4 measures First Gentleman and Last Lady : Forward and sw^ing w^ith Right Hands 4 The two step forward to the centre, join right hands, swing once around, and step backward to place. First Lady and Last Gentleman ; The same 4 measures First Gentleman and Last Lady : Forward and Swing with Left Hands 4 Exactly like preceding movement, only joining left hands instead of right. First Lady and Last Gentleman : The same 4 measures First Gentleman and Last Lady : Forward and swing with Both Hands 4 " First Lady and Last Gentleman : The same 4 •• First Gentleman and Last Lady : Dos-a- Dm 4 " sauare Dances 9^ The two advance to the middle of the set, pass each other on the right, move around each other back to back, without turning, and step backwards to place. First Lady and Last Gentleman : The same 4 measures First Couple : Turn each other with Right Hands 2 " Separate and turn next couple with Left Hands 2 •* Turn each other with Right Hands . 2 •• Separate and turn Third Couple with Left Hands 2 Turn each other with Right Hands .... 2 " A.nd so on to the end of the set, the first lady turn- ing each of the gentlemen and the first gentlemai^ turning each of the ladies, with the left hand. The amount of music required for this part of the dance depends upon the number dancing in the set. When the First Couple have reached the bottom of the set, they join hands and dance back to original places. All then face towards the head of the room and following the leaders, gentlemen turning to the left and ladies to the right, march down the outside and up the middle of the set. This brings all to original positions. The First Couple then join hands and dance down the middle to the bottom oi the set, where they remain, leaving the Second 08 S>ancm0 Uouple at the> head. The dance is repeated as often as desired, generally until each couple, in turn, ha» occupied the position of Head Couple. Sometimes. ;n the march, when the First Couple, having marched down the outside, meet at the bottom oi the set, they stop, join hands and raise their arms, allowing all the other couples to pass under. This leaves them at the bottom oi the lines. There are no pauses in this dance, and the step throughout is suggested by the music — an energetic swinging trot in exact time to the music. POP GOES THE WEASEL This lively little dance is performed with the dancers in the same position as for the Virginia Reel. The same step is also employed. It is always danced to the tune from which its name is derived, and each movement must begin and end exactly with the music. EXPLANATION OF THE DANCE Head Couple : Down the Middle and Back 8 measures Take exactly eight steps in each direction. Down the Outside and Back 8 " The gentleman turns to the left and the lady to the right, passing outside their respective lines and Square S>ance8 99 taking eight steps down the line and eight steps back to place. Right hands across with Second Lady . . 8 measures The Head Couple cross right hands with second lady and swing around to the left. Left Hands Across with Second Lady . . 8 measures The three drop right hands, turn, cross left hands and swing to the right (4 measures). The First Couple raise their joined hands and the second lady darts quickly under them to the head of the set, all the dancers singing " Pop Goes the Weasel " (4 meas- ures). The First Couple then perform the same movements with the second gentleman. Right Hands Across w^ith Second Gentle- man 8 measures Left Hands Across with Second Gentle- man 8 •• As soon as a couple have been " popped " they move up a step on their respective lines, so as to leave a little space between themselves and the next couple. The First Couple then repeat the whole figure, turning and " popping " the next couple, and 80 continue throughout the set. In passing outside they do not go to the ends of the lines, but paas 100 ^ancfnd between the couples whom they have "popped* and the rest of the line. As soon as the First Couple have turned and " popped " two or three couples, the Second Couple also starts, and as many couples are kept in lively motion as can dance with- out confusion and mutual interference. The dura- tion of the dance depends entirely upon the strength and patience of the musicians. LA TEMPfiTE This is danced in N&a.d of T^oo^ xO yO OX <>X Lady X Gentleman ^ four in eacis set face sets of four couples each, arranged as in the follow* ing diagram ; It is desirable to have as many sets as the space wilJ permit. The music and the figures are borrowed from the Quadrille, and the lattei are executed simultaneously in all the sets. The Head Couples are the tw^o couples in each set occupying the position towards the head of the room. The two Imes each other. Square S>ance0 101 EXPLANATION OF THE DANCE All : Fonvard and Back, Twice 8 measures The four in each line joining hands. Chasaez Across, Right Hand Couples in Front 8 measure* The right hand couples slide four steps to the left and back again, and the other couples slide four steps Vo the right and back again, the two couples in each line thus crossing each other. Forward and Back, Twice 8 measures Cross Right Hands and Round 4 " The lady and gentleman in the middle of each line cross right hands with the lady and gentleman oppo- site them, thus forming a moulinet of four. At the same time the gentleman at the end of each line joins hands with the lady opposite him and performs the same figure, which is thus executed simultaneously by three combinations in each set. . Cross Left Hands and Back 4 measures As described above, substituting left hand for right Hands Round to the Left 4 measures Back Again to the Right 4 *• The four in the middle and the pair at each end of the lines execute the last two movements also sim* ultaneously. 102 Danctng All: Forward and Back • ... » • . • • 4 measnr^B Forward and Through to Next Set .... 4 •• In passing through the Head Couples raise their joined hands and the other couples pass under them. In this way the sets are continually changing, each dancer having a new vis-a-vis each time. After the first and every odd number of times the figure is danced, there will be two couples at each end of the room without any opposites. They simply face around in line and wait until the repetition of the figure brings them into action again. This dance may be repeated any number of times. THE SPANISH DANCE This dance can be performed by any number of couples, ^^„ ^ \ arranged in a circle as in the following diagram : This constitutes K-li -r—rf ^^ endless series of VSy'/^i;~A '^/-iziL^ sets composed of -i\^/^ '^*v/I]?^' ^^^'^ couples each. ^ liftdy X Gentleman The couples in cacb Square Dances 103 set face each other, and have their backs towards the couples in the adjoining sets. Each set may be regarded as a little square, the ends of which are occupied by the two couples, while the sides are vacant. The music is in waltz time, with three beats in a measure, the first beat only being accented. DESCRIPTION OF THE DANCE Two Couples : Forward Pour 2 measures Each gentleman takes his partner's right hand in his right. All take one step forward, raising joined hands in front (1 measure, 3 counts). Take one step backward, lowering hands (1 measure, 3 counts). Change Partners 2 measures All forward one step as before (1 measure, 3 counts). The gentlemen stop, while the ladies cross over, giving left hands to gentlemen's right, and all turn so as to occupy the sides, instead of the ends of the square. The gentlemen now stand at the side to the right of their' original position, with changed partners. The same movements, are repeated (4 measures, 12 counts), which brings part- ners together again, but at the end of the set oppo- site to original position. The same movements are executed twice more (8 measures, 24 counts), which restores partners to each other and to original posi- tions in the set. 104 Dandng Cross Right Hands 4 measuren The two ladies and the two gentlemen in each set now join right hands and swing around to the left (4 measures, 12 counts). Cross Left Hands 4 measures All stopjturn, join left hands and swing back to place. All : Waltz 8 measures Each couple waltzes around in its own square or set once, and then takes another half turn into the next set, where they stop. Each couple thus has a new vis-a-vis each time the dance is executed. Repeat as often as desired. THE SICILIAN CIRCLE In this dance the sets are arranged exactly as in the Spanish Dance (see diagram, p. 102). The movements are adapted from the Plain Quadrille, and the music is in 2-4 time. DESCRIPTION OF THE DANCE CALLS T'wo Couples : Right and Left 8 measures Balance and turn Partners 8 " Forward and Back 4 •• Forward and through to next set (as in La Tempete, p. 100) 4 " For full description of movements see first figure of Plain Quadrille (p. 29). To be repeated at wilL CoKKKCT Position for Round Dances IV ROUND DANCES GENERAL SUGGESTIONS PosiTioN^ — Partners stand facing each other, the lady a little to the right of her partner, so that each is looking over the other's right shoulder. The gen- tleman places his right arm around his partner's waist, in such a way that the angle formed by bend- ing his arm at the elbow comes just under her shoulder. It is at this point that he gives support and guidance to his partner. His right hand should touch her waist as lightly as possible. The lady places her left hand upon her partner's right shoul- der. Her right hand she places, palm down, in her partner's left. The lady's right arm and the gentle- man's left are extended nearly straight, and are lifted a few inches from the side. This is the position universally recognized as correct, delicate and grace- ful. Occasionally, variations from this standard attain an ephemeral popularity, and can be readily learned through observation by those who care to 107 108 Dancing adopt them. It is the duty of the gentleman to guide his partner in the dance, and he should hold her with suliicient firmness to make this guidance unmistakable, but by no means so closely as to inter- fere with absolute freedom of movement. The lady should yield entirely to her partner's guidance. Un- necessarily close personal contact should be strictly avoided, both because it is unrefined and because it leads, inevitably, to awkwardness in posture and movement. The lady should not lean upon her partner. He is not supposed to sustain any portion of her weight. The gentleman should adapt his step to that of the lady, and especially guard against taking too long steps. The feet should be scarcely lifted from the floor, but slipped along its surface. Observance of this rule will generally prevent the unfortunate accident of stepping upon the toes or skirts of other dancers. While both dancers should incline a trifle forward from the waist, an exaggeration of this position is extremely awkward. The lady should especially avoid pro- jecting her chin or resting it upon her partner's shoulder. Before attempting to learn any of the round dances the student should thoroughly familiarize himself with what is said of Steps and Positions on pa,^es ^ 1 to 20. 'RounD H)anced 108 THE WALTZ The Waltz is the most popular of the round dances. It is generally considered to be also the most difficult to acquire, but when learned it fur- nishes the key to all the others. Waltz music contains three beats in a measure, the first / the three being accented. The waltz step consists of six movements, one to each beat of the music, thus occupying two measures. The rhythm of the step corresponds to the rhythm of the music. Thus the first and fourth movements are accented. The six movements are performed as follows : Leap — Step straight forward on right foot (1). 2. Slide —Bring the left to Second Position and transfer weight to it (2). 3. Change— Bring hollow of right foot to heel of left and change weight to it (3). 4. Leap— Step backward on left foot (1). 5. Slide— Step to Second Position on right foot (2). 6. Change— Bring the heel of left foot to hollow of right and change weight to I'eft (3). Notice, that each movement is a step, the weight being constantly transferred from one foot to the other, just as in walking. The student will find it helpful to practice these steps slowly and in perfect time, simply walking 110 Banclng through the dance, without turning, and sliding the feet along the floor instead of raising them. Avoid all unnecessary effort. Remember that the energy used in dancing is altogether confined to the lower limbs, the upper part of the body being simply carried along. The unfortunate habit which some dancers have of flapping the arms vigorously is of no assistance in propelling the body, and, like all aimless movements, detracts greatly from one's grace and dignity. Before attempting to turn, these steps should be practiced forward and backward in an imaginary square, as indicated in the following diagram : R. and L. indicate Right and Left respectively, and the ^— , numerals, 1, 2, etc., the M different movements of ^\N/r/ ui\ the dance. The stu- ^ I dent should first place j the feet in the positions [ indicated by 5 and 6, I and take the first step r>v ' from that position. |\L\ ^m These steps having Lji)^^«.«—^-.