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COULON'S
HAND-BOOK;
CONTAINING
ALL THE LAST
NEW AND FASHIONABLE
DANCES.
Dedicated to his pupils,
BY
EX-MAITRE DE DANSE TO THE ROYAL FAMILY OF HOLLAND,
THE DUKE OF SAXE WEIMER, AND PATRONISED
BY THE ENGLISH NOBILITY.
THIRD EDITION
LONDON:
PUBLISHED BY JULLIEN & CO.,
214, REGENT STREET.
Sold also by the Author, 22, Great Marlborough
Street
.
PRICE ONE SHILLING.
W. OSTELL, PRINTER, HART STREET,
BLOOMSBURY SQUARE.
PART I.
PAGE
Preface
The Polka
Rules of the Polka
Steps of the Polka
Remarks on the New Cotillon
Roules of the Cotillon
Figures of the Cotillon:
The First Figure
The Pyramid
The Two Flowers
The Great Round and Pass Under
The Cushion
The Round
The Basket, Ring, and Flower
The Two Lines of Six
The Coquette
La Gracieuse
The Mirror
The Round and Grand Chain
The Handkerchief
The Star
The Cards
The Double Moulinet
The Deceived Lady
The Quadrille
The Two Chairs
The Rounds Multiplied
The Lancers
The Three Chairs
Remarks on the Mazourka Quadrille
Description of the Five Figures of the Mazourka
Remarks on the Redowa
Explanation of the Redowa
The Polka Mazourka
The Tarentella
The Schottische
La Cellarius
La Gorlitza
Coulon's Quadrille
PART II.
La Polonaise
Quadrille Français, or First Set
Choregraphy of the Quadrille Français
Position of the Waltz
Description of the Common Waltz
La Sauteuse (the Hop Waltz)
The Lancers
La Tempète
Sir Roger de Coverley
Gallopade
Spanish Dance
Remarks on the Valse á Deux Tenps
Description of the Valse á Deux Temps
Scotch Reel
La Boulangère
La Carillon de Dunkerque
La Madrilaine
“Pop goes the Weasel”
La Varsoviana
Long Live the Queen
Remarks on the Introductions in Private and Public Ball Rooms
Description and Choregraphy of the Menuet de la Cour
A List of Professors of Dancing
A List of Towns from whence Professors of Dancing have applied to M. Coulon for instruction
A few particulars respecting the distinguished artist to whom we are indebted for this little book, will be perhaps not without interest to many of our readers. His father, Jean François Coulon, was the greatest, the most celebrated professor of dancing known in France. His academy for the stage was the
Pepinière
(the nursery) for the most eminent artists throughout Europe, and we require only to associate his name with that of Dupor, Gosselin, and the family of Taglioni (as their master), to prove the superiority of his instruction. His academy for the drawing-room was also held in high reputation. It was the resort no less of strangers of distinction than of
Jean François, the father, died in the year 1836, leaving two sons. The elder of these, Antoine Louis, fell a victim to the cholera in Paris, September 3, 1849. He was one of the first opera dancers both in France and England, and for many years prior to his decease he filled, conjointly with Messrs. Laporte and Lumley, the important office of manager of the dancing at her Majesty's Theatre.
The second son, Eugène, (the author of the subjoined work,) was born in Paris, April 7, 1808, and is well known in England by his introduction of the Polka in April, 1844; of the Mazurka in December, 1844; and of the Redowa in January, 1846. He was originally intended for the stage, and studied for it during many years under his father, and subsequently under his brother. But ill health
“What can be said about the Polka that has not already been said?” will be the probable exclamation of many under whose eyes this little Guide may fall. We reply, very little indeed if it were intended to retrace the origin and to relate the history down to the present day, of that dance now so generally practised in different countries of the globe. Whether the Polka be German or Hungarian by birth, is a question frequently discussed by writers on the subject. It has, in fact, during the last few years, been so completely remodelled in France that it may almost be said to have taken its rise there. All the violent
The gentleman has to bold his partner as in the Waltz (see the position of the Waltz, page 68). There is no rule respecting the direction in which the Polka should be performed. This is left to the option of the individual to decide. It may be danced to the right or to the left in turning, and backwards or forwards, likewise in turning; or, in cases where there is not sufficient space to
There are only three steps in the Polka, which are all jumped, and occupy one bar of music, the fourth interval being only a repose to give time to prepare for the next foot.
To begin, the foot is raised a little behind, the gentleman using his left, the lady her right foot. The gentleman then, for the first step, springs lightly on the right foot, and almost simultaneously slides the left foot to the side, finishing on both feet, with the knees bent. For the second step he makes a jetté with the right foot, which brings the left foot extended to the left, and raised a little from the ground;
This description of the Polka step may be danced either to the right or to the left. But when it is desired to go forward or backward as well as in turning, it must be observed that the first step is taken backward or forward in the direction that is required.
The musical rhythm of the Polka may he explained thus:—
Introduced into London by Coulon in the year 1844 (note of the publisher).
The Cotillon is a dance that was known upwards of fifty years ago. It was danced by eight persons, like the French Quadrille, which, perhaps, owes its derivation to it. The new Cotillon was introduced in Germany and Russia a few years ago, but it bears no resemblance whatever to the old or original Cotillon. It is danced in Germany with the Waltz step, and recently in Russia it has been introduced with the Mazurka step. But since the appearance of the Polka, the Polka Cotillon has eclipsed all former ones. I do not say in great balls of ceremony,
faute de s'entendre
(as I shall explain), but there is not a
soirte d'intimes
, where it is not adopted in preference to any other.
As the Polka Cotillon, therefore, is so much the mode, some remarks will be here given that will be found both necessary and useful.
Explanation of the signs:—Gentleman • Lady ○ Give hands…Figures—
The Cotillon may be danced with the step of either the Waltz, the Polka, the Mazurka, or the Valse á Deux Temps, by an unlimited number of persons. When possible, chairs should be placed for the dancers round the room, thus:—
Each gentleman places his partner on his right hand. There is no rule that any particular figure shall be danced, nor is it intended that the figures here explained shall be danced in rotation. The selection is left to the de termination of the leading couple, who commence the figure, which the other couples repeat in succession. In large parties of twenty-four or thirty couples, it is customary for two or more couples to perform one figure at the same time, otherwise, the Cotillon might be tedious by its length.
