Manners and Social Usages, Mrs John M. E. W. Sherwood [always you kirsty moseley .txt] 📗

>objectionable; they are not water-proof, and as soon as they are

thoroughly wet they afford no protection whatever.

 

The cotillion styled the German was first danced by the German

court just after the battle of Waterloo, probably at the ball at

Aix-la-Chapelle given to the allied sovereigns. Favors are given

merely to promote enjoyment and to give variety. It is not

necessary that people be matrimonially engaged to dance it. One

engages his partner for it as for any other dance. It had been

fashionable in Europe many years before it came to this country,

but has been danced here for over forty years, first coming out at

Washington.

 

CHAPTER XVI.

FASHIONABLE DANCING.

 

The return to quadrilles at some of the latest balls at

Delmonico’s in the winter of 1884 was an important epoch in the

history of dancing, reiterating the well-known proverb of the

dressmakers that everything comes round in fifty years. Fashion

seems to be perennial in this way, for it is almost fifty

years—certainly forty—since the quadrille was at the height of

fashion. In Germany, where they dance for dancing’s sake, the

quadrille was long ago voted rococo and stiff. In England and at

court balls it served always as a way, a dignified manner, for

sovereigns and people of inconveniently high rank to begin a ball,

to open a festivity, and it had a sporadic existence in the

country and at Washington even during the years when the Lancers,

a much livelier dance, had chased it away from the New York balls

for a long period of time.

 

The quadrille is a stately and a conversational dance. The figures

are accurate, and every one should know them well enough to

respond to the voice of the leader. But inasmuch as the figures

are always calling one away from his partner, the first law is to

have a large supply of small-talk, so that, on rejoining, a remark

and a smile may make up for lost time. A calm, graceful carriage,

the power to make an elegant courtesy, are necessary to a lady. No

one in these days takes steps; a sort of galop is, however,

allowed in the rapid figures of the quadrille. A defiant manner,

sometimes assumed by a bashful man, is out of place, although

there are certain figures which make a man feel rather defiant.

One of these is where he is obliged, as cavalier seul, to

advance to three ladies, who frequently laugh at him. Then a man

should equally avoid a boisterous demeanor in a quadrille; not

swinging the lady round too gayly. It is never a romping dance,

like the Virginia reel, for instance.

 

All people are apt to walk through a quadrille slowly, to music,

until they come to the “ladies’ chain” or the “promenade.” It is,

however, permissible to add a little swinging-step and a graceful

dancing-movement to this stately promenade. A quadrille cannot go

on evenly if any confusion arises from the ignorance, obstinacy,

or inattention of one of the dancers. It is proper, therefore, if

ignorant of the figures, to consult a dancing-master and to learn

them. It is a most valuable dance, as all ages, sizes, and

conditions of men and women can join in it. The young, old, stout,

thin, lazy, active, maimed, or single, without loss of caste,

can dance a quadrille. No one looks ridiculous dancing a

quadrille. It is decidedly easier than the German, makes a break

in a t�te-�-t�te conversation, and enables a gentleman to be

polite to a lady who may not be a good dancer for waltz or polka.

The morality of round dances seems now to be little questioned. At

any rate, young girls in the presence of their mothers are not

supposed to come to harm from their enjoyment. Dancing is one of

the oldest, the most historical, forms of amusement. Even Socrates

learned to dance. There is no longer an excommunication on the

waltz, that dance which Byron abused.

 

In England the valse � deux temps is still the most fashionable,

as it always will be the most beautiful, of dances. Some of the

critics of all countries have said that only Germans, Russians,

and Americans can dance it. The Germans dance it very quickly,

with a great deal of motion, but render it elegant by slacking the

pace every now and then. The Russians waltz so quietly, on the

contrary, that they can go round the room holding a brimming glass

of champagne without spilling a drop. This evenness in waltzing is

very graceful, and can only be reached by long practice, a good

ear for music, and a natural gracefulness. Young Americans, who,

as a rule, are the best dancers in the world, achieve this step to

admiration. It is the gentleman’s duty in any round dance to guide

his fair companion gracefully; he must not risk a collision or the

chance of a fall. A lady should never waltz if she feels dizzy. It

is a sign of disease of the heart, and has brought on death.

Neither should she step flat-footed, and make her partner carry

her round; but must do her part of the work, and dance lightly and

well, or not at all. Then, again, neither should her partner waltz

on the tip of his toes, nor lift his partner too much off the

floor; all should be smooth, graceful, delicate.

 

The American dance of the season is, however, the polka—not the

old-fashioned “heel and toe,” but the step, quick and gay, of the

Sclavonic nationalities. It may be danced slowly or quickly. It is

always, however, a spirited step, and the music is undoubtedly

pretty. The dancing-masters describe the step of a polka as being

a “hop, three glides, and a rest,” and the music is two-four time.