« CZ€I been diligently prac- THE Waltz Step ^^^^^ ^^til they can be executed in perfect time and with moderate rapidity. the next point to master is the art of turning. The E ■RounO Dances 11, 'urn is made by pivoting on the balls of the feet on the second, third, fifth and sixth steps. There is no turn, observe, on the first or fourth, which are taken in a straight line forward and backward respectively. Practice turning in the following way : Step forward on the right foot (1), and, while bringing the left foot to second positioUj make a quarter turn to the right by pivoting on the ball of the right foot. '*'' The left being now in second position (2), con- tinue pivoting to the right on the left foot, making another quarter turn while executing the third move- ment with the right foot (3). Step backward on the left foot (4), and make another quarter turn while bringing the right foot to the second position (5), and pivot on the right foot, mak- ing a quarter turn while executing the sixth move- ment with the left foot (6). These movements must be perfectly smooth and continuous. Many superior dancers make no dis- tinction between the Leap and the Slide in the waltz, but glide throughout the dance as smoothly as pos- sible. The Leap, if used, should be so modified as simply to impart a little additional elasticity to the first and fourth steps. If given with the least jerkiness the rhythm of the dance is destroyed. The steps as described are exactly the same for both 112 fi)ancfna ladies and gentlemen, but when the lady steps fbT* ward, her partner must, of necessity, step backward, and vice-versa; hence, while the lady executes the movements of the waltz in the regular order, 1, 2, 3, 4, 5, 6, the gentleman begins by stepping backward on the left foot, and executes the movements in this order : 4, 5, 6, 1, 2, 3. As turning continuously in one direction would soon cause dizziness, the movements are reversed at will, and in order to effect this reverse easily, an intermediate movement called the Pursuit is intro- duced. The steps for the lady are as follows : 1. Slide forward on right foot (1). 2. Slide forward on left foot (2). 3. Bring right to fifth position, toes touching the heel of the left (3). 4. Slide forward on left foot (1). 5. Slide forward on right foot (2). 6. Bring left to fifth position, toes touching heel of right foot (3). The weight is changed from one foot to the othei with each step. The movements for the gentleman are the reverse of those for the lady : 1. Slide backward on left foot (1). 2. Slide backward on right foot (2). 3. Bring left to fifth position, lieel touching toe« of right foot, but raised from the floor (3). •RoutiD S)ance0 118 4. Slide back on right foot (1). 5. Slide back on left foot (2). 6. Bring right foot to fifth position (3). The gentleman thus moves continuously backward during the Pursuit, and the lady forward. While this is not a hard and fast rule, it is better to observe it, as, in dancing backward, a lady's skirt is more or less in the way, even though it be of the regulation dancing length. The reverse consists in pivoting to the left instead of to the right, in turning. In order to do this it is necessary to reverse the order in which the feet are used, taking the forward step (1) witli the left foot, and the backward step (4) with the right. The Pursuit may be introduced without reference to the Reverse and simply to break the monotony of the continual turning to the right. In this case the six steps as described are danced one or more times, as desired, after which the turning to the right is re- sumed. When, however, the Pursuit is designed to lead into the Reverse, it may be executed any num- ber of times, but must end with the Third step. The reason for this will be made clear by a reference to the description of the Pursuit. When the third step is taken, the lady is ready to step forward on the left foot, and the gentleman is ready to step backward on the right foot. The turning is thus :i4 Dancing resumed, taking the forward step (1) with the left foot and the backward step (4) with the right fool and pivoting to the left instead of to the right od 2, 3, 5, and 6. In changing back from the Reverse to the original movement the Pursuit is again introduced, but the lady now takes the first step forward with the left foot, the gentleman, at the same time, stepping backward on the right foot. When the third step has been taken, the lady is ready to step forward on the right foot and the gentleman to step backward on the left foot. The original movement is thus resumed. While the description of these movements seems quite involved, the movements themselves, when once mastered, are very simple. Avoid taking too long steps. Avoid hopping and jerking. Strive to acquire smoothness and ease of movement. Marked phys- ical exertion in dancing is unnecessary, and wholly out of keeping with its character as a recreation. THE DEUX-TEMPS (TWO-STEP) Slide with the right foot straight to the side, bring the hollow of the left foot to the heel of the right Had change weight to left foot (1). The slide is I IRounD Dances 115 accented, and as little time as possible given to the change. Step forward on the right foot (2), and bring left foot forward so that the toes are opposite the hollow of the right foot, and at the same time pivot to the right on the right foot. Slide with the left foot to the side, bring the hollow of the right foot to the heel of the left and change weight ^ ^ ^u/_j to right foot (1 ). ^ rr, ^ r^ „ "^l/ StcD backward on left The Dkux-Temps Step ^ -^ ^ foot and bring right foot to position with toes opposite the hollow of the left foot, pivoting, at the same time, to the right, on the left foot. Then recommence wdth the right foot. The Reverse is accomplished by stepping forward with the left foot and backward with the right on 2, and pivoting to the left instead of to the right. THE GALOP This step is very simple, and consists of the two movements Slide and Change. 116 ^ 2)ancing Slide with the right foot straight to the side, and bring the hollow of the left foot to the heel of the right, changing the weight to the left foot (1). Repeat three times, making in all four slides to the right. Accent the slides and give as little time as possible to the change. The fourth time, instead of transferring the weight to the left foot, pivot on the right foot, making a half turn to the right. Then take four slides, with the left foot leading. Pivot to the right on the left foot and repeat with the right foot again leading. THE POLKA Slide forward on right foot (1). y^Ai Bring the left foot up 0''' y ;♦.* parallel with the right and Afe^ i 5 change weight to it (2). /y^ |\)^ Slide the right foot for- 'V^ ; ; ward again (3). L| Bring the left foot up par- r- i : allel with the right, without |W V^ changing the weight to it, y^ and at the same time pivot to the right on the right foot (4). Slide backward on left foot (1). 'Rcu^^ Dances 119 Bring right foot back parallel with left, and change weight to right foot (2). Slide backward again on left foot (3). Bring right foot back parallel with left, without changing the weight, and at the same time pivot to the right on the left foot (4). Then commence again with the right foot. To reverse, take the forward steps with the left foot and the backward steps with the right, and pivot to the left. THE THREE-SLIDE POLKA (ESMERALDA) The music contains two beats to a measure. The steps are all taken straight to the side, and a half turn is made on the fourth count, so that the right and left feet lead alternately. (TWO MEASURES OF MUSIC) Connts, . . Steps, . . . First Time, Slide, Change Right, Left Second Time, [Left, Right 2 Slide, Change R.ght, Left Left, Right Slide, Change Right, Left Left, Right Leap, Hop Riglit, Right Left, Left THE BERLIN Danced to Polka time, two beats in a measure. Partners stand side by side and facing the same way. The gentleman takes his partner's left hand 120 Dancftifi in his right, their arms a little raised. The lady starts with the right foot, the gentleman with the left. The directions as given are for the lady. Gen- tlemen will substitute " Left " for " Right." Slide forward on right foot (1). Bring hollow of left foot to heel of right, and change weight to left foot (1). Leap forward on right foot (2). Hop on the right foot, at the same time crossing the left foot, raised, over the right in front, with the toes pointed downward (3). Hop again on the right foot, turn half round (lady to left, gentleman to right), change hands and bring the left foot, raised, to third position behind the right (4). Repeat the above, moving now in the opposite direction from that in which the start was made. At the end of the fourth measure (eight counts), take waltz position and dance the polka for four measures, alternating thus throughout the dance. HEEL-AND-TOE POLKA (BOHEMIENNE) The lady hops slightly on the left foot, and at the same time extends the right to second position with tlie heel touching the floor and tlie toes raised (1) ; then hops again, bringing the right foot to fifth posi- tion behind the left, toes touching the floor (2). •RounJ) Dances 121 This occupies one measure of the music, and is followed by one measure of the plain polka, after which the heel-and-toe is repeated with the left foot. The steps for the gentleman are the same, substi- tuting left for right, and vice versa. The Heel-and-Toe and the plain polka are thus alternated throughout the dance, or four measures of these two movements combined may be alternated with four measures of the Esmeralda. THE MILITARY SCHOTTISCHE (dancing in the barn) Partners stand side by side and facing the same way. The gentleman's right hand rests lightly on the lady's waist, and her left hand rests on his right shoulder. The lady starts with the right foot, the gentleman with the left. In the following directions, which are for the lady, the gentleman will substitute loft for right, and vice versa : Step forward on right foot (1). Bring left foot to third position behind right, and change weight to left foot (2). Leap forward on right foot (3). Hop on right foot, at the same time extending the 122 2>anctn0 left foot raised, in fourth position in front of rights toes pointed downward (4). Repeat these movements, starting with the left foot (Four Counts). Face partner and take waltz position. Leap for- ward on right foot (1). Slide forward on left, turn half round to right and change weight to right foot (2). Leap backward on left foot (1). Slide back on right, change weight to left foot (2). Repeat last four movements. Accent only the leap and the change. In the slide the toes only touch the floor, and as little time as possible is given to it. THE FIVE-STEP This is danced to Schottische music. There are four counts in this dance, the fifth step being merely a grace step, to which no accent and as little time as possible is given. All the steps except the third are taken in a straight line to the side. The third step is taken either forward or backward. The following directions are for the lady. The gentleman starts with the left foot, stepping backward when the lady steps forward, and vice versa. Step to the right (1). ■Roun& Dances 123 Bring left foot to first position and change weight to left foot (2). Step forward on right foot and make a half turn to the right (3). Step to second position on left foot (4). At the very end of this count, bring right foot quickly to the first position and change weight to right foot. Step to the side on the left foot (1). Bring right foot to first position and change weight to right foot (2). Step backward on left foot, making a half turn to the right (3). Bring right foot to second position, change weight quickly to left foot (4), and re-commence with right foot. To reverse, take the forward step on 3 with the left foot and the backward step with the right foot, and turn to the left instead of to the right. THE YORKE. This dance is an evolution from the old Polka Mazourka, and is danced to the same music. This is in 3-4 time, but differs from the waltz rhythm in that each of the three beats receives some ac* cent. 124 S)ancfn0 ConnU, . . Steps, . . First Time, . Second Time, TWO MEASURES OF MUSIC Slide, Change Right, Left Left, Righf . 2 .1. . . 3 . . . Slide Change, Hop Right I Left, Left Left I Right, Right . 4 . Slide Right l«ft . 6 . I . 6 . Change ^Leap Left Right Right I Left The steps on 1, 2 and 3 are taken in a straight lin« to the side. On 4, 5 and 6, a half turn to the right is made. The directions given are for the lady. Gentlemen will substitute left for right and vice versa, THE CAPRICE WALTZ This is a popular variation of the waltz, and la danced to the same music. Eight measures are re- quired for a single execution of the movements. The steps in the first four measures are taken straight to the side. A half turn is made in the fifth meas ure, in which the plain waltz step is used ; also in the sixth, and again on the first two counts of the seventh measure. The last two slides are also made to the side. Measures Counts, Steps, ti^*r. . 1. . 2 . .3 . SUde, Change and Bop Biefat,Left . 1 . . 2 . . 3 . Slide, Change and Hop Bight, L«ft . . . . S . . . . . 1 . . 2 . . 8 Slide, Change- Slide, Change Right, Left- Bigbt^LA 'Rouno 2)anced 125 MeasQr««, Counts, . Steps, . . I^ady. Measures, Counts, . Steps, . . JLady, . . . . . . 4 . . . . 1 . . 2 . . 3 SUde, Change Right, Left ... 5 1 . . 2 p Change Right, Left, Right . ... 6 ... . . 1 . . 2 . . 8 . Leap, Slide- Chauge Left, Right-Lefl 7 .1 2 . . . . 3 Leap, Slide-Change, Slide-Change Right, Leftr-Right, Left^Right 1 . . 2 . Slide, Hop Left, Left CHRISTMAS POLKA The peculiarity of this dance is in the fact that each strain requires a differ<»nt step or dance, the music being accented in accordance with the motions used. A couple may begin at any part of the music, but should be careful to commence with the motions assigned to that part, as follows : 1st strain. Three-slide polka or Esmeralda. 2d strain. Bohemi an or heel-and-toe polka. 4 bars, alternating with three-slide polka. 4 bars also. 3d strain. Racket. 4th strain. The "Merrj. thought," a new combination of steps which is illus- trated below. izl Step, close, step, close, step, change, leap p=i ^ t7i=t: '^3^ step, close step, close, step^ change, leap. 126 Danctno 1st measure. Sideways, lady with right foot, gentleman with left. '/Sd measure. Half turn, same as in Polka. 