To preserve the regularity of the dance, the same seat should be maintained by each individual throughout.
It must be well understood that in selecting partners for the figures hereafter explained, no previous introduction between the parties is requisite.
See Remarks on Introduction at the end of the work.
One great interest of these figures is, that
The first couple start with the Polka or Valse, and they are immediately followed by all the other couples. After one round the places are resumed, and what may be called the first figure is begun.
The leader selects two ladies, and his partner selects two gentlemen thus:
They advance, and each gentleman takes the lady opposite to him, and dances one or two rounds with her, after which they return to their places. The next couple do after the stone manner, and if, as I observed before, the Cotillon be a large one, two or more couples begin at the same time.
The first three couples begin with the Polka or Waltz round the room. The three ladies choose three other ladies, and the six ladies place themselves thus:
The three gentlemen then select three other gentlemen and holding each others hands pass in
zigzag
form between the ladies; when on a signal given by the leader, each gentleman takes one of the ladies standing, and dances the Polka with her. When they have resumed their seats, the other three couples repeat the same figure, and so on till all the couples have danced it.
The leader takes two ladies and asks them each to name a flower. He then presents them to one of the gentlemen desiring him to say which flower he prefers. When the gentleman has made his choice, he is presented with the lady, the name of whose flower he guessed, he dances with her, and the leader dances with the other lady round the room. The other couples perform the same figure in their turn.
The first three couples dance one or two rounds of the Polka or Waltz, after which each lady selects a gentleman from among those seated, and each gentleman selects in like manner a lady. The six couples dance a round or two, after which they form a circle holding hands thus:
They twice advance and retire, the second time the gentlemen take each other's hands in a circle, the ladies likewise holding hands below the gentlemen's thus:
They dance in a circle once round to the left, when the leaner breaks the circle, and falling backwards, they form a line, still holding hands thus:
The gentlemen then raise their arms for the ladies to pass under, which they do, and advance followed by the gentlemen to the end of the room, when the ladies turn half round and dance the Polka with the gentlemen facing them. When these couples have resumed their places the other three couples repeat the same figure, and so on for the rest.
The first lady presents a cushion to a gentleman thus:
On which he is to kneel. If she wishes to dance with him, she allows him to kneel, but if not she takes it away quickly and presents it to another, and so on, until she selects one with whom she dances, leaving the cushion meanwhile on the floor for the lady who follows her.
The first three couples begin with the Polka or Valse. After two or three rounds each gentleman takes another gentleman, and each lady takes another lady. The ladies place themselves back to back in a circle, and the gentlemen face them, joining hands to form a larger circle thus:
So placed, they advance anti retire twice, making the round larger and smaller; after which, each gentleman dances the Polka with the lady on his right hand, and so on for the other couples.
The first couple advance, the gentleman holding in his hand a basket containing a ring and a flower. After dancing one or two rounds he presents the basket to his partner and returns to his place. The lady gives the basket to one gentleman, the ring to another, and the flower to a third. The gentleman who receives the basket must dance alone, holding it in his hand, the one who has the ring may choose a lady to dance with him, and the one who has the flower is to dance with the lady who presented it to him, thus:
When they hate danced several times round
The first couple lead off with the Polka. The gentleman then chooses five other gentlemen, and the lady five other ladies, who all place themselves facing and holding hands thus:
The gentlemen then advance with the Polka during four bars, and retire during four bars, after which the ladies advance four bars, turn
The first couple dance a few rounds of the Polka or Valse, after which the gentleman leads his lady to a chair placed in the centre of the room thus:
And presents a gentleman to her to dance with. If she declines him, he has to stand behind her chair thus:
And she is presented with another by her partner until she accept one with whom she dances several rounds. The rejected partners return to their seats. And so on for the next couples.
The leader gives his right hand to his partner, who gives her right hand to the lady next to her. The third lady gives her left hand. to the gentleman on her left, and he gives his left hand to the gentleman on his left thus:
They then form two circles at each end of the room and dance round with either the Polka or Valse. The lady No. 1, and the gentleman No. 3, pass under the arms of the others and meet in the middle thus:
And all dance several rounds of the Polka or Valse; so on for the others.
The first gentleman places his partner on a chair in the centre of the room, and gives her a mirror to hold. Then all the gentlemen pass one after the other behind her chair and show themselves to her in the mirror, thus:
Which she wipes with her handkerchief when she does not accept the one she sees. When the favoured one presents himself, she rises and dances round the room with him; leaving the mirror on the chair. The same for the rest.
The first two couples dance several rounds of the Mazourka and
Petit tour
. The first gentleman then takes another lady and the second lady takes another gentleman, thus:
They then advance and retire, advance again, and the two gentlemen with the lady pass under the arms of the two ladies facing them thus:
And join hands behind the gentleman. The ladies also join hands behind the centre lady thus:
They turn one round to the left and afterwards form a circle holding hands. Then
grand chain
until they meet their partners, when they couple off with the Mazourka. The same figure for the remaining couples.
The first couple begin with the Polka or Valse. The lady then remains in the centre of the room, when the gentleman with him, and forms a circle round the lady. She throws her handkerchief in the air thus:
And the gentleman who is near enough to catch it, becomes her partner. The other gentlemen return to their places. The remaining couples perform the same figure.
The first three couples commence with the Polka. The ladies select three other gentlemen and the gentlemen three other ladies. The six ladies place themselves in a
moulinet
right hands in the centre, giving the left hands to the gentlemen, and all turn thus:
Three of the ladies hold their hands a little above those of the other three.
At a given signal the three ladies who hold
After repeating this two or three times they finish with a round of the Polka, and return to their places. The same to be repeated by the rest.
The leading couple begin with the Polka. The gentleman selects three knaves from the pack of cards, which he gives to three gentlemen and the lady selects three queens which she presents to three ladies. The three gentlemen then find the lady who has the queen of his suit, and dances with her. The other couples do the same.