In order to apply the step to the music one must make it in

four-eight time, counting four to each measure of the music, each

measure taking about a second of time by the watch. The polka

redowa and the polka mazourka are modifications of this step to

different times.

 

The galop is another fashionable dance this winter. It is very

easy, and is danced to very quick music; it is inspiriting at the

end of a ball.

 

The minuet de la cour was first danced in the ancient province

of Poitou, France. In Paris, in 1653, Louis XIV., who was

passionately fond of it, danced it to perfection. In 1710, Marcel,

the renowned dancing-master, introduced it into England. Then it

went out for many years, until Queen Victoria revived it at a _bal

costum�_ at Buckingham Palace in 1845. In New York it was revived

and ardently practised for Mrs. W. K. Vanderbilt’s splendid fancy

ball in 1883, and it was much admired. There seems no reason why

the grace, the dignity, the continuous movement; the courtesy, the

pas grace, the skilfully-managed train, the play with the fan,

should not commend this elegant dance to even our republican

dancers; but it has not been danced this winter. It is possibly

too much trouble. A dancing-master worked all winter to teach it

to the performers of the last season.

 

To make a courtesy (or, as we are fond of saying, a curtsy)

properly is a very difficult art, yet all who dance the quadrille

must learn it. To courtesy to her partner the lady steps off with

the right foot, carrying nearly all her weight upon it, at the

same time raising the heel of the left foot, thus placing herself

in the second position, facing her partner, counting one. She

then glides the left foot backward and across till the toe of the

left foot is directly behind the right heel, the feet about one

half of the length of the foot apart. This glide commences on the

ball of the left foot, and terminates with both feet flat upon the

floor, and the transfer of the weight to the backward foot. The

bending of the knees and the casting down of the eyes begin with

the commencement of the glide with the left foot, and the

genuflection is steadily continued until the left foot reaches the

position required, counting two; then, without changing the

weight from the backward foot, she gradually rises, at the same

time raising the forward heel and lifting the eyes, until she

recovers her full height, counting three; and finally transfers

the weight to the forward foot, counting four. Such is the

elaborate and the graceful courtesy. It should be studied with a

master.

 

The “German” (the “Cotillon,” as the French call it) is, however,

and probably long will be, the most fashionable dance in society.

It ends every ball in New York, Washington, Boston, Philadelphia,

and Newport; it is a part of the business of life, and demands

consummate skill in its leadership. Any number may join in it; it

often reaches twice around a large ballroom. All the couples in it

are regarded as introduced to each other. No lady can refuse to

dance with any gentleman who is brought to her in the German. So

long as she remains in the charmed circle she must dance with any

one in it. Therefore the German must only be introduced at select

assemblies, not at a public ball. The leader opens the German by

motioning to certain couples to make a tour de valse round the

room.

 

Many of our correspondents write to ask us what are the latest and

the favorite figures in the German. This is a difficult question

to answer, as the leader always has his own favorite figures. The

German generally begins with l’avant trois double, which may be

generally described thus: the leader, having performed the _tour

de valse_ with his partner, leaves her, and brings forward two

other ladies; his lady brings forward two other gentlemen; the two

trios place themselves opposite each other, then forward and

back, and each gentleman with the lady in front of him performs a

tour de valse. Should the company be large, two or more couples

may start together, each couple choosing other ladies and

gentlemen in the same manner as the first couple. Then comes _La

Chaise_ after the tour de valse. The leader places his partner

in a chair in the centre of the room; he then brings forward two

gentlemen and presents them to the lady, who chooses one of them,

after which he seats the gentleman who is rejected, and brings to

him two ladies; he also selects a partner, and the leader dances

with the refused lady to her place. This figure may be danced by

any number of couples.

 

Les Drapeaux is a favorite figure. Five or six duplicate sets of

small flags of national or fancy devices must be in readiness. The

leader takes a flag of each pattern, and his partner takes the

duplicate. They perform a tour de valse. The conductor then

presents his flags to five or six ladies, and his partner presents

the corresponding flags to as many gentlemen. The gentlemen then

seek the ladies having the duplicates, and with them perform a

tour de valse, waving the flags as they dance. Repeated by all

the couples.

 

Les Bouquets brings in the favors. A number of small bouquets

and boutonnieres are placed upon a table or in a basket. The first

couple perform a tour de valse; they then separate. The

gentleman takes a bouquet, and the lady a boutonniere. They now

select new partners, to whom they present the bouquet and

boutonniere, the lady attaching the boutonniere to the gentleman’s

coat. They perform a tour de valse with their new partners.

Repeated by all the couples. Other favors are frequently

substituted for