3d measvre. 1 4%h noie&sare Sideways, lady Half turn, as !» with left foot, I gentleman withj right At each step a slight stamp is made with the foot. To the following four bars the three-slide polka is used ; then the " Merry-thought " in the succeeding four bars and strain, finished with the three-slide polka. Tlie same succession of movements is executed at the repetition of the strain. THE RACKET In this dance only two motions are employed, the Slide and the Change^ two changes following one slide. No full turn is made, and the novice should practice the motions to and fro sideways, one bar each way, taking care that one foot is not thrown out too far, so that when the toe touches the floor in making the two changes the movement will be graceful. The slide is made in every possible direc- tion during the dance. The accent is shown in the following diagram ? Pleasures, I'Our.ts, . . Steps, . . . TRouttO S)ance0 127 2. ..I. ..8. ..I.. .4 1 . . .2. .1.1. . .2. . .1 . . .2. J .1 Gentleman, Slide, Change-'siide, Change, 'Slide, Change, Slide, Change Change Change j Change | Change Right, Left- 'Left, Right- Right, jueft- Left, Right- Right I Left I Right | Left Left, Right- Right, Left- Xeft, Right- Right, Left. Left I Right I Left I Right HIGHLAND SCHOTTISCHE Usually danced to a strathspey. This dance differs from the original Schottische in the introduction of motions (steps) taken from the Highland Fling ; also in the length of the two phrases, which are extended to four bars each, instead of two. During the first phrase of four bars, while dancing the Highland Fling steps, the dancers do not take hands, but remain face to face. Those who are familiar with all the movements of the Fling raise one hand above the head, while resting the other upon the hip, as it is done when dancing that active dance. Great latitude is taken at this part of the dance, as any steps (motions) belonging to the Fling may be introduced. One of the most familiar of these steps may be described as follows : 1. Hop on left foot ; at same ' ' ^^e extend right to second position. 2. Hop again on left foot; at same time bend right knee, and raise right foot behind left lejg 128 Daticmg 3. Hop a third time on left foot, extending right to second position. 4. Hop a fourth time on left, and pass right fooi in front of left leg by bending the right knee. These motions the same for opposite feet. The above would be a fling step with the right foot. Making the hops upon the right foot and swinging the left would be left-foot step. THE DANCE Utbar. Fling Btep. Lady right foot. Gentle- man left. 2d bar. First phrase of Schot- tische. Lady to the right. Ge^ntleman left. 3d bar. Fling step. Lady left Gentleman right. 4th bar. 1 5th, 6th, 7th, First phrase.* ®*^*>a"- of Schot- Four revel u- tische. Lady tions with left. Gentle-i the aecond man right. phrase of the ' Schottische. This succession of motions is continued through- out the dance. ;?2^S^^ The Fayor THE GERMAN, OR COTILLION This dance, which is, as its name implies, of Ger< man origin, has been rightly pronounced " the high- est evolution of the art of dancing. " Every variety of step and rhythm may be introduced at the option of the leader. The constant interchange of partners renders this the most social of dances, and the ele- ment of refined humor entering into many of the figures gives an additional zest to the enjoyment of the dance. Any one can dance the German who un- derstands the round dances and quadrille figures. The dancers are seated, each gentleman having his partner at his right, around the sides of the room, leaving the floor clear for the execution of the figures. After dancing, each gentleman conducts the lady with whom he has just danced to her place beside her partner, and then returns to his original seat and partner. The German is always under the supervision of some gentleman, previously engaged to act as leader, m 1S2 Dancfn^ who explains and directs the various figures. To be a successful leader requires a combination of tact, patience, courtesy, vivacity, and common sense. He must know exactly what programme is to be carried out, and arrange all the details beforehand so that there may be no delay or confusion. It is his place to call the different dancers to the floor, and to see to it that no one is neglected, but that, so far as pos- sible, all have an equal chance to enjoy themselves. He signals to the musicians when the music is to be- gin, to stop, or to change to a different rhythm, and to the dancers when they are to stop dancing and to return to their seats. These signals are given by clapping the hands, or by blowing a whistle, the lat- ter being the favorite method. Castanets are some- times used for the same purpose. The figures to be danced should be selected with reference to the space available for dancing and the number of guests par- ticipating. A " property room " should be placed at the disposal of the leader, where he will collect everything that he will need in the course of the evening. He should make out a programme, giving the figures in the order in which they are to be danced, with the properties necessary to each and the number of dancers required. This programme should be fastened up in the property room, where he can easily refer to it TTbe German, or CotUUon 133 When it is time for the dance to begin, the leader's first duty is to seat the dancers This is generally done by lot. The chairs are numbered in pairs. Each couple draws a card, also numbered, and seat themselves in the chairs whose number corresponds to the number on the card. It is in every way de- sirable that there should be an equal number of ladies and gentlemen participating. In case there are any of either sex who have no partners, they are seated at the end of the line, and the leader will see that they receive a due share of attention from the others. Favors are used in many of the figures. These generally consist of little trifles made of bright- colored ribbons, tissue paper, tinsel, etc. They may be as inexpensive or as elegant as the taste and means of the hostess permit. Cut flowers may also be used. Those favors are most popular which can be pinned to the coat or dress and worn as decora- tions throughout the evening. Two tables are pro* vided, one for the gentlemen's favors and one fof those designed for the ladies. The leader may dis- tribute the favors himself, but it is more customary to invite some lady to preside over each table. Fa- vors may be used in any figure, and should be used in at least every other one. When all are seated, the leader, as briefly and tlearly as possible, explains the figure to be danced, 134 • 2)ancfng and calls the requisite number of dancers to the floor, beginning at the head of the line. The couples thus designated dance once around the room and then perform the figure as directed, which is re- peated until all have danced. The leader should be constantly on the floor, directing and assisting where it is necessary to do so. He should exercise the greatest tact, and never assume the manner of com- manding, which in many cases might prove offensive. At the conclusion of the dance, the leader gen- erally stands with the hostess to receive the adieux of the guests, an honor certainly due to the one upon whom the success of the evening chiefly depends. It is the duty of the guests to cordially second the efforts of the leader. The closest attention should be given when he is explaining a figure, and all should be ready to enter into it with heartiness and animation. It is in bad taste for any couple to get up and dance on their own account, regardless of the figure which is being executed. It would seem as if this caution should be unnecessary, but, unfortu- nately, observation proves that even among well-bred people there are occasionally some who are thought- less enough to offend in this way. In such cases the leader is fully justified in stopping the music and kindly but decidedly requesting the intruders to return to their seats. Original figures are? ofteij tibe German, or CotllUon 135 introduced by /eaders who have skill enough to invent them. The following are selected from the many in general use : FIGURES BEGINNING WITH ONE COUPLE 1. THE WALTZ FAVOR The leader and his partner waltz around the room. Both then select favors and seek new partners, to whom they present the favors, pinning them to the coat or dress. The two couples then waltz, se])arate, and seek new partners as before. This is repeated until all are on the floor. 2. CHOICE The gentleman seats his partner in the centre of the room, then presents to her two gentlemen. The lady selects one of them as her partner and dances with him, and the other seats himself in the chair vacated by the lady. Her partner then presents to him two ladies, with one of whom he dances, the presenting gentleman dancing with the other. 3. EXCURSION The gentleman selects two ladies, and his partner selects two gentlemen. The two lines of three stand facing each other about nine feet apart. All advance \36 Dancfnfl and retire, advance again ana wince with opposite partners. 4. CHEAT The lady selects four other ladies, and all stand side by side in line. The gentleman selects five other gentlemen, and all join hands, pass in front of the ladies and around behind them, facing out so as to be back to back with them. At a signal the gentlemen turn quickly, and each secures the nearest lady for u partner. As there are five ladies and six gentlemen, one of the latter will be disappointed. 5. KANGAROOS The lady is seated in the centre of the room. Her partner presents to her several gentlemen whom she successively refuses. The rejected gentlemen place themselves behind the lady's chair. When she £nally accepts a partner and dances with him, the rejected ones follow them, each placing his left hand upon the shoulder of the one in front and hopping on one foot 6. SERPENTINE The lady selects four or more other ladies, and the gentleman selects one more gentleman than the Kiumber of ladies selected. The ladies form in line. Hbe German, ot CotUUon 137 one behind the other and about three feet apart The gentlemen form a line, joining hands. The gentleman at the head of the line leads the rest in a serpentine course in and out between the ladies. At a signal each strives to secure a partner. The one failing to do so returns to his seat. 7. THE LOVE-KXOT The gentleman selects two ladies and the lady selects two gentlemen. The two hnes of three each stand facing each other, as shown in the diagram. The two lines advance and retire during four measures ^ A ^ of music. Then the leading ^- /^ ^>^ lady and gentleman (1 and 2) i V J advance alone, link right arms /\ f \y f A at the elbow, turn half round \/ ^^ V and separate. Then No. 1 ^ / •? joins left arms, in the same ^ ^ady x Gentleman way, with lady No. 3, and No. 2 joins left arms with gentleman No 6 ; both couples make a complete turn, and separate. Nos. 1 and 2 again link right arms, turn hall round, and separate ; No. 1 then swings No. 5 and No. 2 swings No. 4, turning entirely round, and separating. This re- stores all to original position. The two lines advance and each gentleman dances with his vis-a-vU, 138 Dandna 8. THE ZIGZAGS The first couple waltz, finishing at the head of the room. Other couples form in column behind the first, intervals of about three feet being left between the couples. The head couple waltz in a zigzag course in and out between the other couples, and stop at the end of the line about three feet behind the last couple. As soon as the first couple have danced past two of the other couples, the second couple also starts, and this is continued until all have danced the zigzag waltz, at which point the first couple will again be at the head of the column. AU then waltz to seats. 9. THE CARDS The leading couple dance once around the room. The gentleman then takes the four queens from a pack of cards and hands them to four ladies. The lady, at the same time, takes the four knaves and presents them to four gentlemen. Each gentleman then seeks as partner the lady holding the queen of the same suit as his knave, and all four couples dance. • 10. THE DOLL The gentleman leaves his partner in the centre of the room, and gives her a large doll-baby. He then selects three gentlemen, who stand facing her. The TCbe Oerman, or CotfUfon 139 lady and the three gentlemen advance and retire, again advance, and the lady gives the doll to one of the gentlemen, and selects another for her partner. The third gentleman secures a partner, and three couples dance. The gentleman to whom the doll was given must also dance, holding the doll in hia arms. 11. THE FORFEITS The lady carries around a tray or a hat, receiving in it from each lady a pledge, or forfeit (a ring, pin, handkerchief, etc.). The tray is then presented to the gentlemen, each of whom selects one article and seeks as partner the lady by whom the pledge waa given. All then dance. 12. THE HAT The gentleman leaves his partner in the middle of the room, and gives her a hat. The gentlemen then form a circle round the lady, having their backs to*| ward her, and, joining hands, circle rapidly around to the left. The lady places the hat upon the head of one and dances with him, the other gentlemen re- turning to their seats. 13. THE SCARF The lady lenv93 her partner in the centre of tha room. The leader g;ives him a scarf of tarlatan oi 140 Dancfng veiling. The ladies all form a circle around tha gentleman, turning their backs to him and joining hands. They then circle rapidly to the left. He places the scarf on the shoulders of one, and dances with her, the other ladies returning to their seats. This figure is the counterpart of The Hat 14. THE BRIDGE The lady selects another lady, and the two stand in the centre of the room with their hands joined and raised as high as possible. The gentleman then calls up other gentlemen, who pass under this bridge in couples, until two are accepted as partners by the two ladies, who lower their arms, thus capturing the favored ones. The rejected gentlemen either seek other partuers or return to seats. 