Three couples commence with the Polka or Valse. Each lady then selects another gentleman and each gentleman another lady, (from those seated.) The ladies join right hand in
moulinet
(or hands across), giving the left to their partners. They all turn. At a signal the gentlemen pass their partners before them and take their places in the
moulinet
, and the ladies turn round the gentlemen on the other side thus:
Then when they meet their partners, the gentlemen gives his left hand to the lady, who also gives her left hand, and they again turn hands across in
moulinet
, during which the gentlemen take their places outside. They repeat this each time they meet their partners, after which they return to their places in dancing either the Polka or Valse. The same for the remaining couples.
The first couples commence with the Mazourka. The gentlemen then asks the lady to dance with him. If when she rises he does not intend to accept her, he turns away and
The first two couples commence with the Polka, then the two ladies select two other gentlemen, and the two gentlemen two other ladies. They place themselves as for a quadrille and the two side ladies join the top and bottom couples in giving hands thus:
They then advance by three and retire, this is repeated; after which the two ladies change
And join with the other gentlemen thus:
This is repeated four times, when they finish by dancing the Polka round the room. The same for the rest.
The first two couples commence with the Polka or Waltz. One of the gentlemen sits on one of the two chairs that are placed back to back in the centre of the room, and the lady of the other couple seats herself in the other chair. Then the gentlemen partner of the seated lady selects two ladies, and the lady partner of the seated gentlemen selects two gentlemen. These latter are presented to the lady seated on the chair thus:
She chooses one with whom she dances, and the one who is left dances with the lady who
Three couples commence with the Polka or Valse. Each lady takes another lady, and each gentleman takes another gentleman, and place themselves thus:
The first two gentlemen and ladies then give
The same figure is repeated with the next two ladies, and the first two ladies repeat with the next two gentlemen thus:
They again repeat this figure and finish in a line thus:
The ladies advance and turn half round and arrive thus;
They then advance and turn half round to meet and dance with the gentleman who has been following them, thus:
The same for the remaining couples.
Place two chairs at the end of the room.
The whole party followed by each other dance the Polka or Valse, passing between the two chairs, at which point the lady and gentleman separate, the one passing before the chair on the left, the other before the chair on the right, when they dance singly, forming two lines to the other end of the room, when the partner meet and dance together down again thus:
C
The leading couple dance several rounds of the Polka or Valse. The gentleman then seats his partner on the middle chair of three that are placed in the centre of the room, after which he selects two gentlemen who occupy the two other chairs thus:
And he returns to his place. The lady chooses one of the two gentlemen and dances with him, the other gentlemen remains sitting in the middle of the room. The next couple begin immediately, while the former one is dancing. It will be understood that only one gentleman will be required to fill the vacant chair after the first time. If the same gentleman remains sitting for some length of time, one of the ladies who is not engaged with the figure, may relieve the monotony and dance with him.
N B. Here are only 22 figures explained, but many more may be arranged from these.
Introduced in London by Coulon, in the year 1846.
This new Quadrille is quite different from that one introduced in the year 1845 and is far superior to it in many respects. It may either be danced by two couples, or by as many as the room will contain, in the same way as the first set, or the (
Quadrille Fracçais
,) which in many points it resembles. It lasts about ten minutes, and must, of course, be danced with the steps of the Mazurka. One or two lessons will suffice for those who already have a knowledge of the style of the Mazurka, to be able to join in this New Quadrille. The steps of the Mazurka are the most important, and therefore, to those who are unacquainted with them, the following explanation of the figures will not be sufficient; but a few practical lessons will soon enable them to dance this Quadrille.
Wait eight bars—(place hands round).
Grand round all to the left and to the right—Sixteen bars.
Petit tour
Petit tour is the same figure which was called Holubieck.
Right and left (or
chaîne Anglaise
)—Eight bars.
Top and bottom couples advance, then the two ladies cross over, whilst the two gentlemen execute a quick turn, in giving each other the left arms by the elbows, and finishing back to places—Four bars.
Petit tour
backward, with the opposite lady—Four bars.
Right and left—Eight bars.
Advance, the two ladies cross over, whilst the gentlemen execute a quick turn in giving each other right arms—Four bars.
Petit tour
forward—Four bars.
Side couples repeat the same figure, (which takes 32 bars).
Eight bars rest.
Top and bottom gentlemen give right hands to their partners, then they advance and retire—Eight bars.
Cross over by the left—Four bars.
Petit tour
forward—Four bars. Ditto to places.
Side couples repeat the same figure (which takes 32 bars.)
Eight bars rest.
Top and bottom ladies cross over—Four bars
Ladies cross again in giving each other left hand. They stop in the centre of the room. The gentlemen give them right hands, and place the left round I their waists—Four bars.
Cross over with partner—Four bars.
Petit tour
backward—Four bars.
*There is no stop for the Music.
Hands across (or
moulinet
) one round—Six bars.
Retire Two bars.
Same figure to places, without the hands across the second time.
Side couples repeat the same figure—(which takes 40 bars).
Eight bars rest.
Top gentleman gives his right hand to his partner, then they advance and retire—Eight bars.
Petit tour
forward and backward—Eight; bars.
They advance again, the gentleman turns half round without quitting his partner's hand and gives his left hand to the opposite lady, the two ladies join hands behind the gentleman—Four bars.
Advance and retire by three in this position—Eight bars—(then the gentleman stoops and passes under the ladies' arms.
One round to the left, at the end of which
Forward to places, and
petit tour
forward—Eight bars.
Same figure for the opposite couple, which takes 40 bars.
Side couples repeat the same figure (which takes 80 bars).
Eight bars rest.
Half right and left, and
petit tour
backward—Eight bars.
Ditto to places.
Hands four half round—
Petit tour
forward—Eight bars.
Ditto to places.
Right and left—Eight bars
Petit tour
forward and backward—Eight bars.
Side couples repeat the same figure (which takes 48 bars.)
Grand round all to the left, and to the right—Sixteen bars.
Grand chain round—beginning in giving right hand to partner,
petit tour
to place
additional
—Sixteen bars.