15. THE BROKEN CIRCLE The gentleman leaves his partner and selects two other gentlemen, who, with him, form a circle round the lady by joining hands. The gentlemen then circle rapidly to the left. At a signal, the lady selects one to be her partner, and dances with him, the other two gentlemen dancing together to jpIacQ. The Lighted Taper iCbe (3etman. or CoUUion 143 la CIRCLES OF THREE The gentleman chooses two ladies and the lady chooses two gentlemen. Each three forms a circle by joining hands, and all circle rapidly to the left. At a signal the single gentleman in one circle passes under the arms of the two ladies, meeting the single lady in the other circle, who passes simultaneously under the arms of the two gentlemen, and with whom he now dances. The two other couples also dance to place 17. THE TAPER The lady stands on a little platform or pedestal in the centre of the room, holding a lighted taper in her hand. Her partner selects two other gentlemen and the three join hands facing the lady. They then advance and retire, each trying as he approaches the lady to blow out the taper. This is repeated until one is successful. He then dances with the lady, and the other gentlemen seek partners with whom they dance. 18- THE COQUETTE The gentleman seats his partner in the centra of the room, placing a cushion at her feet. He then presents several gentlemen tp her, successively, re- 144 Pancfng questing each one to kneel upon the cushion. When the lady wishes to refuse to dance with one of them, she draws the cushion away as he attempts to kneel, but when the favored gentleman appears she allows the cushion to remain. The rejected gentle- men form in line behind the lady's chair, remaining there until she has chosen a cavalier, when their own partners come to the rescue and dance with them. 19. THE SIGNAL OF DISTRESS The leader calls a gentleman to the centre of the floor and hands him a bell or a tin horn. The gentleman must ring the bell or blow the horn until some lady volunteers to relieve him from his distress- ing position by dancing with him. The ladies, by preconcerted arrangement, may keep him in sus- pense a long time, or may plunge him into still deeper embarrassment by all rising simultaneously and claiming the privilege of dancing with him. 20. COLUMNS The gentleman leaves his partner in the middle of the room. He then selects a gentleman whom he places back to back with this lady ; he then selects a lady whom he places facing the gentleman just XTbc German, or CotllUon 145 chosen, and so on until a column of ten or twelve is formed, terminating with a lady. At a signal all turn and dance with the one whom they are thus tacing. 21. FLOWERS The gentleman selects two ladies and requests each one to choose the name of a flower. He then pre- sents the two ladies to a gentleman, naming the flowers and asking him to select one. The gentle- man dances with the lady whose flower he has chosen, and the presenting gentleman with the other. 22. REJECTED COUPLES The gentleman kneels on one knee in the centre of the room. His partner introduces to him several couples in sue- ^^ cession, whom > <^^ anc!ng The one receiving the flower dances with the lady ; the recipient of the ring has the privilege of select- ing a partner; the one to whom the basket waa given must dance alone with the basket in his hands. 31. THE SCREEN The leader selects a number of ladies, placing them behind a screen. He then selects an equal number of gentlemen. The ladies project their hands above the screen, and each gentleman takes possession of a hand, dancing with the lady thus selected. 32. THE MASKS The leader selects a number of gentlemen who re- tire behind a screen and there assume masks. They then poke their heads above the screen, and an equal number of ladies, selected by the leader, choose partners from the interesting group. 33. PARALLEL CHAIRS Two rows of chairs are placed back to back, six in each row. The leader seats his partner and selects five other ladies, whom he seats in alternate chairs, leaving a vacant chair on each lady's left. He then selects six gentlemen with whom he forms a chain by joining hands, and conducts them very rapidly XLhc German, or CottUton 151 through any evolutions which his fancy may sug- gest, ending his eccentric movements by winding around the chairs in which the ladies are seated. At a signal he sits down quickly in one of the vacant chairs, the others do the same, and the gentleman who is left out in the cold returns to his own seat. Each g6ntleman then dances with the lady at his right. 34. TWO WINDMILLS Two poles are provided for this figure. To the top of each are fastened five long ribbon streamers of different colors, those attached to one pole being exactly like those fastened on the other. The lady takes one pole and selects five gentlemen, each of whom takes the end of a ribbon in his hand. The gen- tleman takes the other pole and requests five ladies to take hold of the five ribbons. The leaders stand a little distance apart, so that those holding the ends of the ribbons can revolve around their respective poles, which they do once, after which each gen- tleman dances with the lady who holds the ribbon corresponding to his own. 35. BLIND MAN'S BUFF Three chairs are placed in a line in the centre of the room, the middle one facing one way and the 152 Daticmg others in the opposite direction. The leader selecta a gentleman, whom he blindfolds and seats in the middle chair. The lady selects a gentleman whom she leads, walking on tip-toe, to one of the other chairs, and then seats herself in the third. The leader then asks the blindfolded man with which he will dance, the person on his right or the one on his left? If fortunate enough to select the lady he dances with her. If he indicates the gentleman /ie must waltz with him, while the lady dances with her partner. 36. THE ORACLE A book is prepared in which are written sucb answers as, " Certainly not," " Many thanks," " Why, of course," " I never dance," " Some other time," " If you insist upon it," " With pleasure," " No, thank you," etc. This book and a paper-knife are handed to a lady. Several gentlemen are then presented successively to her, and each one asks her to dance with him. She hands him the paper-knife, which he inserts at random between the leaves of the book and there finds his answer. When a partner is ac- cepted the book and knife are handed to another lady. 37. FOUR-IN-HAND Two sets of ribbons are required for this figure. In each set are four ribbons, joined at one end. The Zbc (3crman, or Cotdlion 153 lady takes one set, and holding the joined ends, se- lects four gentlemen, to each of whom she gives the end of a ribbon. The gentleman in the same way selects four ladies, to each of whom he gives an end of the ribbons in his set. The leaders now drive their four-in-hands around the room in opposite di- rections. When the fours meet, they break away from their drivers and dance together. FIGURES BEGINNING WITH TWO COUPLES 38. BASKET OF TWELVE Each lady selects fs^^^^^-^^^^ two ladies and each /vj l^^ gentleman selects - i^ \ \ two gentlemen. The / ?f^ "\\ \ six gentlemen join -^ - *■* - - ^ hands, forming a circle facing out- wards. T h e s i X ladies form a circle V^ I J surrounding and U^^--" — ^-'^vl facing the gentle- ^^^^' X Gentleman men. The gentlemen circle around to the right and the ladies to the left. At a signal, the ladies raise their arms, allowing the gentlemen, still retaining hold of hands, to pass under, thus forming a basket. \ V-f- ,/ 154 Bancing In this position all circle around to the left once ; then, releasing hands, execute a grand chain once around^ and waltz to seats. 39. CHANGE OF LADIES The two couples waltz around, gradually approach each other, exchange partners without losing time or step, waltz around with changed partners, again approach, again exchange partners, waltz around once more and then dance to seats. 40. THE PHALANX The first lady selects two gentlemen and stands up between them in line, joining hands. The first OA gentleman selects two ladies, y^ ( ) and standing between them, OA forms a line behind the other /\ ( y ^ three. The second lady and OA gentleman do the same, form- y^ ( ) ing four lines of three each. OA The two gentlemen of the yancm0 50. QUADRILLE Each lady and each gentleman selects a neif partner, and the four couples form as for a quadrille. The four ladies cross right hands in the centre and promenade half round. Each gives left hand to opposite gentleman, turns, and remains by his side. The four gentlemen now join right hands and prom- enade half round. Then each gives left hand to partner and turns. This leaves partners together, but occupying a position opposite to their original places in the set. The Head Couples now dance half right and left ifj places. The sides do the same. All dance. 51. THE TWISTED HANDKERCHIEF The two gentlemen hold a handkerchief by oppo- site corners, in their left hands, lifting it up high. The two couples then waltz until the handkerchief is twistM tight. 52. ROUNDS OF FOUR F^ch gentleman selects a gentleman and each briy selects a lady. The four gentlemen form a circle at one end of the room and the ladies do the same at the opposite end. Both rings circle around to the left. At a signal the first gentleman and hia XTbe (5crman, or CottlUon 163 companion pass under the arms of the other two gentlemen and advance to meet the first lady and her companion, who have simultaneously executed a similar movement. These form a ring and circle round once, when the two ladies pass under the arms of the gentlemen and move on to execute the game movements with the second gentleman and hia companion, while the first gentleman and his com- panion execute the same movements with the seconci lady and her companion. These movements are again performed by the second lady and second gentleman with their respective companions. This will bring the four ladies together at the end of the room originally occupied by the gentlemen, and vice versa. Each four again forms a ring and circles around to the left, then form in line facing the opposite four. The two lines advance, and each gentleman dances with theJady opposite him. FIGURES REQUIRING THREE COUPLES TO LEAD 53. THE PYRAMID The three ladies each select another lady, and the six form a pyramid. See page 164, The three gentlemen each select another gentle- man and the six join hands in line. The first C> 164 Banctnd gentleman leads this line around the first lady, then wound the two who stand back of her, then around the line of three. The movement is then reversed, con- tinuing until the first gentleman is again facing the first lady, when each gentleman ^^^^ takes the nearest lady for a partner and all dance. 54. THE CHANGING STAR Each lady selects a gentleman and each gentle- man selects a lady. The second, fourth and sixth gentlemen, holding their partner's left hands in tlieir right, form a moulinet by joining left hands, and all six revolve slowly to the left. At the same time the first, third and fifth gentlemen, with their part- ners, waltz around to the right in the space between each of the gentlemen in tlie moulinet ?.nd his part- ner and under their raised arms. At a signal, those who have been waltzing form the moulinet, and thf others waltz. TTbc (Berman, or Cotillion 165 65. THE PUESUIT Three couples waltz, and the leader, who is not dancing, calls three other gentlemen to the floor, to act as rovers and rob the dancing gentlemen of their partners. A rover gets in front of a dancing couple and claps his hands, when the gentleman must re- linquish his partner. He immediately seeks to in- demnify himself, however, by securing one of the other ladies in a similar manner. If entered into with spirit and animation, this figure is very amus- ing, the gentlemen being forced to give up partners almost as soon as they secure them. 56. REVERSED ROUND The three ladies stand in line, a little separated from each other, the first lady at the right-hand end of the line. The three gentlemen join hands, the first gentleman on the left, and pass to the left in front of the ladies. They then form a circle around the first lady, making a complete turn to the left. When the first gentleman again emerges between the first and second ladies, he drops the hand of the second gentleman, and they form a ring around the second lady, all facing outward, and making one full revolution. In a similar way they form a ring 166 S>ancina around the third iady, all facing in, and malting a complete turn. After this the gentlemen again pass in line in front of the ladies until each faces his own partner, when all waltz to seats. 57. THE ARBOR The three ladies each select a gentleman, and the three gentlemen each select a lady. The six couples arrange themselves in two concentric circles, with A ~-^^ three couples in each, the inner circle facing y' ^t^^Y^ \ ^^* ^^^ *h^ outer cir- f /^ ^\ \ ^^^ facing in. Both JL- Ji x\/ 3v circles revolve, and ^ X^ 7^ \/* stop with each gentle- V ^Itf- Py'' J ^^^ facing a lady. \ '^ *^ / The gentlemen in both Y^ ^^^ circles join hands U^"^" ^"'1 above and all the OLady X Gentleman j^^.^^ .^.^ ^^^^^ ^^_ low, the gentlemen raising their arms so that the ladies can pass under. The ladies now dance around in the space between the two rows of gentle- men. At a signal, the gentlemen lower their arms and dance with the partners whom they have thus captured. xrbe (5crman, or Cotillion 167 58. THE HANDKERCHIEF CHASE The gentlemen conduct their ladies to the centre of the room. The leader now selects one more gentleman, and the four form a circle around the ladies, joining hands and facing out. They then circle rapidly around to the left. At a signal the ladies toss their handkerchiefs into the air, and each gentleman tries to secure one, and if successful dances with its possessor. The one who is disap- pointed returns to his seat. FIGURES REQUIRING FOUR OR MORE COUPLES 59. THE TWO CIRCLES Four couples dance, and at a signal, each lad^ selects another lady and each gentleman selects another gentleman. The gentlemen form a circle, with the leading lady in the centre, and the ladies form a circle with the leading gentleman in the centre. Both circles revolve to the left, the dancers holding their hands high. At a signal, the leading lady and gentleman each select a partner and dance. The others in each circle immediately form in line, the two lines facing each other. All forward and back, forward again, and each gentleman dances with opposite lady. 168 Danctnd 60. THE GRAND ROUND Four couples dance, and then each lady selects another lad}^ and each gentleman selects another gentleman. The sixteen dancers form a circle, the gentlemen forming one half of it and the ladies the other half, the leading gentleman being next to his partner. All join hands and circle around to the left. Still retaining hold of hands, the first lady and gentleman advance across the circle and pass under the raised arms of the opposite lady and gentleman. When outside the circle, the leading couple unclasp hands and the gentleman, drawing the other gentlemen after him, turns to the left and passes around outside the circle, the lady at the same time turning to the right and drawing the other ladies after her. When the leading couple again meet, they dance together to place, and each successive couple does the same. 61. THE CHRISTMAS TREES Two small Christmas trees are provided, Aung with duplicate gifts. The gifts on one tree are dis- tributed to the ladies and those on the other are dis- tributed to the gentlemen. Each gentleman then seeks as a partner the lady whose present is the duplicate of his own. Cbe (3ccman, or Cotillion 169 62. THE INCONSTANTS Four couples are arranged in a column. The bead gentleman turns around and links left arms with the gentleman behind him, with whom he changes place. He continues this movement until he reaches the front of the column, where he stops. The second gentleman (now at the head) performs the same figure, and each of the other gentlemen in turn does the same, until, finally, all have regained their own partners. Then all dance. 63. COUNTRY DANCE Four couples form as for a quadrille. The first couple lead off b}^ waltzing around the third couple, then around the second, then around the fourth, and back to place. The same figure is then executed by the second, third, and fourth couples successively, after which all waltz around the room. 64. STAR AND CIRCLE Four couples waltz around. Then each dancer selects a new partner, and two lines are formed, with four couples in one line facing four couples in the other. The four ladies belonging to the two couples in the middle of each line cross right hands, forming a moulinet, and swing entirely around to the right; 170 Dancftig then cross left hands and swing around to the left The eight gentlemen now join hands, forming a cir« cle around these four ladies, who still have their left hands crossed. The other four ladies now advance and each gives her left hand to the right hand of one ^ J>^ f Y -VL ing the moulinet '^./^j^^^ _j^__^^«v^l_^^ ] /\' ^^"^^^ lifted high above ^j^r^Y^Jx^ gentlemen. This • formsastarof ladies and a circle of orentlemen. The Lady x Gentleman " gentlemen swing around to the right under the uplifted arras of the ladies, who at the same time move around to the left. At a signal, the gentlemen regain partners, and all waltz. To vary this figure, the gentlemen may form the star and the ladies the circle. 65. LITTLE ROUNDS Four couples dance. Then each gentleman selects another gentleman and each lady selects another i: ,y^\^ K '\ ^\ of the ladies form- ■^ Y ^ Oto-4-o-lo !';f/r\ ,!"' ^\/ i / \/^ ^^ lifted high above A ^ i the heads of the JLbc (Bcrman, or Cottllton 171 lady. The gentlemen place themselves two by two, one pair behind another, leaving a space of about four feet between the pairs. The ladies form in the same manner, but face in the opposite direction, so that the first two gentlemen in one column face the first two ladies in the other. The first two gentle- men and first two ladies join hands and turn to the left, making a complete circle; without stopping, the two gentlemen raise their arms, thus allowing the two ladies to pass under. The first pair of ladies is now face to face with the second pair of gentlemen, and the first pair of gentlemen faces the second pair of ladies. The same movements are repeated until the ends of the columns are reached. As they pass out of the end of the column the gentlemen form a line at right angles with the original column. The ladies do the same, and the two lines stand facing each other. All then forward and back, forward again, and each gentleman dances with the lady opposite to him. 66. CAPTIVES RELEASED Four couples dance, after which each dancer se- lects a new partner. The eight couples then join hands, forming a circle. All forward and back, for- ward again and stop, letting go of hands. The kidies now join hands, thus forming an inner circle. 172 Danclna Then the gentlemen join hands and pass their arma in front of the ladies, thus forming a basket. Thus entwined all dance once around to the left. The first gentleman and the first lady each release the hand of the person at their right. The circle, thus broken, is then changed to a straight line, the leader and his partner stepping backward until this position is reached. The gentlemen then raise their arms, thus releasing the ladies, who run forward, followed by the gentlemen. On reaching the end of the room the ladies turn and each dances with the opposite gentleman. 67. OPPOSING COLUMNS Four couples dance, after which each lady selects another lady and each gentleman selects another gentleman. "* The eight gentlemen and eight ladies now arrange themselves in columns, as in the " Little Rounds." At a signal each gentleman in the first pair gives his right hand to the lady opposite to him, passes her and gives his left hand to the lady next behind her, and so on to the end of the column. The ladies have been passing right and left through the gentlemen's column in the same manner, until the two columns are combined and every gentleman has a partner. Then all dance. XTbc <5crman, or Cotillion 173 68. GENTLEMEN CHEATED Four couples dance, after which the ladies place themselves one in each corner of the room. The four gentlemen each select another gentleman and the eight join hands and circle round one of the ladies. She selects one of them as her partner. The remain- ing seven then circle around another lady, who also makes her choice. Then six dance around the third lady, and when she has chosen her partner the re- maining five circle around the fourth lady. When she has made her selection the four remaining gen- tlemen pair off and dance together. 69. MOULINET AND RINGS Four couples dance, after which each dan- cer selects a new part- ^ >. ner. The ladies of the ^ ^ original four couples join right hands, thus ><^>0--i •<>K<>X forming a mbulinet, at the same time retain- ing in their left hands the right hands of the new partners whom they have selected. q Lady x GeuticmMi 174 Dancftifl Then the four other ladies give their right hands to the left hands of the gentlemen in the moulinet, and at the same time retain the hands of their partners. This brings two couples in line in each wing of the moulinet. The moulinet revolves once, then breaks into four rings, and each ring turns once to the left. The gentlemen then cross hands in the centre and form the moulinet reversed. Turn once, and break into four rings as before. Then dance the right and left, as in the Spanish dance, and end by all dancing with partners around the room. 70. GRAND CHAIN Six couples dance, after which each dancer selects a new partner, and all form in a circle. Partners turn facing each other and Grand Right and Left is danced. At a signal all swing half round and re- verse the direction of the chain. At a second signal the direction is again reversed. This is done several times, when at last the signal to dance is given, and each gentleman takes as partner the lady who hap- pens to be facing him at the moment. 71. THE CHANGING WINDMILL This figure requires six couples. The gentlemen, each retaining his partner's left hand in his right, form a moulinet by crossing left hands in the centre. One XTbc (5erman, oi CotlUfon 17S :?omplete revolution is made, when, still retaining partners' hands, the positions of the ladies and the gentlemen are reversed, the gentlemen stepping back- ward in turning. The ladies now form the moulinet. reversed, by crossing their right hands, and a com- plete revolution is made, after which the positions are again reversed, the gentlemen stepping forward this time in making the change. This may be repeated as often as desired, terminating with a general waltz. 72. THE CIRCULAR ROAD Any number of couples may participate in this figure. A grand circle is formed. Each gentleman then swings his partner half round toward the centre of the set. The ladies thus form an inner circle, each lady facing her partner and about four feet dis- tant from him. This space between the two rings is the ^' Circular Road." The leading gentleman and his lady now waltz all the way around in this space, «ind on regaining starting point the gentleman takes his partner's place in the inner ring and she takes his place in the outer circle. When all the couples, in succession, have waltzed around the circular road, the inner circle will be composed of gentlemen and the outer ring of ladies. All then waltz with' part- ners. This is often used as the concluding figure of the German. 176 Bancfng 73. GENTLEMEN TO THE RIGHT Any number of couples may be called upon to execute this figure. All form in a circle. Each gen- tleman then balances with and turns the. lady at his right, then balances with and turns the next lady, and so on until each regains his own partner, when all waltz. This is also a good concluding figure, as all ttie couples may be called to the floor at once. 74. FINAL ROUND All form a large circle by joining hands. The first gentleman and his lady separate from the circle, which must be at once reconnected, and waltz around inside the circle. At a signal, the lady passes through the circle and takes her seat. The gentleman then selects another lady from the circle, with whom he dances. At a signal, he retires from the circle to his seat, and the lady with whom he has just danced se- lects a new partner from the circle. This is repeated till only three couples remain on the floor, when the figure terminates with a general waltz. This is also a good closing figure. 75. ARCHWAY Any number of couples may execute this figure. The gentlemen form in 11^*^ down the middle of the ^be <5crman, or CotUlton 177 room, and the ladies form in line, each facing her partner. The first couple join hands and raise their arms, thus forming an arch. The second couple pass under, stop, turn, join hands and raise their arms, thus adding to the length of the archway. All the other couples do the same thing in suc- cession. When the archway is completed, all dance. 76. IN AND OUT Any number of couples may participate. Form in line, one couple behind another, all facing the same way. The first couple turns and passes be- neath the joined hands of the second couple ; then separate, passing outside of the third couple ; then rejoin and pass under the hands of the fourth couple, and so continue to the end of the line. Each couple 'repeats the figure in turn. Partners then face each other, stepping back so as to form two lines, one of gentlemen and one of ladies. The two lines for- ward, and all dance with partners. 77. COVERED ARCHWAY Couples form in column, one behind another, and march down the centre of the room. On reaching the head of the room, the first couple turn to the right, the second to the left, the third to the right. 178 Banclng the fourth to the left, and so on, thus forming two columns marching around the room in opposite directions. When the two columns meet, the couples constituting the column at the right join and raise their hands, forming a continuous archway under which the other column marches. Both columns continue marching until the last couple has emerged from the archway, when all dance. The two-step is best adapted to the execution of this figure. 78. FLYING SCARFS Four couples dance. Two scarfs are tied together in the middle so as to form a cross. Each of the four gentlemen takes one of the ends of the scarfs in his left hand, holding it well above his head. The four couples then waltz, being careful to preserve the same distance from each other. 