Nota
.—If the Quadrille is composed of more than eight couples, the music is to play a few bars more to the end.
The Redowa is a Waltz.
Introduced in London in the year 1846 by Mr. Coulon.
The position for the Redowa is the same as for the Waltz (see page 68), and like as in the Polka the couples may turn either to the right or to the left, or go forward or backward.
The Redowa step is only a
pas de barque
The rhythm of this Waltz is two in each bar.
The music is three time, like the Mazurka; the first of the two movements occupying two intervals of the bar, and the second movement occupying the third.
It should be observed to keep the knee bent to wait the first interval, and to mark well the second.
The Polka Mazurka is a Waltz danced by two. It is in great favour in Paris.
The gentleman begins with the left, the lady with her right foot.
This Waltz is composed of two steps of the Polka with this difference, that the last part of the first step is a
fouetté
behind (or a jump and pass the foot behind), after which it is the second step of the Polka, with the same foot as the first step. The first step is taken sideways, and the second in turning half round. The position is the same as in the Waltz. (See page 68).
The Tarentella is danced among all classes at Naples, even in the street by the Lazaroni, who, at the sound of a castagnette, are so carried away by their enthusiasm that, like Scotch or Irishmen hearing the sound of their pipe, they will dance like madmen, wherever they may be.
To dance the Tarantella, however, in our circles as they dance it at Naples would be impossible, and, therefore, when Madame Michau introduced it in London in 1845 she made a selection of about eight steps or figures, that have had great success among the higher classes here.
I. Three Galop steps to the right, and slide the left foot forward (this to be repeated three times).
The gentleman supports his lady on his right arm, without giving the left hand.
II. Three Galop steps and slide the other foot forward in turning very rapidly, and repeated three times. (Position of the Waltz, see page 68.)
III. A
jetté
in turning,
fouetté, temps levé
, and
chassé
(four times). Position of the Waltz.)
IV.
Echappé
, and eight Galop steps in crossing the room obliquely, facing his partner and holding both of her hands, and return in the same way to their places.
V. Four Galop steps without turning, four
jettés
in turning and remaining in the same place. (Position of the Waltz.)
VI. Eight
glissades
turning to the right and the same to the left. (Position of the Waltz.)
VII. Three Galop steps forwards, slide the foot backwards, and at the same time turn short round rapidly (this three times), and the compass step (four times).
The music is an animated measure in six-eight time.
The Schottische was introduced in London shortly after the Polka, from which it originated: it is danced in couples, and the position is the same as for the Waltz. (See page 68.)
The gentleman begins with the left, alta the lady with the right foot.
Three
pas marché
(or walking steps) sideways, finishing with one foot up behind, then jump on the foot that is down. The same with the other foot.
Four times
jetté
forward, and jump on the foot which is down in turning one round, This to be repeated four times.
Lately the
Valse à Deux Temps
has been introduced instead of the four
jettés
and jump, and it is far superior.
Some begin the Schottische with four steps of the gallopade, and then the four
jettés
and jump.
The Cellarius is a Waltz composed of three steps of the Mazurka. This dance was composed by Monsieur Cellarius, in Paris, and introduced by me in London, at the Polish Ball, in the City, in 1844, having Mrs. Henderson for my partner. Since that time, it has been very much altered both as regards the time and the steps; so much so, that the original dance can scarcely be recognized. But I shall give a brief explanation of the steps for those persons who may be desirous to know what the original Cellarius was.
The
premier pas
or
step
consists of two movements–1st, of a
temps levé
, which occupies two-thirds of a bar, and of a
sissonne
, which should be well marked; the cavalier begins with his left foot forward, and the lady with her right forward.
The
second pas
or
step
consists of three movements—the 1st, by tapping together the heels, while off the ground; 2nd, sliding one foot aside; 3rd, a
jeté de coté
, at the same
The
third pas
or
step
consists of four movements -1st, of one
temps levé
; 2nd, a
sissonne
; 3rd, a
temps levé
; 4th, a
jeté de cótée
, at the same time tapping the heels.
Note
.—The first step may be executed by turning
à rebour
, and in moving backwards. There is no fixed rule in dancing the different figures of this valse; the cavalier who knows how to vary them the oftenest will render the valse the most agreeable and the prettiest. The gentleman keeps his right arm round the lady's waist, as in the waltz, holding her right hand in his left.
The Gorlitza is danced by two like the Waltz. The music is two-four time. This dance may be divided into four different steps.
I. One bar of the Polka in turning half round, and the same without turning, finishing
II.
Sissonne
with the left foot for both lady and gentleman, and two little
pas marché
behind, in turning. This to be repeated.
III. One complete step of the Polka Mazurka (see page 42).
IV.
Temps levé
sideways,
sissonne
and
pas de bourré
behind and before.
For those not acquainted with the foreign terms for dancing, a few lessons will be required to make them understood.
This Quadrille is to be danced by four couples only, who place themselves in a square similar to the First Set.
The half of the music is to be played—that is, half the number of repetitions are required.
For those who are not joining in the Coulon's Quadrille, the common First Set may be danced by forming two lines, without either top or bottom couples.
The top and bottom couples
chaíne Anglaise
(or right and left) towards the centre, whilst the two side couples
chaíne Anglaise
round them.
All set, and turn partners.
The four ladies, ladies' chain.
All half promenade.
The top sad bottom couples
chaíne Anglaise
in the centre, whilst the side couples
chaíne Anglaise
round them.
The lady at the top, and the lady on her right, begin with the opposite gentleman.
Advance and retire twice.
Cross over (in following each other towards the left).
Advance and retire.
Re-cross to places (following each other towards the left).
During which the partners set, and turn their partners.
Ditto for the other four.
D
The lady at the top and the lady on her right begin with. their opposite partners.
Cross over in giving the right hand.
Recross in giving the left hand. (The four remain in the centre, anti give the right hand to their partners.)
The eight set.
Half promenade (the eight).
Advance and retire twice.
The eight advance and retire (each lady giving the hand to her partner).
The top and bottom couples
chaíne Anglaise
towards the centre, while the two side couples
chaíne Anglaise
round them.
Chaíne Anglaise is always to be danced in the centre by the top end bottom couples, whilst the two side couples
chaine Anglaise round them.
Ditto for the other four.
The ladies at the top and bottom with their partners dance the figure of the
Trénis
with the couples on their right, each in a corner of the quadrille.
Ladies and gentlemen advance and retire.
Advance again; the gentlemen leave their ladies on the left of the opposite gentleman, and retire.
The two ladies (in each corner) cross over, and the gentlemen cross between them.
Re-cross again to places.
Set and turn partners.
Ditto for the side couples, dancing toward the right.
All gallopade round.
The top and bottom couples gallopade forward, and while returning backward, the side couples advance; while these side couples are retiring backward, the top and bottom ladies change partners in crossing the room, after which the ladies at the side cross the room, and change partners also.
This figure is to be repeated.
The four ladies, ladies' chain (ditto to places).
Repeat this figure from the beginning. The aide couples commencing the gallopade forward, &c. &c.
All gallopade round to conclude.
This is the most stately of dances (or it may be called rather, a grand promenade). In all the aristocratic Courts, and, above all, in those of Northern Europe—from Vienna to St Petersburgh—this is the prelude to the balls of the highest sphere of society, as it was to Her Majesty's
Bal Costumé
on the 6th of June, 1844. Whilst every costume is in its freshness, and every plait of dress, and every lock of hair still retains the form most becoming to the wearer then, and not later, the Polonaise is danced. From its dignified measure none may abstain—from the King to the Ensign—from the youngest of
belles
to the oldest of the
ancien régime
of
beaux
. Then is the line formed for such a review as no field of battle can presentféte
the Polonaise first appeared in England, but now it will assume its place at all the great re-unions patronized by the noble leaders of fashion, whence it will travel into the provinces, to preface the race and the county balls.
To perform this promenading dance, all those who desire to engage in it, must assemble in the first drawing-room, and then the Lady Patronesses, or in their absence, the Master of Ceremonies, assigns to each lady a cavalier—in a
Bal Costumé
, care being had that there be a perfect correspondence of costume betwixt the parties. Then the inspiring measure is struck up by the orchestra. The folding doors are thrown open and the assemblage of dancers make their
entrée
into the apartments, hand in hand, slowly marching, and conversing in an under tone—the ladies playing or coquetting with their fans or their bouquets. The march at Court is preceded by the Chamberlains—in other places by the Masters of Ceremonies with their white staffs. Thus marshalled, the
See Remarks on Introductions at the end of the work.
Le Pantalon
is performed twice, first by the top and bottom couples, and afterwards by the side couples.
L'Eté
and
la Poule
are each danced four times. There is no axed rule as to which lady begins.
La Trenis
and
La Pastourelle
are likewise performed four times. Each couple at the topLa Trenis
and
La Pastourelle
are both No. 4, and only one is usually introduced in a Quadrille.
La finale
is performed four times.
I.
Le Pantalon
—right and left, set and turn partners, ladies chain, half promenade, and half right and left.
II.
L'Eté
—Lady and opposite gentleman advance and retire twice, cross over, advance and retire, re-cross, whilst partner set, and turn partners.
III.
La Poule
—Lady and opposite gentleman cross over, giving right hands, and recross giving left hands. Four in a line set, half promenade, advance and retire twice, four advance and retire, half right and left.
IV.
La Trénis
—First couple advance and retire, advance again, the gentleman leaving his lady on the left of the gentleman opposite, and retires; the two ladies then cross over, and the gentleman crosses between them, the ladies and gentleman recross to their places, set and turn partners.
IV.
La Pastourelle
—First couple advance and retire, advance again, the gentleman leaving his partner on the left side of the opposite gentleman and retires,
V.
La Finale
—Join hands all round, advance and retire twice, and
l'Eté
, or gallopade round, advance four and retire, cross over, advance and retire, recross, and ladies chain.
No. 4 New Pastourelle—The last part of this figure has been changed, and now the three advance and retire, but the ladies face the gentlemen to whom they give hands, they then advance again three together, and the two ladies turn half-round and cross the room to join the other gentleman, then they advance and retire, advance again and turn half round, then all four join hands and turn half round, and right and left to their places.
Half right and left:
Repeat half right and left.
Set to partner:
Turn partner:
Half ladies chain:
Repeat half ladies chains.
Half promenade:
Half right and left.
Advance and retire twice:
Cross over:
Advance and retire.
Cross over (whilst the others set):
Turn partner.
Cross over, presenting right hand:
Recross, giving left hand:
Set four:
Half promenade:
Advance and retire twice.
Advance and retire by four:
Half right and left.
Advance and retire with partner:
Advance, the lady cross over, the gentleman retire:
Cross over, the gentleman cross between the two ladies;
Recross to places:
Set to partner.
Turn partner.
First couple advance and retire.
The gentleman advance and retire, the lady cross over.
Advance and retire by three, twice:
The gentleman alone advance and retire twice:
Hands round by four:
Half right and left.
Advance and retire, with partner.
The gentleman advance and retire, the lady cross over.
Advance and retire by three, the ladies facing the gentleman to whom they give hands:
Three advance as before, the gentleman retires, the two ladies turn half round to give hand to the other gentleman:
Advance and retire by three.
Advance, the ladies turn half round.
Hands round by four.
Half right and left to places.
Advance and retire twice, joining hands round:
The second figure L'Été.
Galop round the room:
Advance and retire by four:
Cross over:
Advance and retire by four.
Cross over.
Ladies chain to places.
The Waltz, now called the
common Waltz
to distinguish it from the more modern one called the
Valse à deux Temps
, has been known for many years, and is still danced at many balls where the aristocratic
Valse à deux temps
has not yet been introduced, and as it is probable that the old Waltz will retain its original position in the ball-room, a short description of it may prove useful
This position is the same for all Waltzes, the Polka, Redowa, Gallopade, Cellarius, Gorlitza, &c,
In order to begin the Waltz, the gentleman must hold and guide his partner with his right arm, well encircling her waist, and her right hand in his left. The gentleman when holding his partner's hand should keep his arm about the height of the waist gracefully extended. He should face the lady's right shoulder, having the body slightly bent forward, and the lady should keep her head opposite to her left hand which should rest on the gentleman's shoulder.