79. CONUNDRUMS - Cards are prepared, numbered in pairs. On one card of each pair is written a conundrum, and on the other is written the answer. The cards contain- ing the answers are distributed to the ladies, and the others are given to the gentlemen. Each gentleman then reads his conundrum, and the lady who holds the answer reads it. The two then dance together. ITbe German, or CotlUfon 179 80. DISTINGUISHED PEOPLE Two sets of cards, equal in number, are prepared, one set containing the names of various male charac- ters noted in history or fiction, and the other names of equally distinguished female characters. These cards are distributed among the gentlemen and ladies respectively. The leader also has dupli- cates of all the ladies' cards, and his partner has duplicates of the gentlemen's cards. When all the cards have been distributed, the leader, drawing at random from his cards, reads the name of a female character. The lady holding the corresponding card rises. The leader's partner, also drawing at random fi:pm her cards, reads the name of a male character, and the gentleman holding the corresponding card rises and offers his ann to the lady, with whom he promenades until all have been paired off in the same way, after which all waltz. Some very amus- ing combinations may occur, such as "I^ady Macbeth'* and " Simple Simon," " The Living Skeleton" and '' Trilby," " Shakspeare " and " Gentle Annie," etc. 81. MITTENS AND HEARTS An equal number of miniature mittens and hearts are cut out of cloth or paper, and enclosed in small envelopes. A pair of these envelopes is given to each 180 Danctng lady. She selects two gentlemen and presents ar. envelope to each. The one receiving the heart dances with her, while the one to whom the mitten is given returns to his seat. 82. DISCORD Six couples are required for this fifrure. Six pairs of toy instruments (trumpets, fiies, whistles, etc.) are provided, one of each pair being without sound. Each lady takes a pair of these instruments, and her partner selects anotlier gentleman,with whom he stands before her. The lady gives an instrument to each gentleman, and dances with the one whose instrument proves to be dumb. The six gentlemen having the sounding insti'uments pair off and dance together, performing vigorously on their instruments at the same time. 83. FLAGS Several pairs of flags are provided, each pair being different in design or color from the others. One of each pair is given to a lady, the corresponding flag being given to a gentleman. The gentlemen then dance with the ladies holding the flags similar to their own. At the conclusion of the dance, the gen- tlemen hand their flags to other gentlemen and the ladies hand their flags to other ladies, when the fig- ure is repeated The Floaver Gibii tibe German, or Cotillion 183 84. THE MAY-POLE A pole, about ten feet in height, is inserted in a box filled with eartli, or otherwise supported. To the top of the pole are fastened eight ribbons of dif- ferent colors, each about four yards long and having a loop at the lower end. Four couples form a circle around the pole, each gentleman having his partner at his right hand. Each takes a ribbon by the loop, the gentleman holding his in the right hand and the lady holding hers in her left hand. All face part- ners. At a signal all move around as in the Grand Chain, but without touching hands, each gentleman passing first inside his partner, outside the next lady, and so on, until the ribbons are braided upon the pole. At a signal, which is given just as each gentle- man faces his own partner, all turn half round, change the loop to the other hand, and reverse the movement, thus unbraiding the ribbons. After- wards, all waltz. 85. THE FLOWER GIRL A number of fancy cards are provided, on one of which the words, " Flower Girl " are written. These cards, enclosed in envelopes, are distributed to the ladies. At a signal from the leader, the envelopes are opened, and the lady having the card marked " Flower Girl " is conducted to a seat at the end of 184 S)ancfnd the room. The leader then selects a number of couples, giving to each one selected some cut flowers. The couples then waltz, and as they pass the flower girl, toss the flowers into her lap. She is then at liberty to gather them into a bouquet and preserve them as a souvenir of the occasion. 86. BRAIDING This figure requires three tarlatan scarfs of differ- ent colors, each scarf being about three yards long and twelve inches wide. The leader calls up three couples, who arrange themselves in a six-sided set, each dancer constituting one side of the set, with partners opposite to each other. Each pair of part- ners holds a scarf between them (see diagram). 1, 2 and 3, and 4, 5 and 6 then commence braiding the scarfs simultaneously, by passing under one an- other's arms in turn. When the braiding is completed, the leader takes the scarfs and signals This may be executed simul- taneously by any number of sets desired. Laxly the couples to dance. tTbe (5crman, or cotillion 185 87. THE GRAB-BAG A fancy bag is provided containing cards upon which are written the names of the ladies dancing. The leader calls a number of couples to the floor and they dance. At a signal from the leader they stop, and the ladies choose new partners. The gentlemen with whom they have been dancing cluster around the leader, who permits each one to draw a card from the bag, thus securing as partner the lady whose name is written thereon. 88. THE MULLIGAN GUARDS Toy drums are supplied for all the ladies and iarge tin whistles or toy trumpets for all the gentle- men, the drums and trumpets being correspondingly numbered from 1 up. The leader distributes these favors at random, and then calls for numbers 1, 2, 3, 4, etc., to dance, calling up as many couples as will comfortably fill the room. The ladies and gen- tlemen having corresponding numbers dance together. At a signal, the couples form a column on the left side of the floor facing the top of the room, with the ladies on the inside. All then march forward, and when the first couple reaches the upper left-hand corner, the gentleman halts and faces about toward the bottom of the room, the lady mov- ing to the right. The second gentleman takes his 186 Dancing place on the first gentleman's left, while the second lady follows the first ; and the other couples do the same. The ladies continue to march in single file, turning at the right upper corner, and passing down the right side and across the bottom, where they halt Each lady is now opposite her partner, the line of gentlemen being across the top of the room, and the ladies across the bottom with the first gentleman and lady on the left. The leader calls " March," and the two lines advance toward each other, the ladies beat- ing their drums and the gentlemen blowing their trumpets. When the lines meet, all dance. 89. THE KNOT After the company have all danced they form a Grand Round and circle to the left. When the dancen* have regained their original positions, the ladies form a round inside, facing the gentlemen. The ladies move once round to the right, and the gentlemen once to the left, and each gentleman then joins right hands with his partner, moving as though com- mencing a Grand Chain. On meeting the second lady he presents his left hand, swings round her, gives his right hand to the next lady, swings round her, and so continues turning with the right and left alternately until he reaches his partner, when all salute and then waltz. ^bc German, or Cotillion 187 90. THE DOUBLE PASTOURELLE Four couples form as for quadrille. The two gen« tlemen at the head retaining their partners' hands, take with their left hands the side ladies on theii left, who leave their partners, thus forming two threes at the head ; they forward and back four bars ; the gentlemen pass the ladies to the side gentlemen, the lady on the left passing under their right arms; the threes forward and back four bars, the ladies going to the gentlemen at the head. This figure is repeated four times, when all dance. 91. DOUBLE QUADRILLE Four couples dance, after which each dan- cer selects a new part- ner, and the eight couples form as for a /\ />. double quadrille. Inside head couples a y couple in front, and half right and left ; outside sides the same ; the two ladies in each group take hands, ;> X oo X X X xO X Gentleman 188 Dandtifl and the two gentlemen do the same, turning so that the ladies and gentlemen stand face to face ; gentle- men raise their hands, while ladies pass round in couples under them ; when they regain places, all take ladies and dance. 92. THE RENCONTRES Six couples waltz. At a signal .they stop, when each gentleman takes his lady's left hand with his right, and presents her to one of the other couples, making the salute when the exchange of ladies is made ; at another signal the ladies are returned to their partners, when all waltz to seats. 93. THE GENTLEMEN BACK TO BACK Any number of couples form a Grand Round ; after going round once to the left, the gentlemen go to- gether inside, facing outward, all taking hands, while the ladies all join hands, facing the gentlemen ; the two circles then enlarge ; gentlemen going forward, ladies backward ; then diminish and again enlarge, when the two circles go round, each to the left ; then, at signal, all the gentlemen take ladies and dance. .94. THE OPPOSITE ROUNDS All the ladies form a Grand Round facing inward, going to the left; the gentlemen forming a circle TTbe (Berman, or Cotfllion 199 round that of the ladies, also going to the left, but facing outward, the two circles being thus back to l)ack, and going round in opposite directions ; at signal gentlemen turn and dance with opposite ladies. This is one of the concluding figures of the German, 95. LE BANDEAU All the ladies form a line ; all the gentlemen ex- cept one form a line opposite ; the ends of the line join hands, forming a Grand Round going to the left : the single gentleman, whose eyes are blind- folded, stands in the middle of the circle ; while the circle is in motion he touches one of the persons in the circle, and whether it is a gentleman or lady, he dances with that person ; while the circle continues in motion, another gentleman is blindfolded, and the figure is repeated ; after repeating the figure a num- ber of times, the ladies and gentlemen separate, forming two lines, when all advance, and each dances with the one opposite. 96. A SUCCESSION OF MOULINETS Eight couples waltz, after which each dancer selects a new partner. A square is then formed with four couples on each side^ thus '. 190 Dancfng and 2, 3 so on. OX OX OX OX ^T\""^l ^^;n ^»\/ round the square, w\ ^'C^ cross right hands, ^S e.|00 going half round; o;? '-^ then cross left hands P^S JM with the next ^^» ^/\ couples, going half -^ S «i vv ^^^^^^ > ^^^^ right "^^iNN^A VA\^^^^ hands with next, XvXvXvXv and so alternating OLady X Gentleman ^^^.^ ^j^^^ legaiD places, when a general waltz follows. 97. LE CHAT ET LA SOURIS After waltzing, the conductor calls all the gentle- men, designating one to stand outside, while the others form a round enveloping a lady ; the outside gentleman then endeavors to catch the lady, passing under the arms of the gentlemen for the purpose ; the gentlemen allow the lady to escape at will, but throw every obstacle in the way of the gentleman ; if he is successful, he and the lady waltz together and all join in a general waltz. Cbe 0ecman» oc Cotillfon 191 98. LE CARILLON DE DUNKIRQUE All form a Grand Round ; at a signal all turn part- i:.ers, leaving ladies inside, facing partners ; all then clap hands three times and stamp the foot three times; all turn partners again, ending with ladies stopping each in front of the next gentleman to the left, the gentlemen all passing to the right; the clapping of hands and stamping of feet, with the turn and passing round in the same direction, are repeated until each gentleman meets his partner again, when all waltz. This is one of the concluding figures, and is best adapted to the polka. 99. THE INSCRIPTIONS A number of large cards are prepared ; upon one Bide of each is a number, and upon the other side a ludicrous inscription ; a gentleman and lady waltz ; the lady then takes her place by the table, upon which are the cards ; the gentleman presents a basket containing corresponding numbers with those on the cards to another gentleman, who after drawing one presents it to the lady ; she then selects the card having that number, and attaches it to the gentle- man's back, with the inscription exposed to view ; Ihey then waltz together. 