The common Waltz is composed. of three steps haft round, and three steps for the other half round, which takes two bars. The gentleman begins with the left foot one step to the left and two steps backward in turning one half roads, he then begins with the right foot, three steps forward in turning the other half round. The lady has to do exactly the same beginning with the right foot, which, in the first step she must place between her partners right and left foot.
The gentleman must also place his right foot between the feet of his partner when beginning with the right foot, after which they waltz in constantly turning and following the couple before them.
La Sauteuze
is an old Waltz, but as it has lately been revived in Paris it is therefore likely, during the season of 1856, to occupy a prominent place among the dances of the higher circles in this country.
The step is similar to that of the Common Waltz (see page 69,) with this exception, that the first step must be jumped, like a
jetté
, and the other two run.
N.B. The steps of the
Sauteuse
are not unfrequently confounded with the second step of the Schottische. Care must be taken not to fall into this error as it would otherwise quite destroy the character and originality of the dance.
1st.
La Rose
. The first lady and opposite gentleman advance and retire, turn with both hands and return to their places. The leading lady and her partner cross over hand in hand, and the opposite couple do the same separately and passing on the outside; they then all set and turn at the corners.
2nd.
La Lodowiska
. First couple advance and retire, advance again, the lady remains in the centre, the gentleman retires,
chassez
to the right and left, turn partners to places, the side couples joining hands to form two lines, all advance in two lines, all turn partners.
3rd.
La Dorset
. First lady advance and stop, opposite gentleman advance and seep, lady retire, gentleman retire, four ladies right hands across half round, left hand and back to places while the gentlemen lead round outside to the right half round, and back to places.
4th.
L'Etoile
. First couple pay a visit to the couple on the right hand, and how; then to the couple on the left the same,
chassez croissé
chassez croissé
and back to places, right and left.
5th.
Les Lanciers
. The grand chain, the first couple advance and turn half round facing the top, then the couple on the right advance behind the top couple, then the couple on the left follow, and the last couple the same forming two lines,
chassez croissé
with partners, and back again, the ladies turn outside the line to the right, the gentlemen the same to the left; the couples meet up the centre and advance joining hands, the four ladies form a line holding each others hands, the gentlemen the same opposite, all advance and retire, turn partners to places, finish with the grand chain.
La Tempète is danced by an unlimited number, accordingly four new comers can always form an additional line.
Fig. 1. Advance and retire twice in holding hands and forming two lines of four:
2. Cross two by two sideways, each holding partner's hands, crossing two before the other two, and re-crossing to places. Repeat the same again, with the difference that the couples who passed before in the first crossing now pass behind the other couple:
3. The four inside join hands and form a Found; the two on each side join hands also, and all eight turn once round to the left and once round to the right.
4. The four inside give right hands across whilst the two couples outside give right hands also; turn once round to the left, after which all eight change and giving left hands turn once round to the right, finishing to places.
5. Advance and retire by four holding hands.
6. Cross over, the two top couples leading through and face the other line to commence the same figure with the four who have been waiting; during this, the bottom couples stand still until their turn comes again to dance the same figures just explained.
Sir Roger de Coverley is a very ancient and merry dance for Christmas time, or at the end of a friendly party. It has lately been revived at her Majesty's
bal costumé
. It is danced like all country dances, the gentlemen in a line, and the ladies in another opposite to their partners. The first gentleman at the top and the lady at the bottom of the line have to begin each figure, and then the other gentleman and lady at the opposite corner have to repeat the figure immediately.
I. First lady and gentleman meet in the centre of the line, give right hands, turn once round, and retire to their corners, the same for the other two at the top and bottom.
II. First couple cross again and give left, hands and turn once; back to places. Repeat this.
III. First couple give both hands, the others the same.
IV. First couple back to back, and retire to places; the other corners the same.
V. The first couple advance, how to each other, and retire; the same repeated by the other couple.
VI. The top gentleman then turns to the left, and the top lady (his partner) turns to the right; all the other ladies and gentlemen turn and follow the leaders who run outside of the line, and meet at the bottom of the room, giving right hands, and raising their arms so as to form a kind of arch under which all the following couples must pans, joining hands and running forwards when they have all passed under the arch. The first lady and gentleman remain the last at the end of the two lines, and the figures of right hands, left hands, both hands, back to back, bow, and running outside the lines are repeated by all, when the first couple will have arrived at their original place.
The Gallopade has had a long reign of nearly twenty years, and is still in high favour at public balls in Paris, as well as at Jullien'sbal masqué
in London. There is no dance more exciting, or easy to learn, it requires only a good ear to mark the time of the music. The chief requisite in this dance is to keep on one's feet, for there is great danger if once you fall that you will have those who follow over you, like the
Capucins de Cartes
. This power once acquired, you have only to throw yourself in the volcanic
tourbillon
and fellow the course of the stream, which with very little attention will be easily understood.
The Gallopade has recently been re-introduced in private society, where it is not customary to race as at a masquerade. They merely make a few steps of the
galop
and pass into the
valse à deux temps
. In this way the gallopade becomes a spirited and graceful dance instead of a tremendous rush. The step of the gallopade is simply a
chassé
with one foot as long as you continue one way, and
chassé
with the other foot when you turn. The step of the gallopade in turning is the same as the step of the
valse à deuz temps
. (See page 81.)
The couples are placer as for a country dance. To commence the figure, the lady and gentleman at the top change places, they then set to the second couple, and cross into their places, set to partners, cross over again to the other places, set to the second couple, and then to partners, all four join hands, advance, retire. The two gentlemen turn the ladies in the centre and change places with each other, and finish in a round. Repeat this four times, then the two couples waltz round each other for four or eight bars, and the first couple repeat the figure with the third couple, then with the fourth, and so on to the end of the line. When the first couple begin to dance with the fifth couple, the second one begin with the third. Frequently when there is a long line, they begin this figure in different places. The figure is ended when the first couple have arrived at their original place.
The music for the Spanish dance is the same as that for the common waltz.
This valse made its first appearance at the Court of Vienna, and was danced in Paris at the Opera balls. In the carnival of 1839 it was danced by the
corps de ballet
, when it met with a very indifferent reception. Six months after this, at Baden-Baden, it was danced by all the fasionable company there assembled, and was very favourably received. At the close of the season, when the members of the assemblies, which consisted of the élite of Europe, returned to their respective capitals,
La Valse à deux temps
was introduced at the
soirées
in Berlin, St. Petersburgh, and London; but it is only within the last ten years that it has become so popular as to take precedence of all other waltzes. As it unfortunately happens in fashionable dances there are many individuals who launch into them without taking the pains to learn even the first step, it is for the benefit of those too enterprising valsers that the following description is offered.
The Valse à deux temps occupies three intervals like the other waltz: only they are otherwise divided. The first consists of a sliding step, the second is marked by a
chassé
which always includes two intervals in one. (A
chassé
is performed by bringing one foot near the other, which is then moved forward, backward, right, left, or round.)
The gentleman begins by sliding to the left with his left foot, then performing a
chassé
towards the left with his right foot without turning at all during these two first times. He then slides his right foot backwards, turning half round; after which he places his left foot behind to make a little
chassé
forward turning them round for the second interval. He should finish with his right foot a little forward, and begin again with his left.
The lady waltzes after the same manner with this exception, that the first time she slides to the right with her right foot, and makes the
chassé
also on the right. Sheà contre pied
, that is, she slides with her fight foot backwards, when the gentleman slides with his left foot to the left; and when the gentleman slides with his right foot backwards, she slides with her left foot to the left.
One of the first principles of this waltz is never to jump, but only to slide. The steps must be made rather wide, and the knees kept slightly bent.
Many gentlemen, who may be designated
les étoiles de la valse
, dance the valse à deux temps
à rebours
, or contrary way; the effect is very pretty, though, at the same time, its execution is very difficult The rules for it are the same as already described, but danced
à contre pied
, that is to say, the left foot is slid backwards during the first time and the right sideways during the second time for the gentleman.
The Scotch Reel is a true national dance, and is generally performed by the nobility beforebalancé
) before each other, the gentlemen exhibiting all their skill, the ladies dancing as quietly as possible; after eight bars or this set they begin again the chain and set, and this they do as long as they can—in fact they never seem tired, and seem to acquire fresh strength each time they come to the
balancé
.
La Boulangère
is a French dance of great antiquity; in the present day it usually forms the concluding dance of a ball in the same way that Sir Roger de Coverley does in this country.
The gentlemen and their partners place themselves in a circle, and join hands, the gentlemen facing inwards, and the ladies outwards or the circle.
They dance one round still keeping hands, and when they come back to their places, the leading couple begin the figure.
The gentleman with his right hand takes his partner's right hand, turns once round with her, and then leaves her. After which, with his left hand he takes the left hand of the lady next in rotation, turns once round in like manner with her, and then returns to his partner, to whom he gives his right hand as before, then his left to the lady standing next in the circle, and so on to the end, always alternately dancing with his partner, who in
When the party is very large, two couples may begin at the same time, one at the top and the other at the bottom of the room.
After which the ladies dance the same figure.
Le Carillon de Dunkerque, like the Boulangère, is a French dance of the olden time, and is the merryest and the noisiest of all country dances.
The gentlemen select their partners, and place themselves as for the Quadrille.
It is of no consequence if the number of couples is not equal, the more that dance the merrier it is.
The music plays the first eight bars, after which each gentleman takes the place of the gentleman to his right, the ladies meanwhile retaining their places.
All set and turn with their new partners, the gentlemen finishing with their faces towards the ladies, and their backs to the centre of the Quadrille.
Then all the ladies and gentlemen clap their hands three times, and then stamp on the floor three times, and finish by turning round with their new partners. This figure is again begun and repeated until the gentlemen meet with their original partners, after which the ladies perform the figure in the same manner with the gentlemen.
La Madrilaine is a dance for two persons, the cavalier holding his partner's waist in his right arm, as in the Waltz or Polka. Its style is Spanish, and Castanets are
obligato
, tocoupé
to the side, point the other fool, and bring it near to the first,
coupé
again to the side, two
Pas de Basque
in turning once round. One
coupé
to the side, point the other foot, and bring it near to the afar, one
pas de basque
, in turning half round, once more
coupé
and
pas de basque
, in turning the other half. This is to be repeated as often as found agreeable, and for the sake of variety, the gentleman may guide his lady back with four
pas de basque
forward, then one coupe to the side, one
pas de basque
in turning half round, and once more
coupé
and
pas de basque
.
“Pop goes the Weasel” is an old and a very animates English dance that has lately been revived among the higher classes of society. It is performed in the same manner
The couple at the top begin the figure, they run forward within the line and back again, each occupying four bars of the music, and then outside the line, and back again during the same interval. After which they form a round of three with one of the couple next to them on the line and turn once round to the right and once to the left, at the end of which making the one they have chosen pass quickly under their arms to his place, all singing “Pop goes the Weasel,” they then turn quickly to the other line and repeat the same figure with the partner of the last selected.
After this they have to run forward and backward inside and outside the line and repeat the figure with the next couple on the right and left. When they have passed three or four couples, the lady and gentleman at the top begin, and repeat the same figure, and so on in turn for all those who remain.
It is understood that after having passed the third or fourth couple, it is not necessary to go
This dance, like the Waltz, is performed by two persons, the gentleman holding the lady by the right arm There are two different steps.
The first occupies two bars of the music. It is composed of one step of the Polka for the first bar; and for the second, the foot is slidden to the side, the toe pointed and kept in that position during the remainder of it. This is to be repealed eight times, each time turning half round.
The second step occupies four box's, the first and second bars of which are employed while the first step of the Polka Masurka (see page 42) is danced, twice to the side; the third bar, while one step of the Polka is danced, turning half round: and the fourth bar, while
This second step is to be repeated four times.
N.B. There is also an additional step, which may be danced instead of the second step, or partly with it,—that is to say—twice of the one eight of the other: but this is left to the option of the dancers.