192 S>ancmd 100. LES DAMES ENSEMBLE The ladies take partners together and waltz round . three gentlemen then endeavor to form a hands round, around any of these couples. If successful, the ladies choose two of the gentlemen for a waltz ; the remaining gentleman joins with two others, and again makes an attempt to encircle two ladies ; when successful, these two ladies also select, and the re- mainmg gentleman joins to two others, forming another circle, and so on until all the ladies have partners ; the last gentleman retires to his seat alone This is one of the concluding figures. THE MINUET There are seven motions employed in the minuetj named as follows : Pas Marche, Pas Balance, Pas Grave, Pas Menuet, Pas Bour^, Pas Sissone, and Pas de Basque Pirouette. Pas Marche. — This is a simple walking step, three steps being taken to a bar. Pas Balance. — The balance is of two kinds, the Forward Balance and the Backward Balance. In the forward movement step forward on the right foot, balance on that foot, and extend the left to the second position. The backward movement is the reverse of this, the dancer stepping back with the left foot, balancing on that foot, and extending the right to second position. All these positions should be assumed with grace and daintiness. Pas Grave. — Place the feet in the fifth position, with the right foot in front. Bend both knees, rise on both toes, and descend on the left heel, bending the right knee by raising the right heel, and allowing the right toe to remain on the floor (one bar). This 193 194 Dancfna is reversed when the left foot is in front, the left heel then being elevated. The Pas Grave always precedes the Balance, the latter following on the succeeding measure. This motion if an exaggerated one, as, indeed, are most of the minuet movements. The bending of the knees should produce a decided dip of the body, and in all the motions a rather de- cided manner should be displayed. Pas Menuet. — Place the feet in the fifth position, with the right foot in front. Bend both knees, rise, and in rising extend the right foot to the second position ; then transfer the weight of the body from the left foot to the right and extend the left to the second position (one bar). This motion is con- tinued in the same direction by passing the left foot behind the right at the moment of bending the knees for the repetition. Corresponding motions are used for passing to the left. Pas Boure. — Place the feet in the second position, with the right extended, standing on the toes of both feet. Draw the right foot behind the left to the fifth position, and then step to the left. Again pass the right foot behind and step to the left. Do this three times during one bar of music. The motions are the same for passing to the right as to the left, and are sometimes accelerated to twelve to a bar and sometimes retarded to three to a bar. TTbe /Bbinuct 195 Pas Sissone. — Place the feet in the second position of right. Pass the right behind the left to the fifth position, as in the Pas Boure, and step to the left ; then pass the right in front to the fifth position, and immediately place the left in second position (one bar). Return to the right in the same way. Pas de Basque Pirouette. — Place the feet in the fifth position, with the right in front. Then take the second position with the right, place the left in front in the fourth position, rise on the toes and swing half round to the right, thus bringing the right foot in front in the fourth position. If it is desired to face to the left, begin with the left foot and perform the same movement to the left. In the original minuet the couples moved in a square space, but entirely independent of one another. The following dance, which is arranged as a quad- rille, is the form of minuet generally favored now- adays. THE QUADRILLE MINUET For this dance eight persons are required, and they form the same as for the lancers — a couple on each side of a square. FIRST MOVEMENT Salutation to Partners 8 bars Salutation to Sides 8 ' 198 2)ancing SECOND MOVEMENT Head Couples forward with Pas Grave twice . 4 ban Pas Menuet to the Right .2 Tw^o Balances Forw^ard 2 Pas Menuet to the Left 2 Cross to Opposite Places w^ith Pas Marche . . 2 Balance 4 Right and Left to Places 2 Salute Partners 1 The salutations to partners and to sides are per- formed slowly. The ladies courtesy very low and rise slowly and with much dignity after bending the knees. The dress is sometimes grasped at each side and very daintily raised during the bend of the courtesy. The second movement is danced first by the Head Couples. In the Balance the couples pass each other until they are back to back, when they perform the Pas Menuet that follows. When they are ready for the Cross to Opposite Places, they have already nearly reached the opposite places. Each gentleman takes his partner's left hand with his left, and the lady passes in front of her partner with a Pas Marche. This brings her to the right side of her partner in the opposite couple's place. The couples then salute each other and again forward and right and left to places, where they salute partners. Zbc /Biinuct 197 THIRD MOVEMENT Salutation to Partners 8 bars Salutation to Sides 8 " All : Balance to Corners (as in the first move- ment) 4 " Change at Corners , 4 " Salute 4 " Return to Places 4 " In this movement the heads turn to the corners, the gentlemen to the left and the ladies to the right, and Balance. They then execute a Pas Marche, give right hands to the corners and change places, saluting after the change is made. In returning to places, again with a Pas Marche, left hands are extended, and the movement is executed with the left-foot balance. The sides now perform the second movement (nineteen bar^), and, beginning with the Balance to Corners in the third movement, continue this as directed (sixteen bars). All then make the pro- found salutations described in the first movement. The capacity of the human form for graceful movement is demonstrated in this courtly dance, which, if properly executed, may really be regarded as one continuous movement that offers not the slightest hint of awkwardness or abruptness. When young children dance it, their positions are quite 198 ©ancfng exaggerated. When not joining hands with theii partners during the Pas Marche, they place their arms akimbo, with the haads upon the hips, and bend their bodies backward from the waist, with their heads gracefully inclined toward their partners. LA PAVANE La Pavane is an old dance, of French origin, dating back at least two centuries. It is distinguished by the most courtly grace and elegance of carriage, com- bined with the stately, ceremonious manner peculiar to the old court of France. The directions given below are for two couples facing each other. Any number of couples may dance, the number depending entirely upon the space available. About twelve feet is required be- tween the couples. Before the commencement of the music partners should stand facing each other, which of course places each couple with their sides toward the oppo- site couple. SALUTE Present hands as for ladies' chain, gentleman's right, lady's left, and slowly turn to face opposite line of couples, 4 bars. Xa pavane 199 Step forward three steps with a sliding motion and halt. 2 hars. Salute all to right, 2 bars. Salute all to left, 2 bars. Note. — The first salute should be longer than the second. Partners turn so as to face each other ; lady slides to left, gentlemen to right. Salute partners, 2 bars. Salute partners again, lady slides to right, gentle- man to left, 2 bars. Again present hands and turn slowly so as to face the couple opposite, 2 bars. FIRST FIGURE Promenade across, as in quadrille — that is, each couple crosses the floor to opposite couple's place, passing round to the left. Four bars are occupied in this movement, and at the conclusion of the fourth bar the two couples should be in a line with the ladies back to back in the centre, and each gentle- man facing his partner. Each dancer now raises the left hand sufficiently high to be able to look under and beyond it. At the same time the left foot is thrust forward and tapped four times on the floor. In doing this the leg must be kept straight. One bar of music. 200 ©ancfng Change places with partners and raise right hands, making same taps as before, but with the right foot. Change places again with partners, gentleman takes lady's left hand with his right, and both face in same direction. Promenade across to their original posi- tion, passing to left. When in position slide first to left — 2 beats ; then to right — 2 beats ; and salute, the salutation occupying 4 beats, or 1 bar. SECOND FIGURE Partners are now facing each other, sides to oppo- site couples. All make Pas Coupe to right, presenting left hands. Partners turn opposite ways — 1 bar. All make Pas Coupe to left, presenting right hands, hold hands until two Pas Coupe are made round to each other's place. Repeat these movements, which have taken 4 bars. THIRD FIGURE Balance to partners, pirouette with lady and change places. Gentleman takes lady's left hand with his right. Turn and balance again. Lady passes to left, gentle- man to right, the hand should be raised — 1 bar. Turn and balance to partners again, but in th« Xa pavane 201 opposite direction. Gentleman to right, lady to left — 1 bar. With hands held up the lady passes backward un- der the gentleman's arm and turns, at the same time nentleman steps forward into the lady's place, whilo ■le lady occupies his, facing each other — 2 bars. Salute to left — 2 bars. Salute to right — 2 bars. Repeat the same movements, which will bring the dancers back to place. FOURTH FIGURE Partners are facing opposite couple. The two ladies advance toward each other with Pas Marche. Courtesy to left when half-way to centre. Courtesy again to right when close enough to touch hands — 2 bars. Now present hands and with promenade step per- form the ladies' chain. The ladies walk past each other, give left hands to left hands of gentlemen, pass around the gentlemen so that each lady occu- pies the other's place, and each couple is facing the other — 4 bars. Salute right and left — 4 bars. Repeat these movements in order that the ladiea ttiay return to their original positions. 202 Dancfng FIFTH FIGURE Presenting hands, turn to face opposite couple- -2 bars. Forward three Pas Marche, turn to face partners — • 2 bars. Salutes each way — 4 bars. Take hands and face opposite couple, salute oppo- site couple, both directions — 4 bars. Cross right hands with opposite couple, pass half round, Pas Promenade — 2 bars, and salute to right — 2 bars. Cross left hands, pass half round and return to places — 2 bars. Salute again to right — 2 bars. Balance to partners as in third figure; repeat twice — 4 bars. Salute in slow and stately manner — 2 bars, and disperse. vn ETIQUETTE OF BALLS AND PARTIES On reaching the place where the ball or party is to be given, a gentleman first conducts his partner to the ladies' dressing room, and then proceeds to the gentlemen's dressing room. When ready to descend to the Imll-room he seeks his partner at the door of the apartment where he previously left her ; or, if a sitting-room be provided in addition to the dressing-room, the lady will meet her partner there. The lady invariably enters the ball-room in advance of her escort. In no case do they enter arm in arm. A chaperon will enter the room side by side with her charge. At private parties the guests first pay their respects to the hostess and those who may be receiving with her. Owing to the many demands upon the attention of the receiving party, these greet- ings should be brief, though cordial. Guests should not offer to shake hands unless the hostess herself takes the initiative, as the fatigue attendant upon receiving a large number in this way furnishes a 203 204 Dancfna most reasonable excuse for omitting the form if desired. A gentleman is supposed to dance the first dance with the lady whom he has escorted ; to see that she has a partner for every dance in which she cares to participate ; to take her out to supper, and, in short, to see that she receives every attention that can con- tribute to her pleasure. In asking a lady to dance, a gentleman should use some such form of words as " May I have the pleasure of this dance ?" " May I have the honor of dancing with you ?" or some equally deferential ex- pression. It is not in good taste to ask a lady if she is engaged for a particular dance. If she is, the fact will soon appear, and if she is not, there is an almost intangible humiliation in admitting the fact in re- sponse to a direct question. It involves one of those little points of tact and gracefulness of which gentle- men cannot be too observant. While the gentleman is supposed to be the favored party, and while this idea should always be reflected in the deference of his manner, the lady should show her appreciation of his courteous attention by an equally courteous acceptance of it. Having refused a dance to one gentleman a lady is not at liberty to accept a subse- quent invitation from another gentleman for the same dance. jetiquette of 3BaUs an& |^artfe6 205 Dancing engagements, once made, should be strictly kept. It is an unpardonable offense for a gentleman to fail to claim a dance which he has solicited. While more allowance is made for a lady who offends in this particular, it is a very small and unworthy kind of vanity that is gratified by the contentions arising from carelessly promising the same dance to two or three different cavaliers. A thoroughly well-bred young lady will avoid being guilty of such conspic- uous rudeness, even though her partners may have chivalry enough to suppress their private opinion of her conduct. A lady may grant the same gentleman two dances in the course of an evening, but he is not at liberty to ask her for a third. At a public ball a gentleman who has a limited acquaintance with those present will apply to the floor manager, who will introduce him to suitable partners. While the lady is at all times accorded the privilege of declining to dance, it is assumed that she may accept as a partner any gentleman thus introduced to her. The floor manager is supposed to understand the duties of his position, and if he does he will present only those gentlemen whom he knows to be unexceptionable. Such an introduction, however, does not entitle the gentleman to claim subsequent acquaintance with the lady, unless she 206 • Dancfn^ first recognizes him. Introductions* given in a pri- vate house, on the contrary, are supposed to be permanently valid, and respect for one's hostess demands that acquaintances thus formed shall be recognized, unless there be some grave reason for a contrary course. A person's good breeding, or lack of it, is perhaps nowhere more clearly manifested than in dancing a square dance. In forming a set, svhile the position of head couple is naturally most desirable, it should on no account be made the subject of contention. It is far better even to yield one's rights than to argue such a point. During the intervals in which a couple are not dancing, they are, of course, at per- fect liberty to converse. The conversation should consist of the " light and airy nothings " which en- tertain for the moment and are for that reason exactly suited' to the occasion. It should never become so absorbing as to render one couple ob- livious to the existence of others in the set, or make it necessary to remind them of the fact when it is their turn to dance. When a couple have once taken their places in a certain set they are not at liberty to leave it for another without