It is danced thus:—One Polka step, which takes one bar, observing to slide the first step instead of jumping, and turning like the Waltz. This is to be repeated sixteen times, when part of the second step is not used.
Long live the Queen is a country dance and like all other dances of the same kind, may be executed by an unlimited number of persons, the gentlemen forming a line on one side of the room, and the ladies facing them.
To the time of “God save the Queen” the
To a quick tune, which then follows, the two couples Galop down the room, and back again, and Waltz round each other until the slow movement and music begin again.
N.B. When the column is a long one it is better to begin the figure at different places; leaving always one or two couples between.
It is very much to be regretted that the custom of the English Ball Room should limitin politeness to her
, any such introductions are dispensed with. And in public as well as private balls the ease and agreeableness of the party would be much enhanced if gentlemen could, without fear of the imputation of rudeness, exercise their freedom in the choice of partners, and equally so, a lady would and it much more flattering to be the direct object of a gentleman's preference for the dance, than as is usually the case, to be presented to him by others.
Explanation of the signs:—Gentleman • Lady ○ Give hands…Figures—
1. One bar rest for the gentleman to take off his hat.
2. One bar to prepare, and two bars to perform the bow of the gentleman and the curtsey of the lady.
5. One waltz step in going forward, and in turning half round to face each other—one bar.
4. One bar while preparing for the bow and curtsey, and two bars while performing them.
5. Return to places in giving hands with
Pas de Bourré
forward.
Coupé
backward, the gentleman bring the left foot behind, the lady the right foot forward—two bars. (After this
6.
Pas Grave
forward in giving the hand—two bars.
7.
Coupé
forwards,
coupé
backwards in facing each other.
Jetté
to the right.
Pas
de
Bourré
behind and before.
Coupe
backwards and bring the left foot behind—four bars.
8.
Pas Grave
forwards, and
Pas de Menuet
forwards in turning—four bars.
9. Two
Pas de Menuet
to the right in passing before one another—four bars.
10. One waltz step.
Coupé
backwards—two bars. The gentleman resumes his hat.
11.
Pas de Bourré
forwards and
assemblé
before—two bars.
12.
Coupé
backwards, and two
battements
, repeating it four times in going backwards—four bars.
13. Bend and rise twice.
Sissonne
with the left foot.
Coupé
backwards and bring the right foot forwards—four bars.
14.
Pas Gravé
(to present the right baud).
Pas de Bourré
forwards.
Assemblé
before and place the right foot at the right—four bars.
15. Two waltz steps.
Pas de Bourré
forwards,
Coupé
backwards, and place the right fool behind—four bars.
16.
Pas Gravé
(to present the left hand).
Pas de Bourré
forwards, Assemble before, and place the left foot to the left—four bars.
17. Two waltz steps.
Pas de Bourré
forwards,
Coupé
backwards, and place the left foot behind—four bars.
18.
Coupé
forward,
Coupé
backward.
Pas de Bourré
forwards,
Assemblé soutenu
, left fool before—four bars.
19. Minuet step to the right—two bars.
20. Minuet step to the left—two bars.
21.
Pas de Bourré
behind and before, one half round.
Pas de Bourré
behind and before, half a round.
Pas de Bourré
behind and before (done quickly). Rise and turn on the toes to bring the left foot forward, and change the feet—four bars.
22.
Coupé
forward, and
Assemblé
before, in bringing alternately one and the other shoulder forward. Repeat this three times. Slide the left foot to the left
Pas de Bourré
behind and before, finishing with the left toe pointed behind—four bars.
23.
Pirouette
on both feet finishing on the left foot.
Coupé
backward, and place the left foot behind—four bars.
24.
Pas grave
(to present both hands).
Pas de Bourré
forward.
Assemblé
before in facing each other. Turn half round in keeping the left hand of the lady. Place the left foot to the left for the gentleman, and the right foot to the right for the lady—two bars.
25.
Coupé
forwards,
Coupé
backwards—two bars.
26. Give both hands to each other.
Pas de Bourré
before and behind.
Coupé
backwards and place the left foot behind for the gentleman, and the right foot before for the lady—two bars.
Repeat the figures 1, 2, 3, 4, 5 to conclude.
G
Misses
Barnard
, 68, Newman Street, Oxford Street.
Mr.
Cramond
, Murray Place, Tain, Rothshire.
Mrs.
H. E. R. Davies
, Hill Street, Haverford West.
Miss
Evan
, Ludlow, Shropshire.
Mr.
Mathew Dodworth
, 99, Fitzwilliam Street, Sheffield.
Messrs,
Harwood & Son
, 42, Nelson Street, Great George Street, Liverpool.
Mr.
John Hawkins
, 12, Lower Stone Row, Coleraine.
Miss
F. Mantle
Flint House, Maidenhead.
Mr.
W. G. Mingay
, Nantwich, Crewe.
Mr.
Thos.Reynolds
, 9, Dolier Street, Dublin.
Mr.
Edward Willis
, Woodhouse Square, Leeds.
Mons. Coulon's pupils are respectfully informed that their names can be added to the above list upon their sending their address to the publisher.
Names of Towns from whence Professors applied to M. Coulon for instruction in some of the new dances introduced by him, and others.
(
From the Editor
.)
FROM
Bath
Belfast
Birmingham
Blackheath
Boston
Boulogne
Brighton
Bristol
Broadoak
Bury St Edmunds
Camberwell
Cheltenham
Chipping Norton
Chiswell
Coleraine
Cork
Derby
Doncaster
Dublin
Ealing
Edinburgh
Enniskillen
Glasgow
Hastings
Highgate
Ipswich
Kentish Town
Leamington
Leeds
Leicester
Liverpool
London
Londonderry
Ludlow
Manchester
Maidenhead
Newcastle
Northampton
Norwich
Nottingham
Paddington
Penzance
Preston
Ramsgate
Ripon
Sheffield
Shrewsbury
Swansea
Thurso Caithness
Wandsworth
Weymouth
Whitby
Wickhammer
Willingborough
Worcester
Wykeham
W. OSTELL, HART STREET, BLOOMSBURY.