apologizing to the other dancers and securing another couple to take their place. A gentleman should not converse with any lady in the set if he is unacquainted with ^Etiquette or JBalls anO par«e0 207 that lady's partner. A great deal of courtesy or of rudeness may be expressed in the manner of doing the simplest thing. A lady or gentleman who makes a profound bow, presumably to another person, and who at the same moment looks off in the distance as if unconscious of that person's existence, converts what is designed to be an expression of courtesy into an insult. The eyes should look frankly and pleas- antly, for an instant^ at least, into the eyes of the person saluted. When the figures of the dance temporarily bring together those wl\o are unac- quainted, the same friendly courtesy of manner should be observed by all. Each set should be careful to keep within its own allotted space and not encroach upon the rights of others in this respect. When a gentleman claims a dance which has been promised to him, he presents himself before the lady with a bow, and offers her his right arm. They then promenade for a moment before beginning to dance. At the conclusion of the dance he conducts her to her seat and thanks her for the pleasure which she has given him. A bow and smile is a sufficient acknowledgment on her part. He should then remain chatting with her for a moment, but is under no obligation to prolong the conversation, especially if his attentions are due elsewhere. In any social gathering it should be the aim of 208 2)ancfn0 each guest, not to absorb and monopolize attention^ but to contribute in every way possible to the enjoy- rnent of all concerned. The pleasure of the ladies at a dancing party depends almost entirely upon the consideration and courtesy of the gentlemen present. For this reason the latter should be careful to dis- tribute their attentions, not overlooking the plainer and less attractive ones. While all ladies are not equally charming, all have an equal claim upon the courtesy and chivalry of the gentlemen whom they meet under the roof of a common friend. When about to leave, each guest should seek out the hostess and bid her good-night, with some courteous expression of the pleasure which he has enjoyed. Those who have been thus privileged should call formally upon their entertainer withii? a week or ten daya after the event. THE END POPULAR HAND-BOOKS QOME books are designed for entertainment, others for informa- tion. ^ This series combines both features. The information is not only complete and reliable, it is compact and readable. In this busy, bulling age it is requir-ed that the information which books contain shall be ready to hand and be presented in the cleared and briefed maimer possible. ^ These volumes are replete with valuable information, compa(5t in form and unequalled in point of merit and cheapness, Th«y are the late^ as well as the be^ books on the subjeds of which they treat. No one who wishes to have a fund of general information or who has the desire for self-improvement can afford to be without them. ^ They are 6x4^ inches in size, well printed on good paper, handsomely bound in green cloth, with a heavy paper wrapper to match. Cloth, each 50 cents THE PENN PUBLISHING COMPANY 923 Arch Street, Philadelphia I ETIQUETTE There is no passport to good society By Agnes H. Morton like good manners. Q Even though one possess wealth and intelligence, his suc- cess in life may be marred by ignorance of social cu^oms. ^ A perusal of this book will prevent such blunders. It is a book for everybody, for the social leaders as well as for those less ambitious. Q The subjed is presented in a bright and intere^ing manner, and represents the late^ vogue. LETTER WRITING Why do mo^ persons dislike to By Agnes H. Morton write letters ? Is it not because they cannot say the right thing in the right place ? This admirable book not only shows by numerous examples just what kind of letters to write, but by direcflions and suggestions enables the reader to become an accomplished original letter writer, ^ There are forms for all kinds of business and social letters, including invitations, acceptances, letters of sympathy, congratulations, and love letters. QUOTATIONS A clever compilation of pithy quota- By Agnes H. Morton tions, selecfted from a great variety of I sources, and alphabetically arranged according to the sentiment. ^ In addition to all the popular quotations in current use, it contains many rare bits of prose and verse not generally found in similar collections. ^ One important feature of the book is found in the charadteri^c lines from well known authors, in which the familiar sayings ve credited to their original sources. 8 EPITAPHS Even death has its humorous side. By Frederic W. Uiiger ^ There are said to be " sermons in ^ones," but when they are tomb^ones there is many a smile mixed with the moral. ^ Usually churchyard humor is all the more delightful because it is unconscious, but there are times when it is intentional and none the less amusing. ^ Of epitaphs, old and new, this book contains the be^. It is full of quaint bits of obituary fancy, with a touch of the gniesome here and there for a relish. PROVEI^BS The genius, wit, and spirit of a nation By John H. Bechtel are discovered in its proverbs, and the condensed wisdom of all ages and all nations is embodied in them. ^ A good proverb that fits the case is often a convincing argument. ^ This volume contains a representative colledion of proverbs, old and new, and the indexes, topical and alphabetical, enable one to find readily ju^ what he requires. THINGS WORTH Can you name the colde^ place in KNOWING the United States or tell what year By John H. Bechtel ^^^d 445 days ? Do you know how soon the coal fields of the world are likely to be exhausted, or how the speed of a moving train may be told ? What should you do firft if you got 4 cinder in your eye, or your neighbor's baby swal- lowed a pin ? This unique, up-to-date book answers thou- sands ut few succeed in growing By Eben E. Rexford them. With the help so clearly given in this book no one need fail. ^ It treats mainly of indoor flowers and plants — those for window gardening ; all about their seledion, care, soil, air, light, warmth, etc. ^ The chapter on table decora- tion alone is worth the price of the book. ^ While the sub- jed of flowers is quite thoroughly covered, the ^yle used is plain, simple, and free from all technicalities. DANCING A complete in^udor, beginning with By Marguerite Wilson the fir^ positions and ^eps and leading up to the square and round dances. ^ It contains a full li^ of calls for all of the square dances, and the appropriate music for each figure, the. etiquette of the dances, and 1 00 figures for the german. ^ It is unusu- ally well illustrated by a large number of original drawings. ^ Without do»'bt the beA book on the subjed. II ASTI^OLOGY If you wish to obtain a horoscope of By M. M. Macgrcgor your entire life, or if you would like to know in what business or profession you will be^ succeed, what friends you should make, whom you should marry, the kind of a person to choose for a business partner, or the time of the month in which to begin an enterprise, you will find these and hundreds of other vital que^ions solved in this book by the science of Ailrology. PHYSIOGNOMY How can we judge whether a man By Leila Lomax may be tru^ed to handle money for us? Q How can a woman analyze a man who would marry her ? ^ Partly by words, partly by voice, partly by reputation, but more than all by looks — the shape of the head, the set of the jaw, the line of the mouth, the glance of the eye. ^ Physiognomy as explained in this book shows clearly how to read character with every point explained by illu^ations and photographs. GRAPHOLOGY : Do you know that every How to Read Character time you write five or from Handwriting «« ^^^^ you furnish a By Clifford Howard complete record of your characfler? Anyone who under^ands Graphology can tell by simply examining your handwriting ju^ what sort of a person you are. ^ There is no method Qf character reading that is more intere^ing, more tru^worthy, and more valuable than that of Graphology, and it is the aim of this volume to enable anyone to become a ma^er of this mo^ fascinating art. 13 CURIOUS FACTS Why do you raise your hat to a By Clifford Howard lady ? and why are you always careful to offer the right hand and not the left ? ^ Is there a good reason for the buttons on the sleeve of your coat? fl How did your family name originate ? ^ Is it true that it takes nine tailors to make a man, and if so, why, forsooth? ^ These and scores of equally intere^ing que^ions find answers here. Open it at any page and you will see something you have wanted to know all your life. PRACTICAL PALMISTRY The hand shows the man. By Henry Frith but many who believe in palmi^ry have found no ready access to its principles, fl This little guide to it is com- plete, trustworthy, and yet simple in arrangement. ^ With this book and a little pra(ftice anyone may read character surely, recall pa^ events, and foreca^ the future. ^ Fully illu^ated. CIVICS : This book answers a multitude What Every Citizen of que^ions of intere^ to every- Should Know ^P^- ^ It gives intelligent, con- By George Lewis ^*^^' ^"^ complete information on such topics as the Monroe Dodlrine, Behring Sea Controversy, Extradition Treaties, Basis of Taxation, and fully explains the meaning of Habeas Corpus, Free Coinage, Civil Service, Au^ralian Ballot, and a great number of other equally intere^ing subjects. »3 LAW, AND HOW TO Mo^ legal difficulries arise KEEP OUT OF IT ^ro"^ ignorance of the minor By Paschal H. Coggins, Esq. Points of law. ^ This book furnishes to the busy man and woman knowledge of ju^ such points as are mo^ likely to arise in every-day affairs, and thus protecfts them again^ mental worry and financial loss. ^ Not only is this informa- tion liberally given, but every point is so explained and illu^ated that the reader will not only underhand the law on the subjedt, but cannot fail to remember it. CLASSICAL DICTIONARY All literature abounds By Edward S. Ellis, A. M. in classical allusions, but many do not underhand their meaning. ^ The force of an argument or the beauty of an illu^ration is therefore often lo^. ^ To avoid this, everyone should have at hand a complete dictionary such as this. ^ It contains all the classical allusions worth knowing, and they are so ready of access as to require little or no time m looking up. PLUTARCH'S LIVES Plutarch was the mo^ famous By Edward S. Ellis, A. M. biographer and one of the mo^ delightful essayi^s who ever lived, fl To him we are indebted for an intimate acquaint- ance with many famous Greeks and Romans who made hi^ory and who ^11 live. ^ This book is a condensed form of the original *' Lives." ^ All the personages likely to be inquired about are mentioned, and what is told of them is ju^ what one mo^ wishes to know. 14 THE DOG Every dog owTier should know how to By John Maxtec choose a dog, how to house and feed him, how to exercise and train him, and how to get him back to condition if he is out of sorts. ^ All the essentials of dog keeping are here, from kennel to show- bench, and from biscuits to flea-bane. Q For the one who wants a cheap but expert dog encyclopedia in little space this is the only book. QQLp Golf, to-day, is a synonym for " out- By Horace Hutchinson doors " to thousands of busy people. ^ This ^andard book gives a com- plete hi^ory of the game, together with m^rudtions for the selection of implements, and full direcflions for playing. ^ Much intere^ng information relating to celebrated links and famous players is presented. ^ A convenient glossary, together with the rules and etiquette of the game, is ap- pended. HEALTH : HOW TO What is the use of dumb GET AND KEEP IT hells every morning and rigid By Walter V. Woods, M. D. dieting three times a day when there is an open drain in the cellar ? ^ Why shield the baby from draughts and then feed him on infected milk ? ^ Do you know the things that make for Health ? — proper exercise, re^, bathing, eat- ing, ventilation, and good plumbing — these are only a few of them ? ^ This book tells what Health is, what makes it, what hurts it, and how to get and how to keep it. IS FII^ST AID Lives can be saved and much TO THE INJURED suffering prevented by the By F. J. Warwick ^udy of this work, fl What to do in all kinds of accidents, as well as in the fir^ ^ages of illness, with a brief and simple ^atement of the human anatomy, con^itute the chief features of the book. ^ It is written in a plain and simple way, easily underwood, and its value is further increased by its copious illu^rations. NURSING Every household has its serious illnesses. By S. Virginia Levis but few families can afford a profes- sional nurse. ^ This book is the next beft thing, better in some respedts, as anyone can easily follow its in^rudlions, and when once learned they are always available. ^ The fullest particulars are given for the care of the sick in all the simple £is well as the serious ail- ments of life. ELECTRICITY An intere^ng and thoroughly reliable By George L. Fow!er presentation of the subjecft for the ama- teur or skilled elecflrician. ^ If you wish to in^all an eledric door-bell, con^udl a telephone, wire a house, or underhand the workings of a dynamo, this volume will furnish the required information. ^ A practical book of inestimable value to everyone. i6 14 DAY USE RETURN TO DESK FROM WHICH BORROWED LOAN DEPT. RENEWALS ONLY— TEL. NO. 642^405 This book is due on the last date stamped below, or on the date to which renewed. Renewed bsrk^are subject to immediate recall. r DEC Ttee g^^b; I9i .M^ uoan 70-UftW 3'- 25N0V' fi£C ~ YB 19753 ,-V::0- ivl25862 THE UNIVERSITY OF CALIFORNIA LIBRARY